Books by Nicolás Llano Linares
Translation (Portuguese to Spanish) of Música para antropomorfos, by Fabio Zimbres.
Co-translated... more Translation (Portuguese to Spanish) of Música para antropomorfos, by Fabio Zimbres.
Co-translated with Marcela Vieira
Published by La Silueta (Colombia).
2017
Support by the Program for Translation and Publication of Brazilian Authors (Brazilian National Library)
5-5
Épica futbolística colombiana.
Proyecto que hace parte del 44 Salón Nacional de Artistas (Pereir... more Épica futbolística colombiana.
Proyecto que hace parte del 44 Salón Nacional de Artistas (Pereira, 2016)
Proyecto producido en conjunto con Salvaje (Bogotá).
Descarga gratuita:
http://44sna.com/wp-content/uploads/2016/08/5-5_PDF.pdf
The ICCI Network, an academic and research network comprise of professors, scholars, graduate stu... more The ICCI Network, an academic and research network comprise of professors, scholars, graduate students and cultural practitioners from different fields and disciplines linked to communication sciences from several universities from Brazil, Portugal, Spain and France, is please to announce the e-Book release of the IX International Seminar Images of Culture / Image Culture seminar held at São Paulo University in August of 2013.
The e-book brings together all of the Conference from several Latin-American countries as well as Portugal, Spain and other European countries. The conference was bilingual (Portuguese and Spanish) and the e-book chapters are published in their original languages.
Table of contents:
Presentation
Conference objectives
Local organizing commission
Scientific assembly program
Work Groups
Work Group 1: Digital Culture, Virtual Communities and Digital Games
This group aims to discuss the implications of the digitalization of different cultural manifestations, especially those around networking communities via computers, as well as productions in the format of digital games and its effects in contemporary culture.
Work Group 2: Theory, Methodology and Research Technologies
This group aims to discuss theories, methodologies and techniques in cultural research as a form of communication, understanding that this reflection becomes necessary as we explore more deeply the process of production of scientific knowledge.
Work Group 3: Advertising, Corporate Image, and Consumer Culture
The objective of this group is to think the dimension of the corporate images, of brands, products and services, using as a starting point the mediated presence of this images in the consumer sphere and its implications in the constitution of senses in different cultures.
Work Group 4: Visual and Sound Culture
This WG is articulated with the theoretical production of Visual Anthropology, an interdisciplinary field that is always attentive to forms and visual and audiovisual manifestations that express cultural meanings. The WG aims to explore strategies of questioning the theoretical advances and the methodological development in research projects that involve the production of data in the fieldwork as well as questioning the afterwards treatment of the data in the creation of narratives about social life and culture. Another objective of this WG is to reflect about the place sound in contemporary society: music, soundscapes, and musical ambiences of different territories.
Work Group 5: Cinema and society
This WG understands cinema as the language matrix of movement that nowadays have been found expanding in the different audiovisual media as a mass media but also understood as art. With the power and capacity to move, teach, entertain and promote the public’s reflection, cinema has the capacity to evolve itself in two inseparable directions: the production and the recreation. Fiction, documentary, institutional, series, etc., this WG is open to research, projects and films that may reveal the society in the film and the film in the society.
Work Group 6: Shared production of knowledge
The group proposes to explore the relation between, from one side, new dialogical forms of production of knowledge in the academic sphere and, from the other side, a closer proximity with communities and oral-traditional knowledge.
Organized by: Arlete dos Santos Petry, Eneus Trindade, Luís Carlos Petry and Nicolás Llano Linares.
Published by: INMOD - PPGCOM ECA-USP
ISBN: 97885879632
Copyright © 2014.
If you have any questions about the publication, please do not hesitate to get in touch.
