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Race, visual and affective memory in ‘Mestiza’ by Citlali Fabián siguiente

Cristina Elena Pardo

Contenido disponible también en español

Beyond the color of my skin, my blood is mestiza, my way of thinking, the way I look, and the way people looks at me… the condition that others pointed out in me, that today I take for mine.

Citlali Fabián

The indexical, spectral and durable nature of photography and its related optical disciplines were constituted from its beginning as instruments of the Eurocentric and hegemonic power, capable of classifying and fixing the subjects and objects of its practices. With the arrival of  photosensitive chemistry to America, along with the camera obscura and daguerreotype techniques, and inseparable from travel writing and naturalism, the discipline quickly acquired a scientific, industrial and commercial character that endowed it with an exotic and racializing power over its ‘new’ subject-objects of their practice (indigenous peoples, slaves, etc.), making possible a no longer textual, but visual affirmation of the positivist, rational and scientific discourses of civilizing and national processes around the Conquer.…

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