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Papers by Eduardo Prado Cardoso

Research paper thumbnail of Repetitions of Violence in the Works of Vitória Cribb and Welket Bungué

Vista, 2021

The article describes three audiovisual pieces (@Ilusão, Bustagate and Eu Não Sou Pilatus, produc... more The article describes three audiovisual pieces (@Ilusão, Bustagate and Eu Não Sou Pilatus, produced by Vitória Cribb and Welket Bungué, between 2019 and 2020). It discusses how they address, in their way, the repetition of violence against Black bodies in the digital environment of the web. As such, it invokes a qualitative and aesthetic analysis of the videos' features and the spaces where they were found. Following Hui (2021), the paper explores the assumption that art can shed light on the irrationality that algorithms enable and reach the sublime, the non-rational. In doing so, the creative minds behind the works cited forge more than escapist perspectives from reality to offer antiracist angles about the explicit irrationality of violence-like in Bungué-or to model deformed algorithmic systems-like in Cribb. Thanks to the recursivity turned into artifacts, interpreting phenomena such as beatings and barbaric executions gains complex meanings: repetitions found in social life meet their audiovisual counterparts and create discourses via digital sharing. Besides holding accountable those who allow and disseminate such representations-in and out of the web-, the paper makes a case that the artists appropriate both in form and content certain social manifestations which perpetuate types of violence so that the online environment can also feature more reflection and dialogue.

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Research paper thumbnail of TORTURA E CONTAMINAÇÃO EM ADAPTAÇÃO DO FUNCIONÁRIO RUAM (1975)

Revista de Letras Juçara , 2021

Resumo: O artigo propõe uma leitura da novela Adaptação do funcionário Ruam, publicada em 1975 po... more Resumo: O artigo propõe uma leitura da novela Adaptação do funcionário Ruam, publicada em 1975 por Mauro Chaves, a partir de dois principais eixos: um que inscreve a tortura em ordem semióticacomo teorizado por Isabel Capeloa Gil (2016), e outro que analisa a contaminação proposta pela obra na chave de Foucault (1978; 1999), a partir de suas relações com a loucura e com a disciplina. Através de exemplos de cenas nas quais projeções holográficas, desejos masculinos e castigos físicos ou psicológicos revelam o diálogo da ficção distópica com o contexto brasileiro ditatorial, busca-se uma crítica da literatura como espaço projetivo e de epistemologias alternativas. Palavras-chave: Ficção científica brasileira. Anos 70. Ditadura militar brasileira. Literatura distópica. Representações da violência.

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Research paper thumbnail of Trauma, catastrophe, and contemporary conflicts: documentary strategies for the narration of violence

Diffractions, 2023

This essay is a direct result coming after an immersive and collaborative experience at the Docum... more This essay is a direct result coming after an immersive and collaborative experience at the Documentary Summer School that took place in 2022 in Switzerland, a joint effort between the Università della Svizzera italiana and the 75th edition of the Locarno Film Festival. As such, it aims at collecting a few impressions about the state of the art of documentary production, particularly when concerned with modes of narrating violence. Besides the thematic sections that may group the films together, a few general points regarding different documental procedures will be teased out, to engage with scholarly research on themes such as trauma and catastrophe and thus give room to further academic exploration. The films analyzed are: The Hamlet Syndrome, The River is not a Border, It Is Night in America and Matter Out of Place.

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Research paper thumbnail of Digital Spectacles of Violence: Film, TV and Social Media Entanglements in 2010's Brazil

International Journal of Film and Media Arts, 2022

The study of cultural industries, in particular the complex manifestations of spectacle, has prod... more The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenomena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece
about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exceptionality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audiences, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions.

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Research paper thumbnail of Latin American Digitalities - Call For Papers (en,pt,es)

Diffractions, 2021

Latin American Digitalities Main Editors: Patrícia Anzini & Eduardo Prado Cardoso The next issu... more Latin American Digitalities

Main Editors: Patrícia Anzini & Eduardo Prado Cardoso

The next issue of Diffractions pursues an interdisciplinary reflection on the relationship(s) between digitalized identities, arts, and politics in Latin America. Digitalities became famous with Nicholas Negroponte’s 1995 bestseller Being Digital. Used to refer to the condition of living in a digital culture, the concept has since been broadly framed within techno-(dis)utopian contexts and revolves around the idea that everything can be rendered in numeric, encoded, and computable form, including the notion of identity. The fingerprint (digital in Portuguese, huella in Spanish) would, in this context, emerge at the intersection of computer graphics, human communications, and interactive media.