All the best,
The organizers
Papers by Nicolás Llano Linares
Materiality and Popular Culture The Popular Life of Things
Can an object embody an emotional state? Can a map chart a sentimental journey? This chapter prop... more Can an object embody an emotional state? Can a map chart a sentimental journey? This chapter proposes a critical exploration of the maps and mapping processes within Wes Anderson’s films. In his cinematic universe, whimsy characters share the screen with an array of old, new and custom-made objects, from paintings and books, to trains and ships, creating aesthetically distinctive worlds. Among these objects, maps appear as recurrent elements in all of his mayor eight films. Used for a variety of purposes in each one of his films, the cartographic artefacts and practices constitute valuable devices to analyse psychological attributes of his cinematographic characters. In Anderson’s movies maps, mapping processes and cartographic resources are used in different ways: as diegesis stimulators or limiters; narrative frameworks; visual resources, and as part of the decorative elements that constitute his cinematic universe. Using theoretical elements from psychogeography, cartographic cinema and film studies, I argue that the maps in three of Wes Anderson’s films, The Life Aquatic with Steve Zissou (2004), The Darjeeling Limited
(2007) and Moonrise Kingdom (2012), function not only as abstract representations of the film’s territories, but as symbolic elements that reveal the characters emotional journeys –where they have been, where they are and where they are going-, expanding the films crucial themes: death, identity crisis, acceptance, family relations.
Entrevista com o Prof. Stig Hjarvard.
Revista MATRIZes. Universidade de São Paulo.
VOL 10, NO 1 (... more Entrevista com o Prof. Stig Hjarvard.
Revista MATRIZes. Universidade de São Paulo.
VOL 10, NO 1 (2016): V. 10, N. 1 (2016)
Pleasures of the Prose: Journalism and Humour
Editors: Richard Lance Keeble, David Swick
ISBN: 97... more Pleasures of the Prose: Journalism and Humour
Editors: Richard Lance Keeble, David Swick
ISBN: 9781845496623
Abrams Academic Publishing
Humour, so much a part of everyday communication and the pleasure of media consumption, has been strangely marginalised in journalism/communication studies. This innovative volume, edited by Richard Lance Keeble and David Swick, at last puts the focus on the funniest pages with studies of print and online journalism in a wide range of countries: Brazil, Britain, Spain, Mexico, the Philippines and the United States of America.
On July 12 of 1985 at Saint-Étienne, France, Luis Alberto ‘Lucho’ Herrera, the first Colombian cy... more On July 12 of 1985 at Saint-Étienne, France, Luis Alberto ‘Lucho’ Herrera, the first Colombian cyclist to have won a Tour de France stage (1984), became an international hero and a national martyr. Not only did the image of Herrera’s bloodied face staring at the horizon after winning the 14th stage acquire cult status within cycling circles around the world, it also established a subtle, yet passionate, connection between the figure, his performance, and Colombian reality. We argue that Herrera’s image worked as a metaphorical extension that stimulated the association between Herrera’s martyred image and the collective struggle people had to go through on a daily basis, accentuating the strongly Catholic iconographic dimension attached to popular sport practices in Colombia (faith, endurance, and suffering). Using applied elements of Charles S. Peirce’s semiotic apparatus, this paper analyze three symbolic elements embedded in Herrera’s image – blood, struggle, and redemption – to discuss the photograph’s power to resonate with the average Colombian at a time when narco terrorism ruled most of the territory and the escalation of insurgency and paramilitary violence were daily occurrences.
Philament , Feb 1, 2014
Part memoir, part analytical history, Linares's short piece is a story imbued with the kind of in... more Part memoir, part analytical history, Linares's short piece is a story imbued with the kind of indirect and personal insight that only biographical stortelling allows. It reminds us that what lies at the root of the most "talented" comedians is a superlative fair-mindedness, a political attitude leavened by impartiality and resilience.
Sphera Pública - Revista de Ciencias Sociales y Comunicación de la Universidad de Murcia, Oct 18, 2011
El texto presenta una parte de los estudios fotoetnográficos sobre la
publicidad y el consumo de... more El texto presenta una parte de los estudios fotoetnográficos sobre la
publicidad y el consumo de alimentos llevado a cabo en la ciudad de Sao Paulo, en la búsqueda de un conocimiento sensible a los aspectos de la cultura y de la publicidad de alimentos que forman parte de los sentidos propios de la ciudad. Las imágenes seleccionadas constituyen una narrativa fotoetnográfica que alimenta la reflexión sobre la observa- ción flotante realizada.
