Mundo Flashcards
(201 cards)
1
Q
problema con migrante
A
participo activo o de presente inmigrante para designar a alguien que no está desplazándose y por tanto inmigrando ,
debería aplicársele un participio pasado o pasivo inmigrado .
inmigrante pueda serlo de “segunda generación”, puesto que la condición taxonómicamente monstruosa de sus padres se ha heredado y, a la manera de una especie de pecado original, ha impregnado a generaciones posteriores
http://manueldelgadoruiz.blogspot.com/2015/06/como-se-llega-ser-inmigrante.html
2
Q
Que decía Musashi de aprender muchas cosas
A
Para aprender 10mil cosas, aprende una bien
3
Q
interseccionalidad, qué es
quién lo acuñó
A
metafora para mostrar como las distintas formas de discriminación conviven y se construyen
orígen: o es discriminación por ser mujer o por ser negra, no ambas
El termino fue acuñado por primera vez en 1989, por Kimberle Williams Crenshaw
DeGraffenreid v. General Motors (1976), Emma DeGraffenreid and four other black female auto workers alleged compound employment discrimination against black women as a result of General Motors’ seniority-based system of layoffs. The courts weighed the allegations of race and gender discrimination separately, The court declined to consider compound discrimination, and dismissed the case.
4
Q
caminos del escritor, cortazar
A
estético, la literatura por la literatura misma
metafísica, indagación del destino humano
histórico, ser parte de los movimientos históricos
5
Q
Cuerpo sin órganos? a qué nos lleva? contraste con la modernidad…
ej,.
obligación?
A
every actual body has a limited set of traits, habits, movements, affects, etc. But every actual body also has a virtual dimension: a vast reservoir of potential traits, connections, affects, movements, etc.
resultados diversos, heterogéneos, plurales y complejos, un contraste con la modernidad, que ha fabricado a los sujetos desde lo homogéneo y la normatividad.
nadie puede imitar la pintura de Bacon, porque son cuerpos de intensidades y sólo corresponden a lo que Bacon quiere que se haga de su propio cuerpo y su visibilidad.
tampoco es una obligación, ni siquiera un ideal. posibilidad aparece cuando una persona tiene un desencuentro con el cuerpo normado y existe una apertura para el proceso de lo reversible, sin que exista una receta para ello.
6
Q
Ideologia
A
Comportamiento es regido por ideas, creencias, y cocneptos
7
Q
Que busca la liberación de los oprimidos con sus manos,
Que pasa al liberar?
A
Más manos que trabajen y transformen el mundo
Solo en la debilidad de los oprimidos se encuentra contenida la fuerza para liberar a oprimidos y opresores, no se trata de oprimir a opresores
La falsa generosidad permite y se sostiene de la opresión, muerte y desaliento
Amor en la liberación, desamor en la opresiones
8
Q
Admirar según zaratustra
A
Mirar con ojo puro las potencialidades ajenas
9
Q
Que es filosofía… Analogía con cuerpo humano (reacción). Darío S.
A
Rascarse donde no pica…
Trazar un nuevo sentido
Eliminar la anestecia
10
Q
frontera poema
A
La frontera es una línea que las aves no pueden ver.
La frontera es un bello pedazo de papel doblado torpemente a la mitad.
La frontera es donde la piedra se encontró con el acero, comenzando un incendio de cien años.
La frontera es un cinturón demasiado apretado, que sostiene pero que dificulta el respirar.
Traducción libre del Poema La Frontera por Alberto Ríos.
11
Q
By un shulhan cierre de burn out
A
Too alive to die, too dead to be alive
12
Q
nada será suficientte
A
Nada será suficiente si no podemos transitar en busca de un sorbo de paz.
Nada será suficiente si no existe la esperanza y morir es más simple.
Nada será suficiente si no existe horizonte y morir es más simple.
D.T., una mujer hondureña que está siendo acompañada por la CMDPDH en su proceso de solicitud de asilo en México.
Nada será suficiente
Las cicatrices fueron dibujadas por el tiempo en un lugar del mundo tan solitario,
fui cargando mis reflejos a veces irreconocibles.
