[et_pb_section fb_built=\u00bb1″ fullwidth=\u00bbon\u00bb admin_label=\u00bbsection\u00bb _builder_version=\u00bb4.16″ background_color=\u00bb#b2a16a\u00bb transparent_background=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_fullwidth_image src=\u00bbhttps:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/arte-siluetazo.jpg\u00bb _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb title_text=\u00bbarte-siluetazo\u00bb hover_enabled=\u00bb0″ sticky_enabled=\u00bb0″][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00bb1″ admin_label=\u00bbsection\u00bb _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_row column_structure=\u00bb2_5,3_5″ admin_label=\u00bbrow\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb2_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/imagen-cuerpo.jpg\u00bb align_tablet=\u00bbcenter\u00bb align_phone=\u00bb\u00bb align_last_edited=\u00bbon|desktop\u00bb admin_label=\u00bbImage\u00bb _builder_version=\u00bb4.16″ animation=\u00bboff\u00bb sticky=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb3_5″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text admin_label=\u00bbText\u00bb _builder_version=\u00bb4.19.4″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb hover_enabled=\u00bb0″ border_style=\u00bbsolid\u00bb global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″]<\/p>\n
UBACyT: 20020130200125BA<\/a><\/p>\n 2014-2017<\/p>\n Director<\/strong><\/p>\n PhD. Marina Guti\u00e9rrez De Angelis<\/p>\n Team<\/strong><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\u00bbrow\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text admin_label=\u00bbText\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n This research project aims to advance the development of an anthropology of the image, based on the research carried out by the IRUDI Image Studies team within the Visual Anthropology Area of \u200b\u200bthe UBA. It is a team made up of researchers from both the UBA and foreign universities, from the fields of anthropology and art history. It aims to contribute to the development of a theory of the image that will allow for the expansion and updating of the field of anthropology<\/p>\n Contributions from the so-called iconic turn in Germany, the pictorial turn<\/em> North American Visual Studies, and the works of Georges Didi-Huberman from the field of Art History, have been key to revitalizing and opening new possibilities for both disciplines regarding the ways of valuing and understanding the image. The studies referring to this new way of approaching the image, from the systematization of a science of the image (Bildwissenschaft), have as their founding act the coining of the concept of \u201ciconic turn\u201d or \u201cpictorial turn\u201d by the authors Gottfried Boehm (1995) with his work Was ist ein Wild? and W.J.T. Mitchell with his work Picture Theory (1994). The turn as a concept suggests the shift from the textual paradigm to that of the image. Within this trend, anthropology has been pointed out as the model to follow to think about the image, recovering the concept of \u201cpresence\u201d rather than that of \u201cmeaning\u201d, to refer to it<\/p>\n This new turn towards images implies a new way of approaching visual artefacts that transcends the field of art and exceeds semiotic interpretation, based on the regimes of representation imposed by the linguistic paradigm. An anthropological definition of images proposes to recover their existential condition, exploring them as forms of presentation and not of representation. La Bildanthropologie<\/em> or Anthropology of the Image, has Hans Belting as its main reference thanks to the program that he started in 2000 at the Hochschule f\u00fcr Gestaltung in Karlsruhe under the name \u201cAnthropology and image: Image \u2013 Medium \u2013 Body\u201d. Although the concept of anthropology of the image can lead to confusion, Belting rightly points out that it is necessary to understand that the image has the human as its condition. The place of the image is the body, the human being. From there, images do not belong to the field of art or aesthetics but to that of anthropology. For Ana Garc\u00eda Varas (2011), the central questions of current thinking on the image can be grouped into three axes. The relationship between the universal and the particular, the distinction between image and images and the relationship between the image and language. These axes introduce us to central and open questions of debate present in the study of the image. The possibility of the existence of a general theory of the image is faced with the analysis of concrete and particular cases or groups of images. The multiplicity of phenomena studied and types of images poses an unavoidable methodological challenge for a possible theory of the image.<\/p>\n Research areas<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\u00bbrow\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb border_style=\u00bbsolid\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n Articles<\/strong><\/span><\/p>\n <\/p>\n Gonz\u00e1lez, Silvina. Winckler, Greta. \u201cEntre el ocultamiento y la exhibici\u00f3n: el barbijo en la disputa por el rostro\u201d,\u00a0 Artefacto Visual, vol. 5,n\u00fam. 9. Madrid: Red de Estudios Visuales Latinoamericanos, 2020.<\/p>\n G. De Angelis, Marina. \u201cEl rostro como dispositivo. De la antropometr\u00eda a la imagen biom\u00e9trica\u201d, e-imagen Revista 2.0, N\u00ba 4, Sans Soleil Ediciones, Espa\u00f1a-Argentina, 2017, ISSN 2362-4981<\/a><\/p>\n G. De Angelis, Marina. \u201cDel Atlas mnemosyne a GIPHY: La supervivencia de las im\u00e1genes en la era del GIF\u201d, e-imagen Revista 2.0, N\u00ba 3, Sans Soleil Ediciones, Espa\u00f1a-Argentina, 2016, ISSN 2362-4981.<\/a><\/p>\n Gondra Aguirre, Ander; G. De \u00c1ngelis, Marina; L\u00f3pez de Munain, Gorka, \u201cJerusal\u00e9n en Buenos Aires todos los d\u00edas del a\u00f1o. Imagen, replica, devoci\u00f3n\u201d, e-imagen, Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n G. De Angelis, Marina. \u201cDe lo visible a lo invisible: Las im\u00e1genes y las emociones en la Edad Media\u201d, e-imagen Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n Gorka L\u00f3pez de Munain, \u201cAlgunas consideraciones a prop\u00f3sito de la semejanza: huella, rostro, muerte\u201d, e-imagen, Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, 2016, ISSN 2362-4981<\/a><\/p>\n L\u00f3pez de Munain, Gorka (2015) \u201cNuevas\u201d propuestas te\u00f3rico-metodol\u00f3gicas para pensar la imagen, e-imagen, Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n Maniusis, Sof\u00eda (2015) \u201cDesde la fotograf\u00eda postmortem<\/em> al streaming<\/em> funerario: im\u00e1genes de un gesto que sobrevive\u201d, e-imagen, Revista 2.0<\/em>, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n L\u00f3pez de Munain, Gorka (2015) \u201cNuevas\u201d propuestas te\u00f3rico-metodol\u00f3gicas para pensar la imagen<\/em>, e-imagen, Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n Vives-Ferr\u00e1ndiz S\u00e1nchez, Luis\u00a0(2014)\u00a0\u201cLa muerte dejar\u00e1 de ser absoluta\u201d: postfotograf\u00eda, tiempo cinem\u00e1tico y cultura prost\u00e9tica 2.0 en la era de la imagen digital<\/em>, e-imagen, Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina, ISSN 2362-4981<\/a><\/p>\n L\u00f3pez de Munain, Gorka y Paula Bruno (2014) \u201cLa fotograf\u00eda como refugio<\/em> de la presencia. El caso del cementerio de Chacarita\u201d, e-imagen Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina.<\/a><\/p>\n G. De Angelis, Marina (2014) \u201cInmortalidad medial: Imagen y muerte en la era digital\u201d, e-imagen Revista 2.0, Sans Soleil Ediciones, Espa\u00f1a-Argentina.<\/a><\/p>\n\n
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