Revista Rumores - São Paulo University, Jan 5, 2012
Este artigo visa descobrir as tramas ficcionais da obra fotográfica de Jeff Wall, pois, mesmo sen... more Este artigo visa descobrir as tramas ficcionais da obra fotográfica de Jeff Wall, pois, mesmo sendo constituída por imagens (a grande maioria) construídas e controladas até o extremo – desde a composição até o formato de apresentação –, estas podem ser desarticuladas para que, assim, possamos refletir sobre a imagem fotográfica como uma construção de diferentes realidades e ficções por meio da obra do artista. Afastando-se da discussão sobre a fotografia como Arte, o artigo busca, em primeiro lugar, entender o contexto da prática fotográfica de Wall para, dessa maneira, refletir sobre as realidades ficcionais que se escondem em sua fotografia.
Revista Pensamento & Realidade, Jul 1, 2011
Os bens de consumo carregam e comunicam significados culturais moventes que estão em constante tr... more Os bens de consumo carregam e comunicam significados culturais moventes que estão em constante transformação. No percurso de movimento de significados apresentado por Grant McCracken (2003) há duas instituições que exemplificam a transferência simbólica: a publicidade e o sistema de moda. Defende-se aqui, que o sistema alimentar funciona de modo semelhante ao sistema de moda. Este artigo pretende atualizar os instrumentos, agentes e rituais do modelo teórico proposto por McCracken, aplicando-o ao sistema alimentar.
Abstract:
Consumer goods carry and communicate mobile cultural meanings that are in constant transformation. In the model of movement of meaning presented by Grant McCracken (2003) there are two institutions that illustrate the symbolic transference: advertising and the fashion system. In this article we defend that the food system works in the same way as the fashion system. We pretend to update the instruments, agents and rituals of the theoretical model criated by McCracken in its application to the food system.
Comunicação, Mídia e Consumo, Aug 1, 2013
O trabalho nasce das discussões sobre consumo e pirataria. Este texto busca refletir sobre os mus... more O trabalho nasce das discussões sobre consumo e pirataria. Este texto busca refletir sobre os museus da contrafação e suas formas paradoxais de comunicar a ambivalência de sentidos e modalidades da pirataria comercial; fun- damentado no pensamento de Lipovetsky (2004; 2007), o artigo ilustra o debate em torno do consumo e da pirataria a partir dos casos de três museus na Tailân- dia, Itália e França.
Conference Presentations by Nicolás Llano Linares
Objects have different lives of their own in popular culture representations for they are part of... more Objects have different lives of their own in popular culture representations for they are part of an assemblage of discursive processes articulated in different types of narrative structures among dissimilar cultural systems. This paper proposes a critical exploration of maps in cinema, more specifically the maps within Wes Anderson’s films. Anderson’s movies have been international critically acclaimed and gained cult status for his idiosyncratic aesthetic sensibility and particular stylistic traits. In his cinematic universe, quirkish characters share the stage with custom made objects, from paintings and books, to train and ships, creating particular yet life expanding worlds. Among those objects maps appear as recurrent elements in all of his mayor eight films. Used in different ways in each one of his films -to each film its map- (Conley, 2007:5), the cartographic pieces constitute valuable devices to analyse different dimensions of Anderson’s ouvre. Not only do maps propels and locates the films narratives, they also ignite debates about bilocation -where we are and where are we going- provoking questions about the ongoing process of defining our places in the world for both the screen characters and the observer. Anderson uses different types of maps of “real”, non identified or fictional territories for a variety of purposes: they can be storytelling stimulators or limiters, play a key structural rule and appear at critical junctures or simply come into sight as part of the decorative elements that form his cinematic worlds. We argue that in three of Anderson’s films (The Life Aquatic with Steve Zissou, The Darjeeling Limited and Moonrise Kingdom) maps can be read as symbolic personal itineraries that tell stories related not only to the places they represent, but also to the life stages-crisis the characters are going through, producing subjective cartographies of emotional territories that extend the emotional themes treated on those films.