Going beyond the techy ridges and loops of the fingerprint, we read digitalities as modes of social intervention and cultural transformation that impact the conceptualization, translation, materialization, and performance of identities of Latin American countries. The notion of identity in those formerly colonized territories has been up for fruitful debate in and out of academia, much as it has become the main subject in the arts, mass communication, and popular culture. These young democracies have always had to negotiate their cartographies, singularities, and the very idea of Latin America itself (Walter Mignolo) with Europe and USA, thereby facing the challenges proper to a certain cultural periphery (Nelly Richard). Particularly after the 1980s, they likewise gave way to modes of consumption and urbanization that blend in what Beatriz Sarlo aptly describes as “abundance and poverty”. In this sense, technology and the performative potential behind the use of computers have made inequalities in those countries even more visible while helping to spur, subvert, spread, and claim back discussions concerning the fingerprint.

Considering how globalization has challenged Latin American nation states in the way they translate cultural identities (Renato Ortiz), one could think of the horizon of possibilities (Ronaldo Munck) that new media and digital practices have brought to the cultural, social, political and “fingerprint” realms. Have they facilitated a sort of autonomy (Ana Cecilia Dinerstein)? How are the several concepts of identity changing in late modernity, particularly in regard to the use of digital technology and/or interactive media? Are digitalities widening the cultural and political gaps among many Latin American cities? Are they working as alternatives to these ever more difficult times?

We welcome articles that investigate cultural practices of/in Latin American regions and/or have strong connections to Latin American individuals, artists, and collectives. We are interested in assessing how the use or impact of technologies in artistic, informational, political and/or social spheres articulate notions of identity, geographies, hybridizations (Néstor García Canclini), gender, ethnicity, globalization, authoritarianism, etc., particularly from the 1980s on. We value contributions that reflect the linguistic and political disparities encountered in the Latin American space, as well as reflections that might shape the consolidation of a literature and further debates around the idea of digitalities we are proposing here.

We look forward to receiving contributions addressing these or related questions. Topics include but are not limited to:

Digitalities as theory, method, and concept;
Globalization and modernity in Latin America;
Performing digitalities;
Digitalities in conflict, violence, and peace negotiations in Latin America;
Digital technology, virtual reality, and computational practices in Latin America;
Mass media and social media in Latin America;
Digitalities in Latin American art – literature, film, music, fine arts, video-games, graffiti and street art, photography, graphic novels;
Exile and migration in a digitalized Latin America;
Digitalized fingerprints: genders, ethnicities, and races in Latin America;
Digitalized queerness and transgender;
Digitalities in folklore and indigenous studies and/or practices;
Life-writing digitalities;
The digitalities of translation;
Digitalized religions, spirituality, and Afro-Latin American ritual practices;
Education in a digitalized Latin America: pedagogies, methodologies, philosophies;

Submissions and review process

Abstracts will be received and reviewed by the Diffractions editorial board who will decide on the pertinence of proposals for the upcoming issue. After submission, we will get in touch with the authors of accepted abstracts in order to invite them to submit a full article. However, this does not imply that these papers will be automatically published. Rather, they will go through a peer-review process that will determine whether papers are publishable with minor or major changes, or they do not fulfill the criteria for publication.

Please send abstracts of 150 to 200 words, and 5-8 keywords by MAY 31st, 2021 to info.diffractions@gmail.com with the subject “Diffractions 5”, followed by your last name.

The full papers should be submitted by SEPTEMBER 15th, 2021, through the journal’s platform: https://revistas.ucp.pt/index.php/diffractions/about/submissions.