Con un gesto de amabilidad me recordé (directo al corazón) que está bien rendirse y no poder más.
Sin hogar y con las heridas abiertas,
detrás de una fotografía familiar que no me pertenece.
Nada será suficiente si no existe la aurora y morir es más simple.
Me despojaron de la pérdida y le llamaron locura a la inocencia de soñar.
No olvidaré la sangre, ni la muerte, ni el hambre, no lo olvidará mi piel llagada, ni todos los versos que incendie en mi lengua.
Tantas ganas de atravesar el tiempo en busca de un cielo intacto.
Así escapar de la paranoia, esas oscilaciones de tortura
Vomitando recuerdos de un sitio que no existe
(quiero pensar que no existe)
El terror se balanceó y se enredó en las costillas.
Por recorrer un país mortaja del que solo quedo escapar
Caminé ausente de mí, sin edad e incorpórea.
Nada será suficiente si no podemos transitar en busca de un sorbo de paz.
Nada será suficiente si no existe la esperanza y morir es más simple.
Nada será suficiente si no existe horizonte y morir es más simple.
13
Q
arte feminista
qué es?
A
cuestiona, dinámiicas de exclusión, iinvisibiilización y violencia producidas por construcciones desiguales de genero
propone propuestas alternativas
temáticas, procesos, materiales, involucramieinto
14
Q
Conquista?
A
99 % indigenas
Tenían sus razones, no sólo encolerizadxs manipulados por españoles
Malitzin no sólo por amor, habían miles
Gobierno de México más mal, que la colonia
15
Q
Cual es la estrategia del artista político? respecto a las imágenes, Ranciere
A
No es la reducción de las Imágenes
Es o ponerles otro modo de ver
Hay una puesta de escena que marca lo autorizado y visible, la muerte de Nixon sobre la de millones de personas lejanas y que no hemos escuchado
16
Q
sugerencia diez de suely rolnik
A
practicar pensamiento + reimaginar en cada gesto el mundo
- Practicar el pensamiento en su plena función: indisociablemente ética, estética, política, crítica y clínica. Es decir, re-imaginar el mundo en cada gesto, palabra, relación con el otro (humano y no humano), modo de existir –siempre que la vida así lo exija
17
Q
Sontag, las imágenes de guerra que nos hacen?
A
Harrowing photographs do not inevitably lose their power to shock. But they are not much help if the task is to understand.
Narratives can make us understand. Photographs do something else: they haunt us.
18
Q
stephen shore, sobre sus fotos american surfaces
A
‘I wanted pictures that felt as natural as speaking,’
19
Q
si yo no fuera capaz de amar o admirar…. deleuze
qué nos dice Zaratustra, cómo hay que mirar
y la persona envidiosa?
A
muerto, estaría muerto
zaratustra, ojo puro para las potencias ajenas…
el envidioso no puede admirar.
generosidad a una intensidad ajena, que no somos, no negación con incomprensión
20
Q
según deleuze, cuál es la enfermedad actual
A
Hace falta, ante todo, aprender a admirarla; hay que rescatar los problemas que plantea, su propia maquinaria. La verdadera crítica se alcanza a fuerza
de admiración.
La enfermedad del mundo actual es la incapacidad para admirar: cuando
se está ‘en contra’, se rebaja todo a la altura propia, escudriñando y cacareando. No es
así como hay que proceder: hay que elevarse hasta los problemas que plantea un autor
genial, hasta lo que no dice en aquello que dice, para extraer de ahí algo que se le deberá
siempre, aunque se pueda también volver contra él. Hay que estar inspirado, poseído por
los genios a quienes se denuncia”
21
Q
Deleuze sobre capacidad y necesidad de decir…
A
“What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.”
― Gilles Deleuze
So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying. What we’re plagued by these days isn’t any blocking of communication, but pointless statements.
22
Q
ahhh quiso decir eso… este libro,deleuze ?
A
“Nunca hay que preguntar qué quiere decir un libro, significado o significante, en un libro no hay nada que comprender, tan sólo hay que preguntarse con qué funciona, en conexión con qué hace pasar o no intensidades, en qué multiplicidades introduce y metamorfosea la suya, con qué cuerpos sin órganos hace converger el suyo. Un libro sólo existe gracias al afuera y en el exterior.”