Cocinar y construir son actividades que tienen mucho más en común de que lo que puede parecer a p... more Cocinar y construir son actividades que tienen mucho más en común de que lo que puede parecer a primera vista: caracterizadas por Fernand Braudel como parte de la cultura material, las dos prácticas están enraizadas en la necesidad humana más primitiva; ambas poseen dimensiones sociales, culturales y estéticas que se articulan en rituales simbólicos que dan sentido a nuestras práctica más ordinarias y cotidianas. Más allá de la naturaleza transitoria y efímera de los alimentos, tanto la arquitectura como la alimentación funcionan como sistemas comunicativos que corporeizan periodos históricos de producción cultural y social. Desde una perspectiva empírica, la alimentación y la arquitectura articulan sus procesos de producción a partir del uso de medidas, formas, diseños, preparaciones y ensamblajes; así como su valorización pasa por el uso de categorías estéticas como la harmonía, proporción y composición. A partir de la configuración de la relación dialéctica de estos dos campos de producción cultural, este trabajo busca articular una discusión sobre la mediatización de las prácticas alimenticias y arquitectónicas manifestadas en la haute cuisine y la arquitectura del star-system contemporáneo. Basados en la producción académica de la crítica e historiadora de arquitectura Beatriz Colomina, cuyo trabajo ha sido desarrollado a partir del encuentro de la producción arquitectónica moderna con los medios de comunicación y la cultura de masas, así como en la reciente discusión teórica alrededor del concepto de mediatización, el artículo busca adaptar la tesis del trabajo de Colomina a las prácticas gastronómicas: desde el inicio del siglo XX, coincidiendo con la emergencia de nuevo tipos de medios de comunicación, el campo gastronómico se ha producido no sólo en los propios platos servidos en los restaurantes de haute cuisine sino también en otros espacios inmateriales: revistas, periódicos, cinema, fotografías, televisión, internet. Esto significa que más allá de la función ilustrativa y representativa, estos medios se transformaron en un lugar de innovación y debate de las prácticas gastronómicas.

Em menos de um ano, o Brasil será foco da atenção midiática mundial e o futebol o tema mais comen... more Em menos de um ano, o Brasil será foco da atenção midiática mundial e o futebol o tema mais comentado durante os meses de junho e julho. Este artigo visa analisar as representações turísticas presentes nos cartazes-oficiais das cidades-sedes da Copa do Mundo FIFA Brasil 2014, por meio de um protocolo de base semiótica, e busca refletir criticamente sobre as implicações que tem estas representações no processo de manutenção ou renovação do imaginário simbólico do Brasil que é representado nos discursos turísticos/publicitários.
Este artigo visa articular uma reflexão exploratória sobre dois casos virtuais como o foodstagram... more Este artigo visa articular uma reflexão exploratória sobre dois casos virtuais como o foodstagram e Yelp, refletindo se esses fenômenos podem ser considerados indícios ligados ao desenvolvimento de uma midiatização do campo da cultura e da saúde, especialmente dos hábitos relacionados à alimentação.
Basado en la periodización del proceso de integración social de la población Nipo-Brasilera reali... more Basado en la periodización del proceso de integración social de la población Nipo-Brasilera realizada por diferentes autores -Cristopher Reichl (1995), Jeffrey Lesser (2008), Kiyoshi Harada (2008)-, este trabajo analiza el desarrollo de la negociación (simbólica) identitaria de la comunidad nikkei en la ciudad de São Paulo, focalizando como objeto de estudio la popularización de las prácticas alimenticias japonesas en territorio brasilero desde la década de 1990 a partir de registros mediáticos-periodísticos producidos entre 1990-2010 en los medios de comunicación impresos locales y nacionales. Bajo esta perspectiva, destacamos la alimentación como un campo temático poco explorado que nos permite discutir de manera diferencial el proceso de integración desde dos posiciones: por un lado la alimentación del grupo inmigrante se manifiesta como una practica de autoafirmación identitaria, como también representa un argumento representativo sobre el grado de integración en la sociedad adoptiva. Partimos del presupuesto de que a partir de la década de 1980 la comunidad nikkei alcanzó un punto significativamente importante en el proceso de aceptación e integración por parte de la sociedad paulistana, el cual se vio reflejado en la celebración mediática sobre la popularización de su comida. De esa manera el trabajo pretende contribuir tanto a los estudios de la migración japonesa en el Brasil a partir del análisis de las características socio-culturales que incidieron en el proceso de aceptación de la comida japonesa por parte de la sociedad local, al igual que busca explorar y reflexionar críticamente sobre el papel del discurso periodístico en la construcción y mediación de las memorias culturales de los grupos migratorios.