Every issue of Diffractions has a thematic focus but also contains special sections for non-thematic articles. If you are interested in submitting an article that is not related to the topic of this particular issue, please consult the general guidelines available at the Diffractions website at https://revistas.ucp.pt/index.php/diffractions/about/submissions. The submission and review process for non-thematic articles is the same as for the general thematic issue. All research areas of the humanities are welcome.

References

Canclini, Néstor García. Culturas híbridas. Debolsillo, 2012.

Dinerstein, Ana. The politics of autonomy in Latin America: The art of organising hope. Springer, 2014

Mignolo, Walter. The idea of latin america. John Wiley & Sons, 2009.

Munck, Ronaldo. "Afterword: Postmodernism, politics and culture in Latin America." Cultural Politics in Latin America. Palgrave Macmillan, London, 2000. 185-205.

Ortiz, Renato. “A problemática cultural no mundo contemporâneo.” Política & Sociedade 16.35 (2017): 17-66.

Richard, Nelly. La insubordinación de los signos: cambio político, transformaciones culturales y poéticas de la crisis. Editorial Cuarto Propio, 1994.

Sarlo, Beatriz. Escenas de la vida posmoderna: intelectuales, arte y videocultura en la Argentina. Siglo XXI Editores, 2019.

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Research paper thumbnail of Fear, hope and the aesthetic act: metafictional devices in Philip K. Dick's The man in the high castle

Entrelaces, 2020

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Research paper thumbnail of Oblivious to the Story: The Case of the Shooter Game RIO

Rotura, 2021

The article proposes a reading of the modes in which a Brazilian videogame pre-released in 2020, ... more The article proposes a reading of the modes in which a Brazilian videogame pre-released in 2020, titled RIO-Raised in Oblivion, portrays the favelas as spaces of violence and appropriation of older-yet present-imaginaries about those environments. Retrieving Elite Squad (Tropa de Elite, directed by José Padilha in 2007) as a turning point in how shooting in Rio de Janeiro's slums got fictionalized in the big screen-for its use of characters, documental narrative and transmedia techniques, the paper emphasizes postmodern qualities about RIO's playability and storytelling, drawing from Lipovetsky (1989) and Lyotard (1989). New media theorists such as Bolter and Grusin (2000) and Turkle (1997) help us to recognize the singulari-ties of the gaming experiences when it comes to comparing it to other media, and Soraya Murray (2018) bases our overall approach into the cultural fabric of a shooter game, inasmuch as we bring to the forefront the manner in which RIO borrows imaginations and dream-like scenarios of violence to serve a very impactful proposal of the favelas: they are spectacularized environs where otherness finds little to no human story substrate. In doing so, the present text intends to observe videogames produced in countries as inequal as Brazil as highly relevant artefacts to understanding how a certain perpetuation of violence representations of the favelas takes shape in society with new technology. KEYWORDS Violence and Videogames, Shooter Games, Brazilian Cinema in the 2000's, Postmodernity, Favela Representations

O artigo propõe uma leitura sobre os modos em que o videojogo brasileiro RIO-Raised in Oblivion (cujo pré-lançamento se deu em 2020) retrata as favelas como espaços de violência e apropriação de imaginários anteriores-mas ainda presentes-sobre esses am-bientes. Ao recuperar Tropa de Elite (realizado por José Padilha, em 2007) como criador de outros vocabulários ficcionais no cinema, a envolver o "subir o morro atirando" (pelo seu uso particular de personagens, narrativas documentais e técnicas transmedia), o artigo enfatiza qualidades pós-modernas na jogabilidade e storytelling de RIO, através de conceitos de Lipovetsky (1989) e Lyotard (1989). Teóricos dos novos media como Bolter e Grusin (2000) e Turkle (1997) auxiliam-nos no reconhecimento de singularidades do video-jogo no que tange à comparação a outros media, e Soraya Murray (2018) serve-nos de base à nossa aproximação teórica aos videojo-gos de tiro, uma vez que detectamos nos imaginários e fantasias de violência construídos em RIO e emprestados de outros discursos, um potencial impacto sobre como as favelas são percebidas: quer seja, sítios espetacularizados onde a alteridade encontra pouco ou nen-hum refúgio narrativo. Ao tomar tal curso, esta comunicação procura interpretar os videojogos produzidos em localidades tão desiguais quanto o Brasil como artefatos altamente relevantes para se entender as bases em que as representações de violência nas favelas tomam forma através de novas tecnologias. Palavras-chave: Violência e videojogos, Jogos de tiro, Cinema brasileiro nos anos 2000, Pós-modernidade, Representações da favela