23
Q
cuándo estamos ante la obra, cómo solemos criticarla, filosofía la gorra…. Deleuze
A
La pregunta en todo caso es por qué frente a la multiplicidad de aspectos que una obra de arte propone, elegimos realizar solamente la interpretación más pobre y más mezquina, que nos impide cualquier tipo de aprendizaje y de transformación.
que nos perdemos….
24
Q
Deleuze para que la filosofía, cuándo alguien pregunta, cómo debe ser la respuesta
A
Cuando alguien pregunta para qué sirve la filosofía, la respuesta debe ser agresiva, ya que la pregunta se tiene por irónica y mordaz. La filosofía no sirve ni al Estado, ni a la Iglesia, que tiene otras preocupaciones. No sirve a ningún poder establecido.
La filosofía sirve para entristecer. Una filosofía que no entristece o no contraría a nadie no es filosofía.
Sirve para detestar la estupidez, hace de la estupidez una cosa vergonzosa. Sólo tiene éste uso: denunciar la bajeza del pensamiento en todas sus formas”
Enfermedad del sentido común
25
HOLDERLIN...
ES POSIBLE QUE EL HOMBRE PUEDA HABITAR EL MUNDO POETICAMEBNTE?
26
por qué sicarixs... 3 razones, karina garcia
abuso en casa o violencia, salir de la primaria, intentos de suicidio
27
Como se refleja el adultismo, que es
Centrar la vida en 30 a 50 años
No pedir opinión en lo que se relaciona a niñxs
Dependencia economica
Abuso físico
28
Que hace el scholar del mañana? Según derrida
Busca al fantasma, no sólo le habla, se cuestiona como hablar con él...
29
cuál es la obligación de alguien que nació en un cuarto seguro
abrir la puerta a quien está en peligro
30
dimensions de NVC... sobre needs
...communicate needs
sensing needs of the other, no importando comunicación
check if they were communicated correctly
provide empathy
to positive action and language
31
what is total meaning, carl rogers.
content + feelings (tone and cues)
32
challenge of listener, rogers
feels like it is about opinion, managing need to assert views,
but in the opposite, i want to think with you... i want to understand, you are the person I want to talk most, you are worth listening
33
complex discovery plot, in terror
y dimensiones de plot
onset, discovery, confirmation, confrontation
onset... hay un monstruo
discovery...
confirmation... un grupo o la magnitud
confrontation
1. normality
2. disruption
3. final confrontation, defeat of the abnormal
34
Agnes Varda, que quiere que la gente haga?
In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.”
35
a qué hace referencia Enrique Dussel respecto a crítica y obra
la obra no existe hasta que no se hace crítica
hay que elevarse a la altura de la obra... o viceversa hay que elevar la obra a la altura de la crítica
36
Mario Benedetti - traducciones
poemas traducidos le gustaban más
El tiempo y la campana más en francés
dos años italiano
tres años traductor, Burnt Norton y que el nombre del presunto autor fuera un tal T. S. Eliot
le gustó y la tradujo al español
--
Siempre le pasaba lo mismo. Cuando alguien traducía uno de sus poemas a una lengua extranjera (al menos, de las que él conocía), sus propios versos le sonaban mejor que en el original. Por eso no le sorprendió que la versión francesa de su poema «El tiempo y la campana» le pareciera estupenda, grácil, sustanciosa.
Dos años más tarde, un traductor italiano, que no sabía español, tradujo aquella versión francesa, y aunque él nunca había sido partidario de las versiones indirectas (no olvidaba, sin embargo, que muchos años atrás había conocido a través de ellas a Tolstoy, Dostoievsky y también a Confucio), disfrutó grandemente de su poema in italico modo.