Uploads
Books by Nicolás Llano Linares
Co-translated with Marcela Vieira
Published by La Silueta (Colombia).
2017
Support by the Program for Translation and Publication of Brazilian Authors (Brazilian National Library)
Proyecto que hace parte del 44 Salón Nacional de Artistas (Pereira, 2016)
Proyecto producido en conjunto con Salvaje (Bogotá).
Descarga gratuita:
http://44sna.com/wp-content/uploads/2016/08/5-5_PDF.pdf
The e-book brings together all of the Conference from several Latin-American countries as well as Portugal, Spain and other European countries. The conference was bilingual (Portuguese and Spanish) and the e-book chapters are published in their original languages.
Table of contents:
Presentation
Conference objectives
Local organizing commission
Scientific assembly program
Work Groups
Work Group 1: Digital Culture, Virtual Communities and Digital Games
This group aims to discuss the implications of the digitalization of different cultural manifestations, especially those around networking communities via computers, as well as productions in the format of digital games and its effects in contemporary culture.
Work Group 2: Theory, Methodology and Research Technologies
This group aims to discuss theories, methodologies and techniques in cultural research as a form of communication, understanding that this reflection becomes necessary as we explore more deeply the process of production of scientific knowledge.
Work Group 3: Advertising, Corporate Image, and Consumer Culture
The objective of this group is to think the dimension of the corporate images, of brands, products and services, using as a starting point the mediated presence of this images in the consumer sphere and its implications in the constitution of senses in different cultures.
Work Group 4: Visual and Sound Culture
This WG is articulated with the theoretical production of Visual Anthropology, an interdisciplinary field that is always attentive to forms and visual and audiovisual manifestations that express cultural meanings. The WG aims to explore strategies of questioning the theoretical advances and the methodological development in research projects that involve the production of data in the fieldwork as well as questioning the afterwards treatment of the data in the creation of narratives about social life and culture. Another objective of this WG is to reflect about the place sound in contemporary society: music, soundscapes, and musical ambiences of different territories.
Work Group 5: Cinema and society
This WG understands cinema as the language matrix of movement that nowadays have been found expanding in the different audiovisual media as a mass media but also understood as art. With the power and capacity to move, teach, entertain and promote the public’s reflection, cinema has the capacity to evolve itself in two inseparable directions: the production and the recreation. Fiction, documentary, institutional, series, etc., this WG is open to research, projects and films that may reveal the society in the film and the film in the society.
Work Group 6: Shared production of knowledge
The group proposes to explore the relation between, from one side, new dialogical forms of production of knowledge in the academic sphere and, from the other side, a closer proximity with communities and oral-traditional knowledge.
Organized by: Arlete dos Santos Petry, Eneus Trindade, Luís Carlos Petry and Nicolás Llano Linares.
Published by: INMOD - PPGCOM ECA-USP
ISBN: 97885879632
Copyright © 2014.
If you have any questions about the publication, please do not hesitate to get in touch.
All the best,
The organizers
Papers by Nicolás Llano Linares
(2007) and Moonrise Kingdom (2012), function not only as abstract representations of the film’s territories, but as symbolic elements that reveal the characters emotional journeys –where they have been, where they are and where they are going-, expanding the films crucial themes: death, identity crisis, acceptance, family relations.
