Toni Kuhn's work is a continuity and part of this great tradition of Mexican cinematographers, such as Gabriel Figueroa, Alex Phillips, Jack Draper, Agustín Jiménez, to name a few. They were his teachers, his references, although they did not give him - as he tells us - a visual, photographic eye, because whether you are born with it or not, it is almost a substitute for the language itself, for the multiple languages, which, he says, he learned in his native Switzerland and which he knew, in one way or another, how to translate into images and capitalize it with a reality that Mexico imposed on him. In this interview, Toni tells us about the beams of light that he has captured throughout his long-lived work.

During the interview, the theme of creativity, present in Lomnitz's career, is highlighted. While we know that it is necessary not only in the phase of scientific dissemination but also to conceive new topics and risky questions, we must recognize that it is a complex issue that, as Jesús Martín Barbero said, leads us to navigate in dark seas without maps to discover new seas.

This interview rescues a phenomenological perspective of Claudio Lomnitz's trajectory as a researcher, but also of what encourages Lomnitz to leave the comfortable boundaries of academic communities.

For some, perspectivism is a revolution in anthropological thought, while for others it is not a theory, but rather an ideology forged by bringing into the arena of discussion old, unearthed and outdated paradigms that were long ago superseded.

This photographic essay shows the process of giving view, a practice of presentation of the stall conformed by certain aesthetic elements that allow a crucial communication flow with other actors of the tianguis to ensure its continuity. The importance of the materiality and visuality of the stall is exposed in terms of its aesthetic production and the affectivities and values that are associated with it and that result in a visual language of the market. This essay is derived from the ethnographic work carried out between 2012 and 2013 in collaboration with Ruta 8, one of the associations of merchants enrolled in the Mercado Sobre Ruedas (msr) program, coordinated by the Secretaría de Desarrollo Económico (sedeco) of Mexico City (cdmx).

Drawing on several of the ideas contained in David Lehmann's text "Beyond Decoloniality: A Discussion of Some Key Concepts" (2023), in this paper I propose a different way of understanding the relationship between indigenous mobilization in Latin America in recent decades, decolonial studies and other forms of what I call "the colonial framework". The central argument develops around indigenous mobilization, which I see as changing and in a process of complexification, in which relations to ideas of decolonization are evident, but not the only ones informing its political action. By taking these two elements into account, the relationship between mobilization, decolonization and democracy is understood in a different way and with different consequences than those proposed by Lehmann.

Whe present essay seeks to show, through a singularity of images, how myths, in one of their many expressive ramifications, materialize in a narrative way in what we call plastic expressions of the good errant. Its minimal units operate with signifiers built on a multiplicity of objects that refer the errant to meanings linked to those beings of the universal endeavor. To demonstrate our plastic hypothesis, we will exemplify the mythological complex related to Śiva, one of the most outstanding deities of the Indian cosmogony, referring to various manifestations and presences of this god in the colorful streets of India.