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Thesis Chapters by Eduardo Prado Cardoso

Research paper thumbnail of Enredar a morte: assassinatos digitalizados no Brasil dos anos 2010

Esta dissertação tem como objetivo investigar as relações entre representações de assassinatos e ... more Esta dissertação tem como objetivo investigar as relações entre representações de assassinatos e a internet no Brasil, posicionando, em particular, crimes da década de 2010 como eventos culturais que remedeiam linguagens e práticas estabelecidas (nomeadamente dos mundos da imprensa, da música, do cinema e da televisão) como forma de confrontar desigualdades ou heranças de imaginários violentos. Como hipótese geral, questiona-se se, em função da digitalização promovida pelas indústrias culturais, o legado moderno das narrativas de violência apresenta continuidades. Através de uma análise sobre como a crítica da modernidade tardia teorizou as indústrias culturais latino-americanas e os modos pelos quais o Brasil produziu e reproduziu crimes em tempos de globalização, é revisitada a produção acadêmica sobre a modernidade tardia para ligar casos de homicídio mediados pelo YouTube e Facebook a transformações sociotecnológicas mais amplas. Teriam as práticas nos ambientes digitais desafiado comunicações hierárquicas, ou perpetuado estratificações de longa data? Ademais, a investigação pretende localizar especificidades sobre o caso brasileiro no período, e compreender o que poderiam ser peculiares engrenagens a envolver crime e cultura, entre 2013 e 2019. Utilizando-se de uma perspectiva dos estudos de cultura, para que as manifestações culturais sob análise reflitam a prática contemporânea de produção, recepção e consumo de histórias de crimes reais após a viragem digital, a pesquisa debate o conceito de circularidades da criminologia cultural para revelar como mediações contemporâneas alteram a maneira com que a comunicação de massa se apossou de funções do Estado antes da chegada do século XXI. A tese postula que os enredos criminais (agora em rede) ainda fazem circular materialidades estéticas e discursos de violência relativos a enredamentos estruturais da modernidade tardia brasileira, nomeadamente a apropriação da violência por táticas do sensacionalismo e do espetáculo, retóricas do punitivismo e da substituição de instituições estatais na resposta aos problemas de segurança pública. Palavras-chave: Representações da violência; Brasil; Culturas digitais; Modernidade tardia; Indústrias culturais.
**************
ABSTRACT This dissertation aims to investigate the relationships between representations of murder and the internet in Brazil, positioning, in particular, crimes of the 2010s as cultural events that remediate established languages and practices (namely from the press, music, cinema and television) as ways of confronting inequalities or violent imaginaries. As a general hypothesis, it is questioned whether, due to the digitalization promoted by the cultural industries, the modern legacy of narratives of violence presents continuities. Through an analysis of how the critique of late modernity theorized Latin American cultural industries and the ways in which Brazil produced and reproduced crimes in times of globalization, the academic production on postmodernity is revisited to link homicide cases mediated by YouTube and Facebook to broader socio-technological transformations. Have practices in digital environments challenged hierarchical communications, or perpetuated long-standing stratifications? Furthermore, the research aims to locate specificities about the Brazilian case in the period, and to understand peculiar mechanisms involving crime and culture, between 2013 and 2019. Employing a culture studies perspective, in order for the cultural manifestations under analysis to reflect the contemporary practices of production, reception and consumption of true crime stories after the digital turn, the research discusses the concept of loops and spirals from cultural criminology to reveal how contemporary mediations alter the way in which mass communication took over functions of the state before the 21st century. The thesis posits that criminal plots (now online) still circulate aesthetic materialities and discourses of violence related to structural entanglements of the Brazilian late modernity, namely the appropriation of violence by tactics of sensationalism and spectacle, punitive rhetorics and a claim for the replacement of state institutions in responding to public safety problems. Keywords: Representations of violence; Brazil; Digital cultures; Late modernity; Cultural industries.

