{"id":31,"date":"2020-09-08T16:49:59","date_gmt":"2020-09-08T16:49:59","guid":{"rendered":"https:\/\/visiones.uniandes.edu.co\/lparis\/?p=31"},"modified":"2020-09-12T14:58:09","modified_gmt":"2020-09-12T14:58:09","slug":"1","status":"publish","type":"post","link":"https:\/\/visiones.uniandes.edu.co\/lparis\/2020\/09\/08\/1\/","title":{"rendered":"Lost Children Archive"},"content":{"rendered":"\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"688\" height=\"1024\" src=\"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-688x1024.jpg\" alt=\"\" class=\"wp-image-137\" srcset=\"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-688x1024.jpg 688w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-201x300.jpg 201w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-768x1144.jpg 768w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-1031x1536.jpg 1031w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-1375x2048.jpg 1375w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL-1200x1787.jpg 1200w, https:\/\/visiones.uniandes.edu.co\/lparis\/wp-content\/uploads\/sites\/28\/2020\/09\/81eI0ExRVL.jpg 1719w\" sizes=\"auto, (max-width: 688px) 100vw, 688px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-large-font-size\">&#8220;<em>Desierto sonoro<\/em>, tercera novela de Valeria Luiselli, combina lo mejor de dos grandes tradiciones literarias, la del viaje y la del \u00e9xodo: trasiega por el asfalto y atraviesa horizontes des\u00e9rticos, se detiene en moteles de carretera y penetra en los territorios \u00edntimos de sus personajes, ofreciendo con precisi\u00f3n una serie de instant\u00e1neas que retratan las infinitas capas del paisaje geogr\u00e1fico, sonoro, pol\u00edtico y espiritual que conforman la realidad contempor\u00e1nea. Un relato conmovedor y necesario que muestra la fragilidad con que se definen los lazos familiares, indaga en la manera en que documentamos nuestras existencias y pasamos las historias de generaci\u00f3n en generaci\u00f3n, y se pregunta qu\u00e9 significa ser humano en un mundo cada vez m\u00e1s deshumanizado.&#8221;<\/p>\n<\/div><\/div>\n\n\n\n<p>&#8220;[&#8230;] or maybe we were an impulse to allow the moment, which felt like the beginning of something, to leave a trace. After all, we&#8217;d trained our minds to seize the recording opportunities, trained our ears to listen to our daily lives as if they were raw tape. All of it, us and them, here and there, inside and outside, was registered, collected, archived.&#8221; (p.12)<\/p>\n\n\n\n<p>&#8220;Sound and space are connected in a way much deeper than we usually acknowledge. Not only do we come to know, understand, and feel our way in space through its sounds, which is the more obvious connection between the two, but we also experience space through the sounds overlaid upon it.&#8221; (p. 39)<\/p>\n\n\n\n<p>&#8220;What does it mean to document something, an object, our lives, a story? I suppose that documenting things \u2013through the lens of a camera, on paper, or with a sound recording device\u2013 is really only a way of contributing one more layer, something like soot, to all the things already sedimented in a collective understanding of the world.&#8221; (p. 55)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Desierto sonoro, tercera novela de Valeria Luiselli, combina lo mejor de dos grandes tradiciones literarias, la del viaje y la del \u00e9xodo: trasiega por el asfalto y atraviesa horizontes des\u00e9rticos, se detiene en moteles de carretera y penetra en los territorios \u00edntimos de sus personajes, ofreciendo con precisi\u00f3n una serie de instant\u00e1neas que retratan las [&hellip;]<\/p>\n","protected":false},"author":28,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"templates\/template-full-width.php","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[4,3],"tags":[],"class_list":["post-31","post","type-post","status-publish","format-standard","hentry","category-archivo","category-sonido"],"_links":{"self":[{"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/posts\/31","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/users\/28"}],"replies":[{"embeddable":true,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/comments?post=31"}],"version-history":[{"count":10,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/posts\/31\/revisions"}],"predecessor-version":[{"id":157,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/posts\/31\/revisions\/157"}],"wp:attachment":[{"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/media?parent=31"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/categories?post=31"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/visiones.uniandes.edu.co\/lparis\/wp-json\/wp\/v2\/tags?post=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}