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As an introductory framework to the dossier, this article analyzes the Chilean political process based on the images that (re)emerged with the 2019 revolt and that were deployed in the constitutional process channeled into a Constitutional Convention (2020–22). It shows how the old ghosts of class, gender, and the nation appear in these "mental images," the same ghosts that have historically operated in the defeat of transformative projects and contributed to the reproduction of an authoritarian and elitist society, whose neoconservative/neoliberal oligarchy has managed to restore the conditions of its domination. The article proposes these observations to stimulate the reading of the contributions to this dossier, which problematize different aspects of the political process under discussion: the aporetic relationship among revolt, violence, and law; the citizenry's turn from a desire of community and transformation expressed in the revolt to a feeling of fear and attachment to private property; writing as a practice, support, and challenge of the people's critical expression; the tension between the performance of the revolt as a failure and as a reset of neoliberal performativity; and the territorial and deterritorializing wagers in relation to affective infrastructures that became revolt and that continue through other means. [ABSTRACT FROM AUTHOR]

In this paper, I answer Sergio Villalobos' review of the book Cartas Mapuche. Siglo XIX (2008), looking for explaining the rationale that underlies the silence of Villalobos about the letters themselves and his attack ab hominem to the compiler of the letters. I relate the arguments of the commented review to the reactionary ideology of certain Chilean historiography and its particular concept of "Frontier Studies", showing how this ideology defend and reproduce the historical censorship of the Chilean colonialism and racism. [ABSTRACT FROM AUTHOR]

In this article we suggest using various analytical and bibliografical elements to read the "paintings" in the book of José Antonio Aponte, who was accused and condemned for conspiracy in Havanna (1812) and which are described in the judicial records of the "conspiracy". We emphasize three essential aspects with which to understand this Book of Paintings (which has since disappeared): the social and artistic context in which the book was produced and used as a political and pedagical tool; the critical debate with the Naturalist episteme of "raciology" that the book initiates; and its recovery of the knowledge of the western Ethiopians to celebrate Africa's future in universal history. [ABSTRACT FROM AUTHOR]