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Research paper thumbnail of Repetitions of Violence in the Works of Vitória Cribb and Welket Bungué

Vista, 2021

The article describes three audiovisual pieces (@Ilusão, Bustagate and Eu Não Sou Pilatus, produc... more The article describes three audiovisual pieces (@Ilusão, Bustagate and Eu Não Sou Pilatus, produced by Vitória Cribb and Welket Bungué, between 2019 and 2020). It discusses how they address, in their way, the repetition of violence against Black bodies in the digital environment of the web. As such, it invokes a qualitative and aesthetic analysis of the videos' features and the spaces where they were found. Following Hui (2021), the paper explores the assumption that art can shed light on the irrationality that algorithms enable and reach the sublime, the non-rational. In doing so, the creative minds behind the works cited forge more than escapist perspectives from reality to offer antiracist angles about the explicit irrationality of violence-like in Bungué-or to model deformed algorithmic systems-like in Cribb. Thanks to the recursivity turned into artifacts, interpreting phenomena such as beatings and barbaric executions gains complex meanings: repetitions found in social life meet their audiovisual counterparts and create discourses via digital sharing. Besides holding accountable those who allow and disseminate such representations-in and out of the web-, the paper makes a case that the artists appropriate both in form and content certain social manifestations which perpetuate types of violence so that the online environment can also feature more reflection and dialogue.

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Research paper thumbnail of TORTURA E CONTAMINAÇÃO EM ADAPTAÇÃO DO FUNCIONÁRIO RUAM (1975)

Revista de Letras Juçara , 2021

Resumo: O artigo propõe uma leitura da novela Adaptação do funcionário Ruam, publicada em 1975 po... more Resumo: O artigo propõe uma leitura da novela Adaptação do funcionário Ruam, publicada em 1975 por Mauro Chaves, a partir de dois principais eixos: um que inscreve a tortura em ordem semióticacomo teorizado por Isabel Capeloa Gil (2016), e outro que analisa a contaminação proposta pela obra na chave de Foucault (1978; 1999), a partir de suas relações com a loucura e com a disciplina. Através de exemplos de cenas nas quais projeções holográficas, desejos masculinos e castigos físicos ou psicológicos revelam o diálogo da ficção distópica com o contexto brasileiro ditatorial, busca-se uma crítica da literatura como espaço projetivo e de epistemologias alternativas. Palavras-chave: Ficção científica brasileira. Anos 70. Ditadura militar brasileira. Literatura distópica. Representações da violência.

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Research paper thumbnail of Trauma, catastrophe, and contemporary conflicts: documentary strategies for the narration of violence

Diffractions, 2023

This essay is a direct result coming after an immersive and collaborative experience at the Docum... more This essay is a direct result coming after an immersive and collaborative experience at the Documentary Summer School that took place in 2022 in Switzerland, a joint effort between the Università della Svizzera italiana and the 75th edition of the Locarno Film Festival. As such, it aims at collecting a few impressions about the state of the art of documentary production, particularly when concerned with modes of narrating violence. Besides the thematic sections that may group the films together, a few general points regarding different documental procedures will be teased out, to engage with scholarly research on themes such as trauma and catastrophe and thus give room to further academic exploration. The films analyzed are: The Hamlet Syndrome, The River is not a Border, It Is Night in America and Matter Out of Place.

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Research paper thumbnail of Digital Spectacles of Violence: Film, TV and Social Media Entanglements in 2010's Brazil

International Journal of Film and Media Arts, 2022

The study of cultural industries, in particular the complex manifestations of spectacle, has prod... more The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenomena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece
about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exceptionality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audiences, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions.

