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Comunicação Visual: representações urbanas na América LatinaVisual Communication: urban representations in Latin AmericaComunicación Visual: representaciones urbanas en América Latina

Pesquisadores brasileiros, argentinos, colombianos, mexicanos e norte-americanos analisam como as imagens retratam a vida urbana da América Latina. São doze artigos reunidos pelos PhDs David William Foster e Denize Correa Araujo, mantidos nas línguas originais – inglês, português e espanhol.Brazilian, Argentinean, Colombian, Mexican and North American researchers analyze how images reflect the urban life in Latin America. There are twelve articles selected by the PhD’s David William Foster and Denize Correa Araujo, written in their original languages – English, Portuguese and Spanish.

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Trecho do livro

Preface

Visual Communication: Urban Representations in Latin America is a title that is composed of three keyword clusters. Perhaps it would be best to read these clusters in an inverse order.

The first in such an order would be “Latin America.” It may well be that Latin America is the creation of U.S. ideological imperialism in the nineteenth century and that no one living in Latin American calls herself/himself “Latin American,” as opposed to the way in which the European Union has legitimated a continental identity of “European.” At the same time, the invention of Latin America has been abetted by a certain Marxian ideology whereby it is legitimate, from an anti-imperialist point of view, to speak of a continuum of sociopolitical interests, although it may be difficult to find any wholesale subscription of such a point of view. Yet, almost two hundred years of the uses and abuses of such a continental identity have meant, in fact, that there are some transborder continuities of identity, even if they are no longer the traditional ones of Luso-Hispanic language, Catholic religion and Iberian heritage. Rather, questions of social and economic instability, demographic explosion (especially urban in nature), corruption and problematical justice: and, indeed, such are the some of the topics that are addressed by the essays of this collection.

The second keyword cluster is “urban representations.” Today, more than seventy percent of people in the Caribbean and the Latin American continent inhabit what can be called megalopolises--either an extensive metropolitan area (Mexico City, São Paulo) or a chain of continuous metropolitan areas (Buenos Aires and its littoral area); one might propose a population base of one million as a megalopolitan minimum, although one thinks of the major Latin American urban concentrations in tens of millions (Mexico is almost 30 million when broadly defined). A famous Argentine expression captures the nature of such urban predominance: “Dios está en todas partes, pero únicamente atiende en Buenos Aires” (God is everywhere, but he only holds office hours in Buenos Aires). Inevitably, then, a national, regional, continental cultural production will perforce occupy itself with the urban experience as it has come to prevail so emphatically. Such an imbalance can be for many problematical, but the simple fact is that that is now where the majority of cultural production is to be found.

Finally, “visual communication” captures the way that long-lived cultural traditions of oral nature and print format have been overwhelmed by increased formats of visual communication. Visual art, of course, has always been present, and perhaps it antedated both oral and print tradition in the prelapsarian times before human language emerged. However, the shift in term from visual art to visual communication is fundamental. Not only does it question--indeed, undermine--the privileging of the artistic realm: this blurring of categories is, unquestionably, of paramount importance in postmodern societies. But what is more important is the way in which the terms visual communication encompasses all manner of new, innovative, contestational, radical, and decentering practices that are particularly characteristic of postmodernity. It is these practices, in their relationship to urban predominance, in a geographical realm that we can agree to continue to call Latin America, that has underlain the organization of this project.

Rethinking the proposal of this book after receiving the texts from the twelve researchers, we may say that the subtitle could as well be “how images portray urban life.” Visual Communication, in fact, has been a strong medium in Latin America, considering that, contrary to European and North American countries (except for Mexico), oral culture is emphasized in detriment of written forms. Images have been an important way to shape countries’ identity. As much as texts diverge in their approaches and methodologies, there can be found key words that glance over them, in their search to find ways to convey urban life. Most of these expressions refer to megalopolises and their macropolitics of crisis, such as globalization, hegemonic systems, national values, genre tendencies, sociohistoric forces, depersonalizing strategies, and dehumanizing consequences. The tone implied by the researchers also differs, making it possible to say that two main clusters seem to prevail. Some texts discuss common issues in a more detached, aesthetic way while others are more assertive in their political stances, describing actual practices and problems.

Taking these complementary ways into consideration, two images were chosen to illustrate the cover of this book. The first one represents city elements, such as high buildings and colors, all in lines and sketches that could belong to any megalopolis in the world, having the main features that characterize physical basic structures. The image could have been done digitally, shaped following a template that contains typical forms and signs. The second image belongs to the central square in Montevideo, Uruguay, on a holiday in which there was a protest march for the families that had lost their members during the dictatorship period. Dictatorship and abuse of power are familiar words in Latin American countries, but more effective than words and written concepts and claims are images that expose pictures of disappeared people. Strong and significant, these pictures reinforce the idea that the past is not yet over nor should it ever be, remaining as a reminder of the consequences of criminal acts. Both images can be representative of the texts in this book, both intended to provoke reactions and reflections. Hamilton Lobo (hlobo), the photographer who took them, kindly gave us permission to use them there.

Resenha

Breve!

Sobre o autor

Nas fotos, David William Foster e Denize Correa Araujo, organizadores da obra. Também participam dessa edição: - Adolfo Soto; - Adrián Ferrero; - Ana Amélia Brasileiro; - Carolina Rocha; - Eliska Altmann; - Juan Carlos Valencia; - Lisabete Coradini; - Mariarosaria Fabris; - Manuel Ortiz; - Marina Tedesco; - Sandra Fischer.

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