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

In the book Affect, Gender and Sexuality in Latin America, edited by Cecilia Macón, Mariela Solana and Nayla Luz Vacarezza, the authors rehearse and think about gender and sexualities in Latin America through a particular approach: affects and emotions . Regarding this focus, I highlight three of the several challenges mentioned in its introduction: 1) the need to break down the reason/passion distinction in order to think cognition/feelings/emotions together, as well as the intimate relationship between affects and politics to try to understand their incommensurability; 2) the desire to deconstruct north-south relations and the circulation, translation and appropriation of theoretical proposals from the global north, revealing that it is not a pure mimetic gesture or simple application to the "local" but a translocal and multispatial exercise that interrupts the logics of authenticity or purity in the production of knowledge and which attempts a singular gesture: that of revealing in transvestism and putting in tone with our also impure inventions; and 3) the relevance of thinking, from the gaze of affections, in a context of feminist and neo-fascist advances that dispute the political, the gender order and the keys to sexualities, antagonisms that require a gaze that knows how to read and sniff out the rhythms, atmospheres and aesthetics of temporary configurations and diverse materials to problematize our times. I dwell on three marvelous elements of the book and that allude to these challenges: 1) the immanent relationship between temporalities and materialities; 2) methodologies (or games) and aesthetics; and 3) the knots of power.

During the 1950s Karlheinz Stockhausen adhered to the modernist principles promoted by the Darmstadt School that led to the development of integral serialism. In his pursuit of renovation of the musical language, Stockhausen tried to apply this technique to the composition of electronic works at the WDR (Westdeutscher Rundfunk) laboratory in Cologne. This article inquires, through the concept of technical mediation proposed by Bruno Latour, how the exchange of properties between humans and non-humans inside the laboratory modified the serial project. As a result of this process, Stockhausen composed a serie of works that couldn’t be completely prefigured a priori, a fact that led to the creation of new forms of listening and musical notation. From that, we will seek to characterize Stockhausen's compositional practice from a non-modernist perspective, emphasizing the hybrid and relational character of musical events.

In her book The Cinematic Footprint (2012), film studies scholar Nadia Bozak proposes an analysis of the cinematographic production of images based on the consumption of energy and matter resources upon which it depends. From this point of view, this article examines three scenes from the filmography of the Russian director Andrei Tarkovsky. By inquiring about the material conditions of his production, a field of interactions beyond representation between image and landscape transformation is brought to the foreground. Tarkovsky's work is then analyzed in this text from the relationships established throughout the 20th century between image, extractivism and plant growth. In particular, the examined sequences will be related to agrarian colonization programs, precision agriculture practices and reforestation techniques such as seed bombardment. The contrast between the extractivist nature of these cases and the character of "vegetable cinema practice" with which Tarkovsky's cinema has been described (Uhlin 2015) invites us to rearticulate the difference between image and plant growth in terms of the so-called elemental media approach introduced during the last decade in the domain of media theory.

This article aims to contribute to the elaboration of a posthuman materialist cosmo-aesthetics. Such a cosmoaesthetics would allow, on the one hand, to think about the agency inherent to the matter involved in works of art outside artist/form – material/formed logic; and on the other, would permit to experiment with non-anthropocentric options for imagination and perception. The general guidelines of this proposal are presented from a relationship with the concept of “cosmopolitical proposal” and it’s evaluated the specific provision of art in the current context of the collapse of the space-time scales. Finally, it presents an analysis of the Argentine artist Claudia Fontes’ series of small statuettes Foreigners and the Proposal for the High Line Plinth (which involved the production of the same type of figures but 6 meters high), from a relational ontological perspective and to think the political dimension involved in the more-than-human diplomacy that they propose.

This article will try to inquire into the question of nature and environmental problems from the point of view of what we will call a ground philosophy. We’ll undertake this task through the proposals of a series of contemporary authors who have been concerned, to different degrees and in very different ways, with the problem of land or ground: Donna Haraway, Tim Ingold and Bruno Latour . For this, we will use a series of elements that we will extract from the visual and tactile experience of the Nazca Lines, a legacy of our Amerindian past in the Peruvian desert. It will be divided into three parts, each one dedicated to explaining certain reflections that can be linked to a philosophy such as the one we intend to mention. The approach will prioritize the interlocks between them and the development of elements that allow us to interweave their respective theories.

In this article I intend to recompose the theoretical specificity of the last period of the philosophical work of León Rozitchner, where the problem of the "mythological-political" appears. By way of introduction, we will begin by referring to the historical situation in which Rozitchner poses this new conceptual framework. In the first part of the article, I will develop the notion of mater, a cardinal category from which the different conceptual shifts that appear during these years are understood. Once this is done, we will analyse the way in which Rozitchner conceives the historical notion of mythology and its relationship with the socio-political reality. This will serve as a conceptual introduction to the way in which, from these categories, the Argentine philosopher studies Christianity, understood in a mythological key and in its connection with capitalist social relations. There the notion of terror will appear as a key category to understand the subjective scope of Christian mythology.

Crusat, Cristian. La huida biográfica. (Nuevas formas de la biografía, nuevas representaciones del artista). Valencia: Pre-Textos, 2020.

Entrevista a Jean-Marie Schaeffer, realizada por Elena Yrigoyen, para la revista Aisthesis y la comunidad hispanohablante.

Entrevista con la filósofa argentina Silvia Schwarzböck