VOL 10, NO 1 (2016): V. 10, N. 1 (2016)
http://www.matrizes.usp.br/index.php/matrizes/article/view/739/pdf_1
Revista MATRIZes. Universidade de São Paulo.
VOL 10, NO 1 (2016): V. 10, N. 1 (2016)
Editors: Richard Lance Keeble, David Swick
ISBN: 9781845496623
Abrams Academic Publishing
Humour, so much a part of everyday communication and the pleasure of media consumption, has been strangely marginalised in journalism/communication studies. This innovative volume, edited by Richard Lance Keeble and David Swick, at last puts the focus on the funniest pages with studies of print and online journalism in a wide range of countries: Brazil, Britain, Spain, Mexico, the Philippines and the United States of America.
Revista Signos do Consumo - ECA/USP
ISSN: 1984-5057
http://www.revistas.usp.br/signosdoconsumo/article/view/105708/104442
publicidad y el consumo de alimentos llevado a cabo en la ciudad de Sao Paulo, en la búsqueda de un conocimiento sensible a los aspectos de la cultura y de la publicidad de alimentos que forman parte de los sentidos propios de la ciudad. Las imágenes seleccionadas constituyen una narrativa fotoetnográfica que alimenta la reflexión sobre la observa- ción flotante realizada.
Abstract:
Consumer goods carry and communicate mobile cultural meanings that are in constant transformation. In the model of movement of meaning presented by Grant McCracken (2003) there are two institutions that illustrate the symbolic transference: advertising and the fashion system. In this article we defend that the food system works in the same way as the fashion system. We pretend to update the instruments, agents and rituals of the theoretical model criated by McCracken in its application to the food system.
Conference Presentations by Nicolás Llano Linares

Co-translated with Marcela Vieira
Published by La Silueta (Colombia).
2017
Support by the Program for Translation and Publication of Brazilian Authors (Brazilian National Library)
Proyecto que hace parte del 44 Salón Nacional de Artistas (Pereira, 2016)
Proyecto producido en conjunto con Salvaje (Bogotá).
Descarga gratuita:
http://44sna.com/wp-content/uploads/2016/08/5-5_PDF.pdf
The e-book brings together all of the Conference from several Latin-American countries as well as Portugal, Spain and other European countries. The conference was bilingual (Portuguese and Spanish) and the e-book chapters are published in their original languages.
Table of contents:
Presentation
Conference objectives
Local organizing commission
Scientific assembly program
Work Groups
Work Group 1: Digital Culture, Virtual Communities and Digital Games
This group aims to discuss the implications of the digitalization of different cultural manifestations, especially those around networking communities via computers, as well as productions in the format of digital games and its effects in contemporary culture.
Work Group 2: Theory, Methodology and Research Technologies
This group aims to discuss theories, methodologies and techniques in cultural research as a form of communication, understanding that this reflection becomes necessary as we explore more deeply the process of production of scientific knowledge.
Work Group 3: Advertising, Corporate Image, and Consumer Culture
The objective of this group is to think the dimension of the corporate images, of brands, products and services, using as a starting point the mediated presence of this images in the consumer sphere and its implications in the constitution of senses in different cultures.
Work Group 4: Visual and Sound Culture
This WG is articulated with the theoretical production of Visual Anthropology, an interdisciplinary field that is always attentive to forms and visual and audiovisual manifestations that express cultural meanings. The WG aims to explore strategies of questioning the theoretical advances and the methodological development in research projects that involve the production of data in the fieldwork as well as questioning the afterwards treatment of the data in the creation of narratives about social life and culture. Another objective of this WG is to reflect about the place sound in contemporary society: music, soundscapes, and musical ambiences of different territories.
Work Group 5: Cinema and society
This WG understands cinema as the language matrix of movement that nowadays have been found expanding in the different audiovisual media as a mass media but also understood as art. With the power and capacity to move, teach, entertain and promote the public’s reflection, cinema has the capacity to evolve itself in two inseparable directions: the production and the recreation. Fiction, documentary, institutional, series, etc., this WG is open to research, projects and films that may reveal the society in the film and the film in the society.
