{"id":30714,"date":"2018-09-21T13:07:16","date_gmt":"2018-09-21T13:07:16","guid":{"rendered":"https:\/\/encartesantropologicos.mx\/wordpress\/?p=30714"},"modified":"2023-11-17T19:11:01","modified_gmt":"2023-11-18T01:11:01","slug":"charla-con-las-imagenes","status":"publish","type":"post","link":"https:\/\/encartes.mx\/en\/charla-con-las-imagenes\/","title":{"rendered":"Chatting with the images: &quot;it has to do with his life story&quot;"},"content":{"rendered":"<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Documentary Roberta Simon &quot;De Chat with the images&quot;\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/MnmcGr8PLXM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Abstract<\/strong><\/h2>\n\n\n\n<p class=\"abstract\">In this video I present the conversations of Claudio Oliveira, one of the visitors who passed through the exhibition of the students of the Visual and Image Anthropology course of the Social Sciences course of the <span class=\"small-caps\">ufrgs<\/span> on the sensible ways of living in the city of Porto Alegre \/ RS (Brazil). Claudio&#039;s images, looks and talks are mixed with the images of the exhibition. Stories, spaces and times open up circular communication for new resonances from those who see them. I invite you to chat with the images.<\/p>\n\n\n\n<p class=\"abstract\">Keywords: <a href=\"https:\/\/encartes.mx\/en\/tag\/antropologia-de-la-imagen\/\" rel=\"tag\">image anthropology<\/a>, <a href=\"https:\/\/encartes.mx\/en\/tag\/comunicacion-visual\/\" rel=\"tag\">visual comunication<\/a>, <a href=\"https:\/\/encartes.mx\/en\/tag\/etnografia-visual\/\" rel=\"tag\">visual ethnography<\/a>, <a href=\"https:\/\/encartes.mx\/en\/tag\/imagen\/\" rel=\"tag\">image<\/a>, <a href=\"https:\/\/encartes.mx\/en\/tag\/narrativa-biografica\/\" rel=\"tag\">biographical narrative<\/a><\/p>\n\n\n<p class=\"en-title\">In Conversation With Images: &quot;It&#039;s About Your Life Story&quot;<\/p>\n\n\n\n<p class=\"abstract en-text\">In this video I present conversations with Claudio Oliveira, one of the visitors who came through the UFRGS Social-Sciences course Visual and Image-Based Anthropology students&#039; exhibition on appreciable ways of living in Porto Alegre, Brazil. Claudio&#039;s images, gaze and conversations are mixed with images from the show. Stories, spaces and time foster circular communication for new resonances among those who see them. I invite you to converse with the images<\/p>\n\n\n\n<p class=\"abstract en-text\"><strong>Keywords: <\/strong>Visual communications, image anthropology, visual ethnography, image, biographical narrative.<\/p>\n\n\n\n<p class=\"has-text-align-right abstract\"><em>The image allows, perhaps, a certain protagonism of the one who looks at it.<\/em><br>Claudio Oliveira<br>exhibition visitor<\/p>\n\n\n\n<p class=\"abstract translation-block\"><span class=\"dropcap\">H<\/span>ow are image narratives intertwined with biographical narratives and sociocultural contexts? How do we communicate with other images from our own images?<\/p>\n\n\n\n<p>In this video I present Claudio Oliveira&#039;s conversations with the images from the exhibition Shared Ethnographies: Visual and Sound Narratives of Urban Living in Porto Alegre. How did those images affect him? Claudio says: \u201cyou don&#039;t have to live like prisoners\u201d, hostages of urban violence; you have to have security. In raising his children, Claudio tries to balance protection and freedom. The freedom he had as a child. He believes that society today has little capacity to deal with social differences, prejudices and various types of violence. He thinks that artistic-cultural practices such as hip-hop that he saw in the exhibition, serve as &quot;escape valves&quot; for social problems. In his speech there is a reverberation of stories and images of a father concerned with the future of youth in Porto Alegre.<\/p>\n\n\n\n<p>I communicated with twenty-four people who passed and observed the exhibition on the city of Porto Alegre and based on visual and image anthropology, with this ethnographic video I sought to exercise the ethical-aesthetic precepts of the encounter with the other, the communication mediated by devices techniques and the reflections that base the communication process as an encounter of otherness (Wagner, 2012; Ferraz [nd]) and a circular system (Bateson, 1981).