Transcurrieron otros tres años y un traductor inglés, que, como la mayoría de los traductores ingleses, no sabía español, se basó en la versión italiana, basada a su vez en la versión francesa. Pese a tan lejano origen, fue la que mayor placer le produjo al primigenio autor hispanoparlante. Solo le asombró un poco (en realidad, lo atribuyó a una errata de tantas) que esta nueva versión indirecta se titulara Burnt Norton y que el nombre del presunto autor fuera un tal T. S. Eliot. Sin embargo, le gustó tanto que decidió encargarse personalmente de traducirla al español.
37
Cómo empieza Adorno su teoría de la estética... qué es evidente
¿cuándo?
It is self-evident that nothing concerning art is self-evident anymore, not its innerlife, not its relation to the world, not even its right to exist.
1970
38
Qué dice Avita sobre ansiedad... y ética
to be anxious is not to feel enough with what we do
(like what Derrida tell us,) the moment we recognize our self how good and kind we are then we are not being responsible with the other,
one must not feel good of what he have done,
the responsible one is he who feels not responsible enough to the other
39
mandar para tzotziles, de acuerdo a Dussel
los que mandan, mandan, obedeciendo
no poder como dominación (pensamiento hegemónico, poder por que hay quien obedece)
40
poder para dussel...
la voluntad de vida de un pueblo
41
principios éticos para François Matarasso de participatory art
Projects intended to produce social benefits should address stated needs or aspirations.
—
It is unethical to seek to produce change without the informed consent of those involved.
—
The needs and aspirations of individuals or communities
are best identified by them, often in partnership with others, such as local authorities, public agencies and arts bodies.
—
Partnership requires the agreement of common
objectives and commitments (though not all goals need
be shared by all partners).
—
Those who have identified a goal are best placed
to ascertain when it has been met.
—
An arts project may not be the most appropriate means
of achieving a given goal2.
42
pregunta controversial de François Matarasso, central en ética
what right does one person have to try to change another?
y más cuándo participantes no lo saben
43
Bartolomeo de las Casas que se preguntaba...
son los indios seres humanos...
como una segunda categoría... niñes
44
qué dicen DG sobre los enunciados que emitimos... de dónde nacen
“las multiplicidades, las masas y los grupos, los pueblos y las tribus, los agenciamientos colectivos que nos atraviesan, interiores a nosotros, y que ya no conocemos”.
“El enunciado es siempre colectivo, incluso cuando parece haber sido emitido por una singularidad solitaria como la del artista”[1].
Son ellos los que nos hacen hablar y es a partir de ellos que producimos enunciados. No hay sujeto, sólo hay agenciamientos colectivos de enunciación productores de enunciados.
Gilles Deleuze y Félix Guattari, Kafka. Para una literatura menor,
45
empowerment, que és? (matarasso)
no es dar poder.. no se puede dar,
se construye a través de habilidades, confianza, conocimiento, redes...
lo ganamos
46
qué genera un equal power relation in proyectos participativos (matarasso)
conocimiento del proyecto... educación, ventajas económicas, sociales...
47
relación con problemas éticos... (participativo, matarasso)
consejos de montaña...
es el trabajo.... no se resuelven para seguir con el trabajo
trabajar como en la neblina, paso a pasito, de menor escala
48
qué estética? (matarasso, goldbard)
estética are political... quién hace el trabajo debe definirlas
49
de que se apropia el capital en su nueva versión (suelny)...
de la propia vida;
La fuerza vital de creación y de cooperación es así canalizada por el régimen para construir un mundo acorde con sus designios.
en su nueva versión, es la propia pulsión de creación individual y colectiva de nuevas formas de existencia, y sus funciones, sus códigos y sus representaciones lo que el capital explota, haciendo de ella su motor.
la fuente de la cual el régimen extrae su fuerza deja de ser exclusivamente económica para serlo también intrínseca e indisociablemente cultural y subjetiva –por no decir ontológica–, lo cual la dota de un poder perverso más amplio, más sutil y más difícil de combatir.
de su potencia de creación y transformación en la emergencia misma de su impulso,
como así también de la cooperación de la cual dicha potencia depende para efectuarse en su singularidad.
