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others it is not a theory, but rather an ideology forged by bringing into the arena of discussion old, unearthed and outdated paradigms that were long ago superseded.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).

The movement of the obtuse direction is wandering. It follows an eccentric trajectory. It departs from the domain of representations. In this issue, by presenting different ethnographic situations, we show how the concept of the obtuse allows us not only to address the legal-evidential value of the ethnographic record but to extend and even reimagine it.

Whis essay examines photomontage practices in rural contexts of Michoacán, Mexico, in order to ask how social uses of photography are intimately linked to collective subjectivities and affects of loss, between histories of migration and recurrent cycles of violence. These visual practices cannot be understood without paying attention to intrinsic aspects of photographic technology-such as its indexical character, its materiality, its artificiality, and its temporal anchoring. Here a careful reading of the concept of "the obtuse" proposed by Roland Barthes reveals how photomontage techniques, in the hands of local photographers, generate visual effects and dislocations through the manipulation of subtle details that contribute to recreate, but also to subvert, the "ways of looking" among the inhabitants of the region.

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.