<\/p>\n\n\n\n<p>In the exhibition, encounters of otherness circulate and mix individual and collective stories and socio-cultural contexts. Each talk seems unique, but they all come together in the common sense of the sensible ways of urban living. &quot;Communication is no longer defined as a simple act between two people, but as a circular system, an orchestra of which everyone is a part and where each one plays following an invisible score&quot; (Bateson, 1981). The personal stories of the visitors to the exhibition and the images they find there are in communication, even without noticing it. Based on the relationships with urban green spaces, intergenerational temporal dialectics and sensitive forms (spirituality, politics, art), the cultural orchestra organizes the narratives and images of the interlocutors.<\/p>\n\n\n\n<p>Claudio Oliveira lives with his family in a neighborhood south of Porto Alegre, the capital of the province. He maintains good relations with his older sister, who always protected him. She returned to live near her mother, in Santa Cruz do Sul, where the whole family was born. Her mother feels a great attachment to her origins and says she wants to die in her city. That desire is related to the driving force that drives us to live, the sacred land of Mother Nature. The origin, the land and the will. The symbolic return of the natural cycle in communion with the primal, first and strongest images, where its life was generated (Bachelard, 1991).<\/p>\n\n\n\n<p>Santa Cruz do Sul has large rural areas close to the urban area, and as it grew, large lands used for agriculture began to be divided when their owners died. This was the case of the lands of Claudio&#039;s grandfather, which he visited when he was little and where he played to pick fruits and helped with the activities of the land. At night, I would play soccer with friends on the street, and when a car passed, everyone would stop, wait, and play again. He had a quiet childhood, free and in contact with nature, according to his biographical narrative. With the modern world, the ways of living in cities were transformed (Simmel, 1967). As well as the ways in which people relate and tell their daily stories (Benjamin, 1994).<\/p>\n\n\n\n<p>Today Claudio is a father and lives in the metropolis, but in a more remote area with green around him. A place with less asphalt and cement, where people are calmer than in the center. For him, it is about another way of seeing the city. However, with so much violence, he is afraid to walk through those streets that were a place of fun and that have become a threat. Bad people are on the loose and good people trapped in their homes, hostages of fear.<\/p>\n\n\n\n<p>Their daughter Carol is a teenager, studying, looking for internships, courses, and ends up circulating on the streets, something that worries her parents. Despite his concern for the future of young people, Claudio tries to balance protection from urban violence and freedom for his children to develop and be happy. He did not have a good relationship with his father and that is why he seeks to be a better and different father.<\/p>\n\n\n\n<p>In the exhibition, Carol sees the word rururbano, does not understand and asks her father the meaning. Very attentive and careful (following his image of the ideal father), he explains that rururbano is a rural area within the urban perimeter and tells that Porto Alegre is one of the Brazilian capitals with more rurban area. Claudio worked with transportation and knows many places inside and outside the city. For Walter Benjamin (1994), knowing many places as a traveler, having wisdom (\u201cthe epic side of the truth\u201d), giving advice and being practical, are qualities of a \u201cgood storyteller\u201d.<\/p>\n\n\n\n<p>Claudio is, and with his daughter he is even more so. These and other stories were told during the ethnographic encounters that are part of my doctoral research \u201cDe prosa com as imagens\u201d (\u201cTalk with images\u201d). The research seeks that visual, sound and written narratives dialogue with each other, with the intention of questioning textual hegemony as the only form of knowledge (MacDougall, 2006; Pink, 2002; Eckert and Rocha, 2016).