Francisco Gallardo

Prehistoric and historic networks on the Atacama Desert coast (northern Chile)

Comparing the records of fishing communities made in the sixteenth to twentieth centuries to the archaeological evidence of the sixth millennium BP, the authors propose a sophisticated prehistoric network for the coastal people of northern Chile. Residential seashore settlements link both along the coast to temporary production sites for fish, and inland to oasis-based providers of products from the uplands and salt flats. Sharing values and kinsfolk, the coastal communities must have travelled extensively in boats which, like their modern counterparts, made use of floats of inflated sealskin.

FLUJOS DE INFORMACIÓN VISUAL, INTERACCIÓN SOCIAL Y PINTURAS RUPESTRES EN EL DESIERTO DE ATACAMA (NORTE DE CHILE)

El presente articulo explora la interaccion social en la region atacamena a partir del estudio de sus pinturas rupestres. Mediante el estudio cuantitativo y cualitativo de las distribuciones pictoricas, tanto por las estructuras compositivas como por los iconos claves que aparecen simultaneamente en dos o mas localidades rupestres, se determinan flujos diferenciales de informacion visual. Esta circulacion de conocimiento y personas habria operado como expresion de relaciones sociales preferenciales entre las distintas comunidades del desierto de Atacama. Palabras claves: interaccion social - pinturas rupestres - flujos de informacion visual. Abstract This article explores social interaction in the Atacama region through the local rock art paintings. Using a quantitative and qualitative study of pictorial distribution, including both compositional structures and key icons that appear simultaneously in two or more areas with rupestrian art sites, we can determine the presence of differential visual information flows. This flow of knowledge and people would have operated as an expression of preferential social relations between the different Atacama Desert communities. Key words: social interaction - rock art paintings - visual information flows.

Social interaction and rock art styles in the Atacama Desert (northern Chile)

In this ground-breaking study the author looks at three consecutive styles of rock art, placing them in the social context in which they were produced. Although necessarily succinct, the argument shows that as hierarchy increased and functioned over longer distances, rock art could perform as the organ of pastoralist authority, or the badge of marginalised hunters or, most often, as the imagery of consensus masking social inequality.

ELEMENTOS PARA UNA ANTROPOLOGÍA DEL CINE: LOS NATIVOS EN EL CINE FICCIÓN DE CHILE

El cine ficcion es uno de los medios de comunicacion visual de mayor influencia en la circulacion de valores y creencias en el mundo contemporaneo. Se trata de una practica cultural de extremo control, planificacion y manipulacion audiovisual que ha permanecido en los margenes de la preocupacion antropologica. Sin embargo, nuevos intereses relativos a la comprension de los modos de ver nos han permitido indagar con cierta profundidad en el funcionamiento de este dominio y sus artefactos visuales. En el presente articulo se describen los dispositivos y procedimientos visuales relativos al cine ficcion chileno, en particular aquel que ha introducido en sus obras de modo protagonico la imagen de los nativos de Chile. Nuestros resultados sugieren la presencia de una estrategia cultural cuyas representaciones solo tratan formalmente con la diversidad cultural, un recurso audiovisual que ha favorecido el establecimiento de un modo utopico de imaginar al otro y su mundo social.

Riders on the storm: Rock art in the Atacama Desert (Northern Chile)

Rider and mount iconography is common in the rock art of northern Chile but it is little investigated and poorly understood. This paper takes a new approach which focuses on the meaning and context of these equestrian images. It surveys the contexts in which equestrian imagery, particularly that associated with Apostle Santiago, is used and the meanings it invokes in colonial period illustrations and contemporary indigenous Andean cultures. These insights form the basis of a new interpretation of the equestrian rock art imagery of the Aiquina area of northern Chile. It is argued that the incorporation of equestrian iconography into rock art was not a simple process of importing exotic items and ideas but a complex process involving the appropriation of imagery and ideas and the renegotiation of their meanings in new cultural contexts.

LAS PINTURAS COSTERAS DE CHOMACHE Y SU CONTEXTO ECONÓMICO-SOCIAL (REGIÓN DE TARAPACÁ, NORTE DE CHILE)

* Gloria Cabello, Centro de Investigaciones del Hombre en el Desierto, Universidad de Tarapaca, Arica, Chile, email: glcabello@gmail.com** Francisco Gallardo, Museo Chileno de Arte Precolombino, Bandera 361, Santiago, Chile, email: fgallardo.ibanez@gmail.com*** Carolina Odone, Pontificia Universidad Catolica de Chile, Santiago, Chile, email: modoneco@uc.clRecibido: septiembre de 2011. Aceptado: abril de 2013.