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We need to enlargue upon the fundamental question. What can images convey that may lead to new knowledge, and when is such knowledge relevant to anthropology?

While anthropology writing is effective in speaking about human cultures in general, film, like the imaginative arts, can say much about how individuals live within (and tansmit) a “culture”. In the process, it can define cultural phenomena that exist primarily in relational terms themselves […] The distinctive charasteristic fo relational knowledge is that the meaning exists in the sum, not in the parts. Film es capable of presenting complex networks of images within which a variety of ambiguous cultural constructions and resonances are understood (sexual, ideological, hierarchic) but which are never explicitly acknowledged.

David MadDougall, 1995
(Transcultural cinema, Princeton Universtiy Press)


Some authors require that artistic knowledge, notwithstanding it all, must be able to be verbalized and thus be comparable to declarative knowledge. Many say it is embodied in the products of art. Ultimately, however, it has to be acquired through sensory and emotional perception, through the very artistic experience from which it cannot be separated. Whether silent or verbal, declarative or procedural, implicit or explicit, artistic knowledge is, in each and every case, sensual and physical, “embodied knowledge.”

Julian Klein, 2017
(What is artistic research? JAR )

In the debate on research in the arts, there is disagreement about whether, or to what extent, the artistic outcomes of the research (the concrete artworks and art practices generated by the research) are to be discursively framed – that is, accompanied by a contextualisation, a theoretical frame, an interpretation, or a reconstruction or documentation of the research process. This is one of the issues of demarcation in the foundational debate. My position is that this discursive framing is necessary. (…) To forego such framing implies a departure from academia. That said, the discursive forms in which the framing may take place are highly varied. They do not confine themselves to conventional academic discourse.

Henk Borgdorff, 2012
(The conflict of the faculties. Perspectives on Artistic Research and Academia. Leiden University Press)

La iconofobia y las restricciones a la expresión visual que la antropología se impuso a sí misma, deben ser superadas a través de una apropiación crítica y con un abanico de prácticas materiales y sensuales propias de las artes contemporáneas.

Schneider y Wright, 2006
(Contemporary Art and Anthropology, Berg)

Una de las maneras de producir conocimiento en esta disciplina consiste en ofrecer un lugar desde donde mirar la realidad.

Jorge Moreno, 2019
(Antropología, representación y ausencia. El caso de Libertad, una película sobre la memoria y el daño, LAAV_)