<\/p>\n\n\n\n<p>Claudio and Carol went through the exhibition. They both interacted with the images in the hall and each stopped at different places to make their observation. I approached her with the camera and explained that I was participating in the exhibition doing research to find out what most caught the visitors&#039; attention and the first thing that came to mind when they saw those images. She, with some shyness, agreed to participate by calling her father to help her, and he was a generous storyteller and open to participate in all stages.<\/p>\n\n\n\n<p>Later I met Claudio in the same place where we met. I gave him the <span class=\"small-caps\">DVD<\/span> with the video of the exhibition, thus returning the images that belonged to him (Didi-Huberman, 2015). I chose not to film that restitution day, considering the cameraless encounters equally powerful in order to get to know and understand each other better, and that he understood the investigation itself and the stories that marked our encounters. He was moved by telling stories of his daughter Carol, something I did not perceive the next day, on camera, when he narrated her biography and commented on her video at the exhibition.<\/p>\n\n\n\n<p>My emotion was already when I discovered that Claudio and I were born in the same city, on the same day of the same month, and we have many biographical stories in common. Affectivity and connection with the other in the field do not exist by chance. The feeling of identification is one of the elements present in the experiences of otherness, the basis of ethnographic communication. Claudio also sensibly touches the core of this research with phrases like \u201cThere I think it has to do with your life story, with your knowledge, from where you look; that is, who are you, everything you bring as an experience \u201d. For this reason, for him, \u201cthe image allows, perhaps, a certain prominence for the person who looks at it\u201d.<\/p>\n\n\n\n<p>With this key idea, Claudio presents us with the power of the gaze and the interior of the subject to understand what is outside, without separating interior \/ exterior. As integral human beings, we are facing a landscape (natural or artistic) and immediately a contemplative and affective experience arises. At the same time, there is a mental disposition towards a landscape that is \u201conly the disposition of this landscape and can never be that of any other, although both can be understood in the general concept\u201d (Simmel, 2009: 16).<\/p>\n\n\n\n<p>Relations with images work in the same emotional way. Faced with the images of the exhibition, what affects and transpires in the talks is Claudio&#039;s sensitivity. It is even the interior images that lead the protagonist through the exhibition space.<\/p>\n\n\n\n<p>The talk with the images is, therefore, an experience of circular communication that constellates stories and images of how the urban is lived, the multiple spatialities and temporalities present in the exhibition, its visitors and the contexts of interaction.<\/p>\n\n\n\n<p>For the construction of the visual narrative, I considered the concepts of \u201ctemporal rhythms\u201d, by Eckert and Rocha (2013), and of \u201cfragments\u201d by Benjamin (2004). The video intersperses the narratives of the exhibition with those of the small room of the Faculty of Education of the <span class=\"small-caps\">ufrgs<\/span>, where Claudio studied Pedagogy. The narrative intention to constellate collections of other images in images (Bachelard, 1988; Durand, 2001; Eckert and Rocha, 2013) is inserted in the sense of refiguring the narrative, as proposed by Paul Ricoeur (1994), in the three mimetic acts. Stories and images flow in continuous processes of temporal and spatial discontinuities. Some overlap others, intersect, move, complement each other and are stressed.