<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1688-8626</journal-id>
<journal-title><![CDATA[Inmediaciones de la Comunicación]]></journal-title>
<abbrev-journal-title><![CDATA[Inmediac. Comun]]></abbrev-journal-title>
<issn>1688-8626</issn>
<publisher>
<publisher-name><![CDATA[Universidad ORT Uruguay]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1688-86262024000201209</article-id>
<article-id pub-id-type="doi">10.18861/ic.2024.19.2.3778</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O fototátil: Fotografia em transformação]]></article-title>
<article-title xml:lang="es"><![CDATA[El fototáctil: Fotografía en transformación]]></article-title>
<article-title xml:lang="en"><![CDATA[The phototactile: Changing photography]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Trindade]]></surname>
<given-names><![CDATA[Mauro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Estado do Rio de Janeiro  ]]></institution>
<addr-line><![CDATA[Rio de Janeiro ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2024</year>
</pub-date>
<volume>19</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S1688-86262024000201209&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S1688-86262024000201209&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S1688-86262024000201209&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[RESUMO O objetivo deste artigo é identificar e problematizar o significado háptico na fotografia contemporânea brasileira baseada na obra dos artistas Miguel Rio Branco, Bruno Veiga, Renato Velasco e Marcos Bonisson. Procura-se destacar&#8203;&#8203; as recentes transformações na produção e na compreensão da fotografia, e compreender a&#8203; reconfiguração dos modos de representação, que inclui novas tecnologias de produção visual e transformação do próprio sujeito, cuja subjetividade agora é mediada por novas interfaces. Nesse sentido, entende-se que existem indícios de uma desestabilização da visão como sentido predominante e uma reconfiguração geral das formas de representação do corpo e do sujeito que está ligada ao novo destaque do tato, a forma mais intensa e primitiva da percepção humana.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN El objetivo de este artículo es identificar y problematizar el sentido háptico en la fotografía brasileña contemporánea a partir de la obra de los artistas Miguel Rio Branco, Bruno Veiga, Renato Velasco y Marcos Bonisson. Se busca poner de relieve las recientes transformaciones en la producción y en la comprensión de la fotografía, y dar cuenta de la reconfiguración de los modos de representación, lo cual incluye a las nuevas tecnologías de producción visual y a la transformación del propio sujeto, cuya subjetividad está ahora mediada por nuevas interfaces. En tal sentido, se entiende que hay indicios de una desestabilización de la visión como sentido predominante y una reconfiguración general de las formas de representación del cuerpo y del sujeto que está vinculada al nuevo protagonismo del tacto, la forma más intensa y primitiva de la percepción humana.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT The aim of this article is to identify and problematize the haptic sense in contemporary Brazilian photography based on the work of artists Miguel Rio Branco, Bruno Veiga, Renato Velasco and Marcos Bonisson. The aim is to highlight recent changes in the production and understanding of photography, and to account for the reconfiguration of the modes of representation, which includes new technologies of visual production and the transformation of the subject itself, whose subjectivity is now mediated by new interfaces. In this sense, it is understood that there are signs of a destabilization of vision as a predominant sense and a general reconfiguration of the forms of representation of the body and the subject, that is linked to the new prominence of touch, the most intense and primitive form of human perception.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[fotografia contemporânea]]></kwd>
<kwd lng="pt"><![CDATA[arte]]></kwd>
<kwd lng="pt"><![CDATA[representação tátil e visual]]></kwd>
<kwd lng="pt"><![CDATA[subjetividade]]></kwd>
<kwd lng="es"><![CDATA[fotografía contemporánea]]></kwd>
<kwd lng="es"><![CDATA[arte]]></kwd>
<kwd lng="es"><![CDATA[representación táctil y visual]]></kwd>
<kwd lng="es"><![CDATA[subjetividad]]></kwd>
<kwd lng="en"><![CDATA[contemporary photography]]></kwd>
<kwd lng="en"><![CDATA[art]]></kwd>
<kwd lng="en"><![CDATA[visual and tactile representation]]></kwd>
<kwd lng="en"><![CDATA[subjectivity]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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