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Latin American Digitalities - Call For Papers (en,pt,es)

Diffractions, 2021

Latin American Digitalities Main Editors: Patrícia Anzini & Eduardo Prado Cardoso The next issu... more Latin American Digitalities

Main Editors: Patrícia Anzini & Eduardo Prado Cardoso

The next issue of Diffractions pursues an interdisciplinary reflection on the relationship(s) between digitalized identities, arts, and politics in Latin America. Digitalities became famous with Nicholas Negroponte’s 1995 bestseller Being Digital. Used to refer to the condition of living in a digital culture, the concept has since been broadly framed within techno-(dis)utopian contexts and revolves around the idea that everything can be rendered in numeric, encoded, and computable form, including the notion of identity. The fingerprint (digital in Portuguese, huella in Spanish) would, in this context, emerge at the intersection of computer graphics, human communications, and interactive media.

Going beyond the techy ridges and loops of the fingerprint, we read digitalities as modes of social intervention and cultural transformation that impact the conceptualization, translation, materialization, and performance of identities of Latin American countries. The notion of identity in those formerly colonized territories has been up for fruitful debate in and out of academia, much as it has become the main subject in the arts, mass communication, and popular culture. These young democracies have always had to negotiate their cartographies, singularities, and the very idea of Latin America itself (Walter Mignolo) with Europe and USA, thereby facing the challenges proper to a certain cultural periphery (Nelly Richard). Particularly after the 1980s, they likewise gave way to modes of consumption and urbanization that blend in what Beatriz Sarlo aptly describes as “abundance and poverty”. In this sense, technology and the performative potential behind the use of computers have made inequalities in those countries even more visible while helping to spur, subvert, spread, and claim back discussions concerning the fingerprint.

Considering how globalization has challenged Latin American nation states in the way they translate cultural identities (Renato Ortiz), one could think of the horizon of possibilities (Ronaldo Munck) that new media and digital practices have brought to the cultural, social, political and “fingerprint” realms. Have they facilitated a sort of autonomy (Ana Cecilia Dinerstein)? How are the several concepts of identity changing in late modernity, particularly in regard to the use of digital technology and/or interactive media? Are digitalities widening the cultural and political gaps among many Latin American cities? Are they working as alternatives to these ever more difficult times?

We welcome articles that investigate cultural practices of/in Latin American regions and/or have strong connections to Latin American individuals, artists, and collectives. We are interested in assessing how the use or impact of technologies in artistic, informational, political and/or social spheres articulate notions of identity, geographies, hybridizations (Néstor García Canclini), gender, ethnicity, globalization, authoritarianism, etc., particularly from the 1980s on. We value contributions that reflect the linguistic and political disparities encountered in the Latin American space, as well as reflections that might shape the consolidation of a literature and further debates around the idea of digitalities we are proposing here.

We look forward to receiving contributions addressing these or related questions. Topics include but are not limited to:

Digitalities as theory, method, and concept;
Globalization and modernity in Latin America;
Performing digitalities;
Digitalities in conflict, violence, and peace negotiations in Latin America;
Digital technology, virtual reality, and computational practices in Latin America;
Mass media and social media in Latin America;
Digitalities in Latin American art – literature, film, music, fine arts, video-games, graffiti and street art, photography, graphic novels;
Exile and migration in a digitalized Latin America;
Digitalized fingerprints: genders, ethnicities, and races in Latin America;
Digitalized queerness and transgender;
Digitalities in folklore and indigenous studies and/or practices;
Life-writing digitalities;
The digitalities of translation;
Digitalized religions, spirituality, and Afro-Latin American ritual practices;
Education in a digitalized Latin America: pedagogies, methodologies, philosophies;

Submissions and review process

Abstracts will be received and reviewed by the Diffractions editorial board who will decide on the pertinence of proposals for the upcoming issue. After submission, we will get in touch with the authors of accepted abstracts in order to invite them to submit a full article. However, this does not imply that these papers will be automatically published. Rather, they will go through a peer-review process that will determine whether papers are publishable with minor or major changes, or they do not fulfill the criteria for publication.

Please send abstracts of 150 to 200 words, and 5-8 keywords by MAY 31st, 2021 to info.diffractions@gmail.com with the subject “Diffractions 5”, followed by your last name.

The full papers should be submitted by SEPTEMBER 15th, 2021, through the journal’s platform: https://revistas.ucp.pt/index.php/diffractions/about/submissions.