<\/p>\n\n\n\n<p>Claudio commented on the different projects of the collective exhibition, but here I only present his narratives based on the three exhibitions that most caught his attention: \u201cHuerta Comunitaria\u201d, \u201cLamiendo la ciudad\u201d and \u201cFeria de Hip Hop\u201d. These, along with six other projects, make up the collective exhibition carried out by the students of the Visual and Image Anthropology subject, dictated in the first semester of 2016 in the Social Sciences course of the <span class=\"small-caps\">ufrgs<\/span> (Porto Alegre \/<span class=\"small-caps\">rs<\/span>\/ Brazil) by the coordinating professor Cornelia Eckert. It had the participation of researchers from Navisual, curated by the anthropologist Rafael Derois, and the support of the Unifoto Project, of the Department of Cultural Diffusion of the Pro-rectorate of Extension of the <span class=\"small-caps\">ufrgs<\/span> and the Department of Anthropology, Postgraduate Program in Social Anthropology, Institute of Philosophy and Human Sciences.<\/p>\n\n\n\n<p>The research time was paced with the classes and both brought to the prestigious space of the university rectory the art of the streets, the peripheries, the walls, the community gardens and of artists who make their daily experiences rhythms of resistance, struggle and transformation. The artistic-urban interventions received the contributions of narratives and memories of the people who passed through the exhibition and were marked (in the sense of MacDougall&#039;s imprints, 2006) by the poetics of the aesthetic and sensitive experiences of the encounter with the other and with himself. themselves. Times and spaces of reconfigurations and circular reversibilities.<\/p>\n\n\n\n<p>By inviting his daughter to follow their paths together (\u201cLet&#039;s go, daughter?\u201d), Claudio opens up for the audience the movement of life that follows and invites us to walk side by side. In this video, Claudio&#039;s images, looks and talks are mixed with the images of the exhibition and the city, protagonists who now open up circular communication for new reverberations of those who see them. And to you, what was it that caught your attention in this video and what occurred to you when you saw it? I invite you to chat with the images.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Data sheet<\/h2>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Author: <\/strong>Roberta Simon<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Video title:<\/strong> Chatting with the images: &quot;it has to do with his life story&quot;<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Link for the video on YouTube:<\/strong> <a href=\"https:\/\/youtu.be\/MnmcGr8PLXM\">https:\/\/youtu.be\/MnmcGr8PLXM<\/a><\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Direction, investigation, script and camera operation: <\/strong>Roberta Simon<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Mounting:<\/strong> Felipe Soilo<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Equipment:<\/strong> Sony handycam hybrid; Sony ICD-PX440 digital voice recorder.<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Communication research orientation:<\/strong> Carlos Gerbase<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Research Orientation in Anthropology:<\/strong> Cornelia Eckert and Ana Luiza C. Rocha<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Music of:<\/strong> Marcus simon<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Year of production:<\/strong> 2016\/2017<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Material format:<\/strong> digital<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Duration:<\/strong> 00:10:34<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Exhibition data:<\/h2>\n\n\n\n<p class=\"has-text-align-left abstract\">Title: Shared Ethnographies: Visual and Sound Narratives of Urban Living in Porto Alegre<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Dates:<\/strong> 08\/23\/2016 to 09\/19\/2016<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Local:<\/strong> <em>Hall <\/em>of the Rector&#039;s Office of the Federal University of Rio Grande do Sul (<span class=\"small-caps\">ufrgs<\/span>)<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>Curator:<\/strong> Rafael