Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Introduction. Insects are associated with human communities, with positive and negative impacts within each society. This aspect is the basis of the study of insects as a science called entomology, which involves the development of various branches. Due to the social and economic importance of this science in various areas of Panamanian society, a significant development has been achieved during the last forty years. Objective. To determine the branches of entomology applied in Panama during the last four decades. Development. The development of entomology in Panama focused on promoting general, agricultural, veterinary, medical, and forensic entomology through the development of research, teaching, and the establishment of the necessary foundations to promote science. Conclusions. Five branches, including general, agricultural, veterinary, medical, and forensic entomology, constituted the cornerstone and the impetus for the development of entomology as a science for forty years at the service of Panamanian society, justified by social needs related to health, food, and the economic aspects. In recent years topics such as the environment, climate change, and sustainability have also been included.

According to Haraway and Tsing's formulation, the Plantationocene would be a term for this epoch that could point to the characteristics of the modern world system with greater specificity than the Anthropocene. In this paper we review the different versions of the Anthropocene and the kind of problems it addresses (especially those of scale and material agency). We then turn to the emergence of the notion of symbiosis as a kind of community-making beyond the human as it appears first in Michel Serres and then in Haraway, the frame provided by the material ecocriticism and the rationale given for the term Plantacionocene. In this approach, we read the foundational narratives of Argentine identity as those in which identity is figured as that of the brave male (first a marginal and then a national hero) whose main task is to erase (materially and symbolically) the indigenous legacy. Finally, we turn to Gabriela Cabezón Cámara's novel, Las aventuras de la China Iron, in which José Hernández's national epic poem, Martín Fierro, is entirely rewritten. Throughout this undisciplined, world-altering narrative, the plantation is transformed into a non-hierarchical form of humility that places us on the threshold of a queer plantism.

This paper explores the entanglement between the earth and the sky, from an aesthetic-imaginary point of view. In order to do so, we will go through some contemporary discussions that we consider can illuminate the problem addressed. On the one hand, we will review some of Peter Sloterdijk's ideas to think the problem of globalization as a particular declination of the old ontological problem of the sphere. On the other hand, we will recover some elements of cultural astronomy field, which will allow us to describe the social fabric of the sky and at the same time the material relation sky-earth. It is from here that we will propose a perspective that we consider necessary and original in the context of the discussions on posthumanism and new materialisms: the inclusion of the sky as a material and posthuman problem. Based on this last approach, we will analyze some works by Faivovich and Goldberg that are part of the project on Campo del cielo.

This article proposes a reading of the book of poems Los ligámenes by Mauro Césari. It pays attention to the “scene” of the catastrophe that the book exposes: the collapse of two mining dams in Minas Gerais and the avalanche of toxic mud on the town and the rivers of the region. From there, it aims to map the material imagination proposed by the collection of poems, specifically investigating the conception of matter’s writing that the book displays and the reading machine that it supposes. To do so, it attends to the tradition of reading and writing proposed by the neobarroso in an attempt to suggest a neobarrotoxic modulation to read the uniqueness of this poetic writing.

What is it that leaps to the eye in the photographic object? What is that bottomless background that constitutes every photographic surface and that questions us, confronts us and on which the bewilderment follows? This article attempts a posthuman perspective of approach to a set of photographic artifactualities that defy the orders of a prevailing cultural constructivism as a paradigm of approach to such objects and traces certain characters of a reading beyond the human to photography. Accordingly, we will venture an itinerary of approach to these technical objects from the Derridian notion of the subjectile as the birthplace of all photography, its materiality as horizon and facticity from which all photography expresses itself. Tracing this itinerary will imply describing the intensities of certain photographic supports, the escape of photography from a consubstantial anthropism, from its condition of cultural and visual image to, finally, delineate the scope of a photographic materiality in the terms proposed by the contemporary posthuman inflection.

This article analyzes a heterochronic constellation composed of nine figures of horizons and clouds of dust from the Argentine pampas taken from the literature and visual arts of the 19th, 20th and 21st centuries. Based on a theoretical study of different philosophical sources, it is argued that images are semiotic-material knots, mirrors emancipated from human servitude and non-anthropological voices in which a particular aesthetic-political configuration of space takes place. The horizon figures are organized according to the human eye and space is under their control. In contrast, in the clouds of dust in which existing beings dance and connect, the human configuration is undone.

Starting with Stifters Dinge by the German composer Heiner Goebbels, and considering in particular its staging at the Teatro Colón in Buenos Aires in February 2016, we will reflect on experimental opera as a possible framework for the interrogation of “the Human” as a founding myth of modernity. We will look at how experimental opera erodes, then, Western metaphysics and the binaries that structure it: nature and culture, subject and object, agency and inertia, action and rest, and even life and death. In this way, we will analyze how Goebbel’s work destabilizes the concept of “Nature” as a system upon which man acts as an exception, owner, and sovereign. Reflecting on the staging of material agencies—entities that are not alive but which have effects on emotion—we will consider the turn from the primacy of vision and from perspective as an hegemonic way of ordering the environment. We propose to approach Stifters Dinge as a reworking of musical theater and as a site-specific installation in order to propose that, in its presentation in Buenos Aires, it opened the possibility of recreating opera as a cosmopolitical tribunal and a parliament of things.

This article analyzes the matter of the voice from two central notions: articulation and ancestry; and we propose an insubordinate, imagined, undisciplined, unspecific linguistics. From the reflections of Agamben, De Certeau, Derrida, Saussure and Zumthor, this text discusses the belonging (human / non-human) of the voice. From the hypothesis that the voice is infinite (Agamben), we discuss the notion of articulation from the theories of Saussure and Rousseau (read by Derrida). We postulate that the voice is an ancestor of the future (Didi-Huberman and Coccia) and we approach the question of ancestry from the theories of Brisset and Darwin. The main objective is to discuss the aforementioned notions and conclude with the proposal of an indiscipline that considers the non-specificity of the voice.

Reseña de Figuraciones de la otredad en el cine contemporáneo de Mariano Véliz