Work Group 6: Shared production of knowledge
The group proposes to explore the relation between, from one side, new dialogical forms of production of knowledge in the academic sphere and, from the other side, a closer proximity with communities and oral-traditional knowledge.
Organized by: Arlete dos Santos Petry, Eneus Trindade, Luís Carlos Petry and Nicolás Llano Linares.
Published by: INMOD - PPGCOM ECA-USP
ISBN: 97885879632
Copyright © 2014.
If you have any questions about the publication, please do not hesitate to get in touch.
All the best,
The organizers
(2007) and Moonrise Kingdom (2012), function not only as abstract representations of the film’s territories, but as symbolic elements that reveal the characters emotional journeys –where they have been, where they are and where they are going-, expanding the films crucial themes: death, identity crisis, acceptance, family relations.
VOL 10, NO 1 (2016): V. 10, N. 1 (2016)
http://www.matrizes.usp.br/index.php/matrizes/article/view/739/pdf_1
Revista MATRIZes. Universidade de São Paulo.
VOL 10, NO 1 (2016): V. 10, N. 1 (2016)
Editors: Richard Lance Keeble, David Swick
ISBN: 9781845496623
Abrams Academic Publishing
Humour, so much a part of everyday communication and the pleasure of media consumption, has been strangely marginalised in journalism/communication studies. This innovative volume, edited by Richard Lance Keeble and David Swick, at last puts the focus on the funniest pages with studies of print and online journalism in a wide range of countries: Brazil, Britain, Spain, Mexico, the Philippines and the United States of America.
Revista Signos do Consumo - ECA/USP
ISSN: 1984-5057
http://www.revistas.usp.br/signosdoconsumo/article/view/105708/104442
publicidad y el consumo de alimentos llevado a cabo en la ciudad de Sao Paulo, en la búsqueda de un conocimiento sensible a los aspectos de la cultura y de la publicidad de alimentos que forman parte de los sentidos propios de la ciudad. Las imágenes seleccionadas constituyen una narrativa fotoetnográfica que alimenta la reflexión sobre la observa- ción flotante realizada.
Abstract:
Consumer goods carry and communicate mobile cultural meanings that are in constant transformation. In the model of movement of meaning presented by Grant McCracken (2003) there are two institutions that illustrate the symbolic transference: advertising and the fashion system. In this article we defend that the food system works in the same way as the fashion system. We pretend to update the instruments, agents and rituals of the theoretical model criated by McCracken in its application to the food system.

A graphic novel, já publicada na Colômbia, na Argentina, na Espanha, no Chile, na França e no Peru, e mais recentemente no Equador, ganha edição brasileira pela editora Nemo.
um guía que não valoriza gratuitamente o exótico ou o escondido, mas que encontra nessa exploração uma razão para refletir sobre os processos de constituição cultural da cidade.
tem que ser bom, lógico, mas não se trata de manter critérios nem juízos de valor históricos sobre o que é considerado uma "boa comida"; trata-se melhor de plasmar através de desenhos, fotografias e textos, essa exploração numa cidade em constante transformação.
Vapor324
Pablo Saborido
Nicolás Llano Linares
Gonzalo Saranago Robertson
Andrés Sandoval
Vapor324
Pablo Saborido
Nicolás Llano Linares
Kintarô Edition:
Gonzalo Sarnago
Marcelo Cipis
Bruna Canepa
Andrés Sandoval
100 copies
Design and content. Free distribution.
Revisiting the first edition of Guia San Pablo (São Paulo's downtown). Discussing the dynamics of São Paulo's city center from a socio-alimentary perspective.
Guia San Pablo is:
Vapor324 (vapor324.com)
Pablo Saborido (pablosaborido.com
Nicolás Llano L.