Derois dos Santos<\/p>\n\n\n\n<p class=\"abstract\"><strong>Project and image authors:<\/strong> Inhabitants of Porto Alegre \/ RS (Brazil). Researchers at the Center for Visual Anthropology (Navisual) and the Bank of Images and Visual Effects (Biev) (Postgraduate Program of the Institute of Philosophy and Human Sciences \/<span class=\"small-caps\">ufrgs<\/span>): Camila Braz, Cornelia Eckert, Fabr\u00edcio Barreto, Guillermo G\u00f3mez, Jose Luis Abalos Junior, Manoel Claudio da Rocha, Roberta Simon, Rumi Kubo, Yuri Schonardie Rapkiewicz<\/p>\n\n\n\n<p class=\"has-text-align-left abstract\"><strong>More details and pictures:<\/strong> <a href=\"https:\/\/fotocronografias.wordpress.com\/category\/edicao-no-01-etnografias-compartilhadas\/\">https:\/\/fotocronografias.wordpress.com\/category\/edicao-no-01-etnografias-compartilhadas\/<\/a><\/p>\n\n\n\n<p class=\"abstract\"><strong>Class of Visual Anthropology students, 2016\/1, in the course of Social Sciences \/ Department of Anthropology (Institute of Philosophy and Human Sciences \/ Federal University of Rio Grande do Sul):<\/strong> Adriana Cunha, Alexandre Mendes, Ana Paula Barros, \u00c2nderson Fragozo, Carmem Guardiola, Carolina Kneipp, Daniela Becker, Daviana M. Ferreira, Ellen Tabarkiewicz, Felipe Rodrigues, Francisco Gonzaga, Gabriela Thomaz, Gilmar Santos da Rosa, Javier Llanes Calixto, Jonathan Rocha , Jos\u00e9 Thiago Ruhee, J\u00falia Menin, Larissa Signor Alvares, Mait\u00ea Medeiros Passos, Matheus Cervo, Maurem Fronza da Silva, Nara Marcia Rech, Natalia Seeger Duarte, Patrick Dias Gomes, Ricardo Colar, Ricardo Racic, Roberta Deroma, Sara Menezes, Simone Azambuja , Solana Zandonai, Thainan Piuco, Tiago Barradas Mor\u00e9s, Vinicius Riskalla<\/p>\n\n\n\n<p class=\"abstract\"><strong>Teacher collaboration:<\/strong> Aline Rochedo (PhD student <span class=\"small-caps\">ppgas ufrgs<\/span>), Ana Elisa Freitas (teacher <span class=\"small-caps\">ufpr<\/span>), Ana Luiza Carvalho da Rocha (teacher <span class=\"small-caps\">biev ppgas ifch ufrgs<\/span>), Ana Luiza G. Koehler (urban planner and cartoonist <span class=\"small-caps\">ufrgs<\/span>), Ant\u00f4nio Augusto Bueno (plastic artist), Diogo Dubiela (student of the Social Sciences course <span class=\"small-caps\">ufrgs<\/span>), Fernanda Chemale (photographer), Hopi Chapman (filmmaker), Jeniffer Cuty (teacher <span class=\"small-caps\">ufrgs<\/span>), Luiz Eduardo Achutti (teacher <span class=\"small-caps\">ufrgs<\/span>), M\u00e1rio Eug\u00eanio Saretta Poglia (PhD student <span class=\"small-caps\">ppgas ifch ufrgs<\/span>), Olavo Ramalho Marques (teacher <span class=\"small-caps\">ufrgs<\/span>), Priscila Farfan Barroso (PhD student <span class=\"small-caps\">ppgas ifch ufrgs<\/span>), Thais Fernandes (filmmaker).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Institutional supports<\/h2>\n\n\n\n<p class=\"abstract\"><span class=\"small-caps\">capes, biev<\/span> and <span class=\"small-caps\">navisual (ppgas \/ ufrgs), unifoto<\/span> Cultural Diffusion Dep. (<span class=\"small-caps\">prorext \/ ufrgs), kinesofia, gim, geisc (phamecos \/ pucrs<\/span>)<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Bibliography<\/h2>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Bachelard, Gaston (1988). <em>A dial\u00e9tica da dura\u00e7\u00e3o. <\/em>S\u00e3o Paulo: \u00c1tica.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">\u2014 (1991). <em>A terra e os devaneios da vontade. Ensaio sobre a imagina\u00e7\u00e3o das for\u00e7as.<\/em> S\u00e3o paulo: Martins Fontes.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Bateson, Gregory (1981). \u201cCommunication\u201d, en Yves Winkin (coord.) <em>La nouvelle communication.<\/em> Par\u00eds: Seuil.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Benjamin, Walter (1994). \u201cO narrador. Considera\u00e7\u00f5es sobre a obra de Nikolai Leskov\u201d, en <em>Magia e t\u00e9cnica, arte e pol\u00edtica. Ensaios sobre Literatura e Hist\u00f3ria da Cultura [1936] &#8211; Obras Escolhidas<\/em>, vol. 1, pp. 197-221. S\u00e3o Paulo: Brasiliense.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">\u2014 (2004).