50
Modernity en pocas palabras (que expresa) to RV
Historial time is a expression of an Eurocentric, and antroprocenthic model of civilization…
51
Ethical urgent question of our time… RV
Can we live an ethical life in which pleasure desires wellbeing and achievements, we consume life, pollution, exploitation of others…
How can we live an ethical life consuming life…
fed and dressed, on suffering and depletion
52
Questions with no easy answer RV
Move, to think differently
53
Decolonial option what is…
Not the unique, or replace…
54
Cuándo empezó la modernidad… según E Dussel
1492, Europe pose itself against another…. Cannot affirm without a negation of the other (relegate barbarism, poverty, underdevelopment)
Unified ego, coloniasing another… gave back its image
Discovered? Como animalitos?
El mapa centra a Europa por la colonial I dad
55
4 propositions of RV
1. 1492
2. Modernity is Eurocentric project
3. no modernity without coloniality
4. decoloniality, not wanting to be part of modernity or history of modernity
56
What is eurocentrism, que características tiene en relacion al afuera
Arrogant ignorance, because: no outside its logic, its universal
No epistemic outside
Know yourself from yourself? Not the other
57
Benjamin's weak messianic power according to Hamacher... (and Navarrete)
Each possibility that was missed in the past remains a possibility for the future, precisely because it has not found fulfillment.
For the past to have a future merely means that the past’s possibilities have not yet found their fulfillment, that they continue to have an effect and demand their realization from those who feel addressed by them.
58
Que hay detrás de las voces que escuchamos...que tenemos en relación al pasado. (Benjamin)
The past carries with it a hidden index by which it is referred to redemption. Doesn’t a breath of the air that pervaded earlier days caress us as well?
In the voices we hear isn’t there an echo of now silent ones?
Don’t the women we court have sisters they no longer recognize? If this is so, then there is a secret agreement between past generations and the present one. Then our coming was expected on earth. Then, like every generation that preceded us, we have been endowed with a weak messianic power, a power on which the past has a claim.
59
el artista... cuál es el papel... marcelo exposito
al generar cooperación social contribuye o pone en común herramientas especificas de su práctica...
pone en común el bagaje del arte y vanguardias,
cooperación social,
herramientas para que la cooperación sea potenciada de manera autónoma y no a la puesta en mecanismos de generación de valor
herramientas ya compartidas con otras
60
valor del arte (marcelo exposito) en contextos de violencia
como proceso micropolítico, arte como terapía,
práctica del arte, pequeños modelos y dispositivos para la reconfiguración de subjetividades, en particular en contextos violentos o postdictatoriales
desaprendizaje, el terror que deja en los cuerpos
agitación de masas
imagen no solo es foto, película.... es una marcha, multiplicación de imagenes. no es lo que se enseña en la escuela de arte
61
debe desaparecer el autor? (marcelo E)
replantearse el concepto de autoría....
desvincular la etimología... autor no tiene autoridad sobre aquello de lo que produce
apropiado, multiplicado por otros, producir cosas y pensar en su virtualidad y ser reproducido por otros, en términos de cooperación
62
kafka... escribía para quién?
quema mis libros... nunca publicó nada?
Before his death, Kafka instructed Max Brod, who also served as his literary manager, to destroy all of his manuscripts. Instead, Brod oversaw their publication. Kafka's works quickly attracted attention and acclaim.
63
Arte útil.. Que debe tener proyecto
The criteria of Arte Util state that initiatives should:
1- Propose new uses for art within society
2- Challenge the field within which it operates (civic, legislative, pedagogical, scientific, economic, etc), responding to current urgencies
4- Be implemented and function in real situations
5- Replace authors with initiators and spectators with users
6- Have practical, beneficial outcomes for its users
7- Pursue sustainability whilst adapting to changing conditions
8- Re-establish aesthetics as a system of transformation
64
how is the decolonization process? fanon
decolonization is always a violent event.
decolonization is quite simply the substitution of one "species" of mankind by another.
65
para qué decolonizar el arte, es buen tiempo? (WMignolo)
En última instancia, quienes controlan la autoridad (gobiernos, ejércitos, instituciones esta- tales) y quienes controlan la economía (corporaciones, ejecutivos, creativos de Wall Street) son consciente- mente subjetividades imperiales que ya es muy tarde para cambiar.