- Conhecido como o "Bairro doce" de São Paulo, o Pari, com mais de quatrocentos anos de história, ainda guarda as marcas de um passado industrial e comercial que definiu seu papel dentro da estrutura da cidade;
- O Guia San Pablo-Pari não é simplesmente um exercício de flaneurismo gastronômico, vai muito mais além disso. Este guia, que você tem na suas mãos, é uma pequena e simbólica homenagem a um bairro que exemplifica de forma discreta e delicada o valor de morar numa cidade como São Paulo;
- Adentrar-se nos seus 2.75 km2 significa respirar as memórias de um bairro que atualmente se ergue como um espaço representativo da diversidade cultural que tem marcado a construção e evolução da cidade;
- O guia é um convite aberto a descobrir um outro território gastronômico paulistano, é um jogo urbano sem regras estabelecidas com a simples intenção de provocar instantes ao redor de comidas compartilhadas, que narram experiências de vida em São Paulo;
Luis Daniel Vega tem sido um observador do desenvolvimento musical do país nos últimos 15 anos. Jornalista de rádio, crítico musical, fundador do selo Festina Lente, Vega falou à Soma sobre as raízes do chamado ‘boom’ musical, a importância do som tropical no país, e o panorama atual da música colombiana.
- (RCM) Por esos días la ciudad estaba llegando a su fin y en las calles se sentía ese olor a voy a plantarte un puño en la mitad de tu jetica cerdita preciosa
- Días donde los cerros, como siempre, eran testigos mudos de cada uno de nuestros errores. Horas mojadas que no permitían otra cosa que dejar descansar la pelvis en el sofá. Luego...
- (RCM) Empieza a llover y las gotas de lluvia mojan la noche, las manos, las flores de la calle.
-Las incontables noches mojadas. Bañadas en Ron y llenas de sueños destrozados y de eternas ilusiones perdidas. Me acuerdo de aquella tarde en que todo se fue al demonio.
-(RCM) Por la radio me enteré que la ciudad había sido destruida. El día anterior a la destrucción de la ciudad estábamos con Amarilla y sus gatos en la Séptima.
- Los imagino sin decir una palabra, siendo espectadores de la transformación que la ciudad estaba experimentando: dejando de ser una niña maltratada por sus padres a convertirse en una exitosa puta adolescente. Qué hiciste después de la destrucción?
-(RCM) Durante varios días caminé sin rumbo fijo por las ruinas de la ciudad. Finalmente llegué al malecón. El mar estaba en calma. Llovía. No había nadie. En el final del malecón había un pequeño bar.
-Al rato llegamos nosotros, te acuerdas? Todos recostados en diferentes paredes, cuidando que nadie nos viera. Con la misma palabra en la punta de la lengua, pensando que era el momento más importante de nuestras vidas, la noche se pasó como un trip trip trip.
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Assumindo a generalização (são paulo é uma cidade construída a partir das contribuições do imigrante) é fazendo da sinédoque (a parte pelo todo) a figura que guia nossa visão, o guia san pablo apresenta pela primeira vez ao público San Ozama, um território parêntesis entre a história urbana e a ficção especulativa levada ao extremo.
Cidade em constante reformulação, onde os limites físicos e sentimentais são repensados a partir das tensões do contato com o outro, das frestas da experiência urbana e das estratégias de convivência e moradia dos movimentos humanos.
San Ozama é produto da fragmentação da experiência urbana dos imigrantes e filha das possibilidades sentimentais que têm guiado nossa exploração das diferentes culturas alimentares presentes na cidade. san oz (como é conhecida popularmente) é selva na calçada e concreto na praia; é paradoxo visual, barriga cheia e verdade afetiva.
Sejam bem- vindos a San Ozama; cidade construída por amizades feitas nas cozinhas dos restaurantes espalhados no mapa, pelas histórias de vida daqueles personagens reais transformados em heróis de garfo e faca, onde o amor cheira a frango e a kimchi.
Projeto de:
Vapor324
Pablo Saborido
Colaboradores Gráficos:
Andrés Sandoval
Bruna Canepa
Marcelo Cipis
Gonzalo Sarnago
Casa Samambaia - são paulo / 2015