<em> Imagens de Pensamento<\/em>. Lisboa: Ass\u00edrio &amp; Alvim.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Didi-Huberman, Georges (2015). \u201cFiloest\u00e9tica. Devolver uma imagen\u201d, en Emmanuel Alloa (coord.). <em>Pensar a imagem<\/em>. Belo Horizonte: Aut\u00eantica Editora.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Durand, Gilbert (2001). <em>As Estruturas Antropol\u00f3gicas do Imagin\u00e1rio<\/em>. S\u00e3o Paulo: Martins Fontes.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Eckert, Cornelia y Ana Luiza Carvalho da Rocha (2013). <em>Etnografia da Dura\u00e7\u00e3o: antropologia das mem\u00f3rias coletivas em cole\u00e7\u00f5es etnogr\u00e1ficas<\/em>. Porto Alegre: Marcavisual.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">\u2014 (2016). \u201cAntropologia da imagem no Brasil: experi\u00eancias fundacionais para a constru\u00e7\u00e3o de uma comunidade interpretativa\u201d, en <em>Iluminuras<\/em>, vol. 17, n\u00fam. 41, pp. 277-297. Porto Alegre.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Ferraz, Ana (s.f). <em>A experie\u0302ncia da durac\u0327a\u0303o no cinema de Jean Rouch<\/em>. [s.d.] Recuperado de http:\/\/filmeetnografico.com\/pdfs\/fe_rouch_duracao_2.pdf. \u00daltimo acceso en 21\/06\/2018.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">MacDougall, David (2006). <em>The corporeal image. Film, ethnography and the senses<\/em>. Princeton y Oxford: Princeton University Press.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Pink, Sarah (2002). Doing visual ethnography: images, media and representation in research. Londres: Sage.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Ricoeur, Paul (1994). <em>Tempo e narrativa<\/em>, vol. 1. Campinas: Papirus.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Simmel, Georg (1967). \u201cA metr\u00f3pole e a vida mental\u201d, en Ot\u00e1vio Velho (coord.). <em>O fen\u00f4meno urbano<\/em>, pp. 13-28. R\u00edo de Janeiro: Zahar.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">\u2014 (2009). <em>A filosofia da paisagem<\/em>. Covilh\u00e3: Lusofia press.<\/p>\n\n\n\n<p class=\"bibliography\" data-no-auto-translation=\"\">Wagner, Roy (2012). <em>A inven\u00e7\u00e3o da cultura<\/em>. S\u00e3o Paulo: Cosac Naify.<\/p>","protected":false},"excerpt":{"rendered":"<p>In this video I present the conversations of Claudio Oliveira, one of the visitors who went through the exhibition of the students of the Visual Anthropology and Image course of the Social Sciences course at UFRGS about the sensitive ways of living in the city of Porto Alegre \/ RS (Brazil). Claudio's images, looks and talks are mixed with the images of the exhibition. Stories, spaces and times open the circular communication for new resonances of those who see them. I invite you to chat with the images.<\/p>","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[327,326,328,329,330],"coauthors":[551],"class_list":["post-30714","post","type-post","status-publish","format-standard","hentry","category-11","tag-antropologia-de-la-imagen","tag-comunicacion-visual","tag-etnografia-visual","tag-imagen","tag-narrativa-biografica","personas-simon-roberta","numeros-277"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>De charla con las im\u00e1genes: \u201ctiene que ver con su historia de vida\u201d &#8211; Encartes<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/encartes.mx\/en\/charla-con-las-imagenes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De charla con las im\u00e1genes: \u201ctiene que ver con su historia de vida\u201d &#8211; Encartes\" \/>\n<meta property=\"og:description\" content=\"En este video presento las conversaciones de Claudio Oliveira, uno de los visitantes que pasaron por la exposici\u00f3n de los alumnos de la asignatura de Antropolog\u00eda Visual y de la Imagen del curso de Ciencias Sociales de la UFRGS sobre las formas sensibles de vivir en la ciudad de Porto Alegre \/ RS (Brasil). Las im\u00e1genes, miradas y charlas de Claudio se mezclan con las im\u00e1genes de la exposici\u00f3n. Historias, espacios y tiempos abren la comunicaci\u00f3n circular para nuevas resonancias de quienes los vean. 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