Three years before the end of the Spanish presence in the Northern Hemisphere of America the territory of New Spain included the following modern States: Arizona, Belize, California, Colorado, Costa Rica, Cuba, El Salvador, Florida, Guatemala, Honduras, Louisiana, Mexico, Nevada, New Mexico, Puerto Rico, Dominican Republic, Texas and Utah. This…[Read more]

Three years before the end of Spanish presence, the territory of New Spain included the following modern States: Arizona, Belize, California, Colorado, Costa Rica, Cuba, El Salvador, Florida, Guatemala, Honduras, Louisiana, Mexico, Nevada, Nicaragua, New Mexico, Puerto Rico, Dominican Republic, Texas and Utah. This book provides comments on the…[Read more]

V. 1, N. 3 (March 15, 2020) is titled “Wallpaper Values” and compares and contrasts the values of wallpaper as decorative art, as avatar of social values, and as material culture.

V. 1, N. 4 (April 15, 2020) is titled “Bernard Jacqué, His Thesis, and His Methods.” It shows how Jacqué’s work relates to that of Jules David Prown, an art historian credited with formulating an influential approach to material culture in the pages of the Winterthur Portfolio in the early 1980s.

V. 1, N. 5 (May 15, 2020) is titled “Is Wallpaper Essential?,” answers in the affirmative, and argues for a new definition: “Wallpaper is affordable and flexible, modular in form and design, ordinarily covered with a printed pattern, and made for decorating domestic walls.”

This essay discusses the cinematic representation of Revolution in Sergei Eisenstein’s film Oktiabr’ / October, a film which had a decisive impact on the revolutionary development of film history and theory. I will explore how Revolution can be re-enacted and shown in the medium of cinema, and how this medium is capable of not only staging his…[Read more]

V. 1, N. 2 (February 15, 2020) is titled “Wallpaper and America” and critiques Catherine Lynn’s standard text from 1980, “Wallpaper In America.”

Comments on the Lives and Governments of all the Spanish Viceroys in the Kingdom of Peru.

Harun Farocki’s last film, Sauerbruch Hutton Architects (2013), is studied by comparing it to other works by the director and analyzing its scenes. The article elaborates what is the position of this office regarding architecture as a producer of images, and then verifies what is its underlying spatiality. As a result, one can see how the…[Read more]

This paper addresses a curious pattern of interlocking relationships. This pattern unfolds in a fixed form of ever-changing content, or what is often described as a ‘standing wave’. I will attribute this pattern to the interactive nervous system that synchronizes the periodic effects of four, neurological functions. These functions connect a par…[Read more]

V.1, N.1 is titled “Three Views of Wallpaper” and contrasts the approach to wallpaper of Catherine Lynn, Phillippa Mapes, and Bernard Jacqué.

As Prof. Dale Townsend has observed, the concept of the Gothic has had an association with fairies from its inception; even before Walpole’s 1764 Castle of Otranto (considered the first Gothic novel), eighteenth-century poetics talked of ‘the fairy kind of writing’ which, for Addison, ‘raise a pleasing kind of Horrour in the Mind of the Reader’…[Read more]

Com base na análise das formas cinematográficas de reconstituição da história em Serras da desordem, Corumbiara e Taego Ãwa, identifico a importância da figura dos espectadores indígenas para a compreensão das imagens que os filmes criam e mobilizam. Argumento que o contracampo efetivo, virtual ou espectral dos espectadores indígenas constitui…[Read more]

Este artigo discute os principais filmes de curta metragem dirigidos por Leo Pyrata, que exploram a figura do “macaco com a câmera na mão”, mencionada em Cuauhtémoc (2012), para insinuar o devir-animal como prática criativa. Em diálogo com linhagens do cinema experimental e da videoarte, Pyrata elabora modos de montagem anarquívica e reivindic…[Read more]

Se o estudo do que Clarisse denomina filmes de contato depende de uma compreensão histórica do que está em jogo em cada uma das obras abordadas, sua análise de Os últimos isolados (Adrian Cowell, 1967-1999), Corumbiara (Vincent Carelli, 1986-2009) e Os Arara (Andrea Tonacci, 1980-) busca pensar a relação entre culturas como experiência aberta…[Read more]

I analyze the strategies used in Patricio Guzman’s Nostalgia for the Light (Nostalgia de la luz 2010), Enrique Buchichio’s Behind the Truth (Zanahoria 2014) and Nicolas Pereda’s Summer of Goliath (Verano de Goliath 2010) to expose the political uses of landscape images in concealing and reconstructing forced disappearances and the violence surro…[Read more]

A very critical overview of seemingly disparate films

You are cordially invited to a special event to celebrate ten years of the Open Graves, Open Minds project and to launch our new book In the Company of Wolves: Werewolves, Wolves and Wild Children.
In the Company of Wolves presents further research from the Open Graves, Open Minds Project. It connects together innovative research from a variety…[Read more]

In 1975, at the time of the independence of the last large colonies, the Portuguese government decided to maintain the main public structure of colonial research, as an instrument of cooperation and diplomacy, changing its name to Instituto de Investigação Científica Tropical. Disconnected from its primitive mission and with a very heavy and co…[Read more]

El texto explora el uso del tiempo y la producción de lo cómico en “El discreto encanto de la burguesía” (“Le charme discret de la bourgeoisie”, Luis Buñuel, Francia, 1972) y Coffee and Cigarettes (Jim Jarmusch, Estados Unidos/Japón/Italia, 2003).