Every issue of Diffractions has a thematic focus but also contains special sections for non-thematic articles. If you are interested in submitting an article that is not related to the topic of this particular issue, please consult the general guidelines available at the Diffractions website at https://revistas.ucp.pt/index.php/diffractions/about/submissions. The submission and review process for non-thematic articles is the same as for the general thematic issue. All research areas of the humanities are welcome.

References

Canclini, Néstor García. Culturas híbridas. Debolsillo, 2012.

Dinerstein, Ana. The politics of autonomy in Latin America: The art of organising hope. Springer, 2014

Mignolo, Walter. The idea of latin america. John Wiley & Sons, 2009.

Munck, Ronaldo. "Afterword: Postmodernism, politics and culture in Latin America." Cultural Politics in Latin America. Palgrave Macmillan, London, 2000. 185-205.

Ortiz, Renato. “A problemática cultural no mundo contemporâneo.” Política & Sociedade 16.35 (2017): 17-66.

Richard, Nelly. La insubordinación de los signos: cambio político, transformaciones culturales y poéticas de la crisis. Editorial Cuarto Propio, 1994.

Sarlo, Beatriz. Escenas de la vida posmoderna: intelectuales, arte y videocultura en la Argentina. Siglo XXI Editores, 2019.

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Fear, hope and the aesthetic act: metafictional devices in Philip K. Dick's The man in the high castle

Entrelaces, 2020

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Oblivious to the Story: The Case of the Shooter Game RIO

Rotura, 2021

The article proposes a reading of the modes in which a Brazilian videogame pre-released in 2020, ... more The article proposes a reading of the modes in which a Brazilian videogame pre-released in 2020, titled RIO-Raised in Oblivion, portrays the favelas as spaces of violence and appropriation of older-yet present-imaginaries about those environments. Retrieving Elite Squad (Tropa de Elite, directed by José Padilha in 2007) as a turning point in how shooting in Rio de Janeiro's slums got fictionalized in the big screen-for its use of characters, documental narrative and transmedia techniques, the paper emphasizes postmodern qualities about RIO's playability and storytelling, drawing from Lipovetsky (1989) and Lyotard (1989). New media theorists such as Bolter and Grusin (2000) and Turkle (1997) help us to recognize the singulari-ties of the gaming experiences when it comes to comparing it to other media, and Soraya Murray (2018) bases our overall approach into the cultural fabric of a shooter game, inasmuch as we bring to the forefront the manner in which RIO borrows imaginations and dream-like scenarios of violence to serve a very impactful proposal of the favelas: they are spectacularized environs where otherness finds little to no human story substrate. In doing so, the present text intends to observe videogames produced in countries as inequal as Brazil as highly relevant artefacts to understanding how a certain perpetuation of violence representations of the favelas takes shape in society with new technology. KEYWORDS Violence and Videogames, Shooter Games, Brazilian Cinema in the 2000's, Postmodernity, Favela Representations

O artigo propõe uma leitura sobre os modos em que o videojogo brasileiro RIO-Raised in Oblivion (cujo pré-lançamento se deu em 2020) retrata as favelas como espaços de violência e apropriação de imaginários anteriores-mas ainda presentes-sobre esses am-bientes. Ao recuperar Tropa de Elite (realizado por José Padilha, em 2007) como criador de outros vocabulários ficcionais no cinema, a envolver o "subir o morro atirando" (pelo seu uso particular de personagens, narrativas documentais e técnicas transmedia), o artigo enfatiza qualidades pós-modernas na jogabilidade e storytelling de RIO, através de conceitos de Lipovetsky (1989) e Lyotard (1989). Teóricos dos novos media como Bolter e Grusin (2000) e Turkle (1997) auxiliam-nos no reconhecimento de singularidades do video-jogo no que tange à comparação a outros media, e Soraya Murray (2018) serve-nos de base à nossa aproximação teórica aos videojo-gos de tiro, uma vez que detectamos nos imaginários e fantasias de violência construídos em RIO e emprestados de outros discursos, um potencial impacto sobre como as favelas são percebidas: quer seja, sítios espetacularizados onde a alteridade encontra pouco ou nen-hum refúgio narrativo. Ao tomar tal curso, esta comunicação procura interpretar os videojogos produzidos em localidades tão desiguais quanto o Brasil como artefatos altamente relevantes para se entender as bases em que as representações de violência nas favelas tomam forma através de novas tecnologias. Palavras-chave: Violência e videojogos, Jogos de tiro, Cinema brasileiro nos anos 2000, Pós-modernidade, Representações da favela

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Research paper thumbnail of Enredar a morte: assassinatos digitalizados no Brasil dos anos 2010

Esta dissertação tem como objetivo investigar as relações entre representações de assassinatos e ... more Esta dissertação tem como objetivo investigar as relações entre representações de assassinatos e a internet no Brasil, posicionando, em particular, crimes da década de 2010 como eventos culturais que remedeiam linguagens e práticas estabelecidas (nomeadamente dos mundos da imprensa, da música, do cinema e da televisão) como forma de confrontar desigualdades ou heranças de imaginários violentos. Como hipótese geral, questiona-se se, em função da digitalização promovida pelas indústrias culturais, o legado moderno das narrativas de violência apresenta continuidades. Através de uma análise sobre como a crítica da modernidade tardia teorizou as indústrias culturais latino-americanas e os modos pelos quais o Brasil produziu e reproduziu crimes em tempos de globalização, é revisitada a produção acadêmica sobre a modernidade tardia para ligar casos de homicídio mediados pelo YouTube e Facebook a transformações sociotecnológicas mais amplas. Teriam as práticas nos ambientes digitais desafiado comunicações hierárquicas, ou perpetuado estratificações de longa data? Ademais, a investigação pretende localizar especificidades sobre o caso brasileiro no período, e compreender o que poderiam ser peculiares engrenagens a envolver crime e cultura, entre 2013 e 2019. Utilizando-se de uma perspectiva dos estudos de cultura, para que as manifestações culturais sob análise reflitam a prática contemporânea de produção, recepção e consumo de histórias de crimes reais após a viragem digital, a pesquisa debate o conceito de circularidades da criminologia cultural para revelar como mediações contemporâneas alteram a maneira com que a comunicação de massa se apossou de funções do Estado antes da chegada do século XXI. A tese postula que os enredos criminais (agora em rede) ainda fazem circular materialidades estéticas e discursos de violência relativos a enredamentos estruturais da modernidade tardia brasileira, nomeadamente a apropriação da violência por táticas do sensacionalismo e do espetáculo, retóricas do punitivismo e da substituição de instituições estatais na resposta aos problemas de segurança pública. Palavras-chave: Representações da violência; Brasil; Culturas digitais; Modernidade tardia; Indústrias culturais.
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ABSTRACT This dissertation aims to investigate the relationships between representations of murder and the internet in Brazil, positioning, in particular, crimes of the 2010s as cultural events that remediate established languages and practices (namely from the press, music, cinema and television) as ways of confronting inequalities or violent imaginaries. As a general hypothesis, it is questioned whether, due to the digitalization promoted by the cultural industries, the modern legacy of narratives of violence presents continuities. Through an analysis of how the critique of late modernity theorized Latin American cultural industries and the ways in which Brazil produced and reproduced crimes in times of globalization, the academic production on postmodernity is revisited to link homicide cases mediated by YouTube and Facebook to broader socio-technological transformations. Have practices in digital environments challenged hierarchical communications, or perpetuated long-standing stratifications? Furthermore, the research aims to locate specificities about the Brazilian case in the period, and to understand peculiar mechanisms involving crime and culture, between 2013 and 2019. Employing a culture studies perspective, in order for the cultural manifestations under analysis to reflect the contemporary practices of production, reception and consumption of true crime stories after the digital turn, the research discusses the concept of loops and spirals from cultural criminology to reveal how contemporary mediations alter the way in which mass communication took over functions of the state before the 21st century. The thesis posits that criminal plots (now online) still circulate aesthetic materialities and discourses of violence related to structural entanglements of the Brazilian late modernity, namely the appropriation of violence by tactics of sensationalism and spectacle, punitive rhetorics and a claim for the replacement of state institutions in responding to public safety problems. Keywords: Representations of violence; Brazil; Digital cultures; Late modernity; Cultural industries.

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