Pero es temprano, muy temprano, para construir futuros globales en los cuales ya no existan las condiciones y las posibilidades para la formación de tales sujetos y subjetividades.
66
Race, (quijano), y para qué se uso?
“RACE, A MENTAL CATEGORY OF MODERNITY
The idea of race, in its modern meaning, does not have a known history before the colonization of America. Perhaps it originated in reference to the phenotypic differences between conquerors and conquered. However, what matters is that soon it was constructed to refer to the supposed differential biological structures between those groups.—ANÍBAL QUIJANO ”
“In America the idea of race was a way of granting legitimacy to the relations of domination imposed by the conquest. After the colonization of America and the expansion of European colonialism to the rest of the world, the subsequent constitution of Europe as a new identity needed the elaboration of a Eurocentric perspective of knowledge , a theoretical perspective on the idea of race as a naturalization of colonial relations between Europeans and non-Europeans.…
So the conquered and dominated people were situated in a natural position of inferiority, and as a result, their phenotype traits as well as their cultural features were likewise considered inferior.”
67
Cómo se relaciona denialism and huantology…
Que preguntas y respuestas hay (glossary)
People who deny the persistence of settler colonialism are like the heroes in American horror films, astonished that the monster would have trouble with them. Denial is a key component of the plotlines, the evil might get you if you look too deeply at the horror. You can only look between fingers on a hand that covers your eyes.
What is a monster? (A monster is one who has been wronged and seeks justice.) Why do monsters interrupt? (Monsters interrupt when the injustice is nearly forgotten. Monsters show up when they are denied; yet there is no understanding the mon- ster.) How does one get rid of a monster? (There is no permanent vanquishing of a monster; monsters can only be deferred, disseminated; the door to their threshold can only be shut on them for so long.).
68
Mercy in hauntology
Illustion of relief
Social justice a solution in peace and remediation
Mercy is merciless, reprieve
69
What is the first step in deloconization.. fannon
Decolonizing the mind, not the only step…
Is about returning land…
70
Sintésis de claire bishop sobre características de participatory art, que lo definen
the artist is conceived less as an individual producer of discrete objects than as a collaborator and producer of situations;
the work of art as a finite, portable, commodifiable product is reconceived as an ongoing or long-term project with an unclear beginning and end;
while the audience, previously conceived as a ‘viewer’ or ‘beholder’, is now reposi- tioned as a co-producer or participant.
These shifts are often more powerful as ideals than as actualised reali- ties, but they all aim to place pressure on conventional modes of artistic production and consumption under capitalism
71
Pregunta importante sobre participatory art, solo importa el proceso y quienes participaron? Bishop
What matters are the ideas, experiences and possibilities that result from these interactions.
to find ways of accounting for participatory art that focus on the meaning of what it produces, rather than attending solely to process.
This result – the mediating object, concept, image or story – is the necessary link between the artist and a secondary audience (you and I, and everyone else who didn’t partic- ipate);
72
Art therapy que es, handbook
based on the idea that the creative process of art making is healing and life enhancing and is a form of nonverbal communication of thoughts and feelings (American Art Therapy Association, 1996).
Like other forms of psychotherapy and counseling, it is used to encourage personal growth, increase self-understanding, and assist in emotional reparation and has been employed in a wide variety of settings with children, adults, families, and groups.
It is a modality that can help individuals of all ages create meaning and achieve insight, find relief from overwhelming emo- tions or trauma, resolve conflicts and problems, enrich daily life, and achieve an in- creased sense of well-being (Malchiodi, 1998).
belief that all individuals have the capacity to express themselves creatively and that the product is less important than the therapeutic process involved.
73
Conclusion on participatory art, en qué niveles comunica… bishop
In using people as a medium, participatory art has always had a double ontological status: it is both an event in the world, and at one remove from it.
As such, it has the capacity to communicate on two levels – to partici- pants and to spectators –
the paradoxes that are repressed in everyday discourse,
and to elicit perverse, disturbing and pleasurable experiences that enlarge our capacity to imagine the world and our relations anew.
But to reach the second level requires a mediating third term – an object, image, story, film, even a spectacle – that permits this experience to have a purchase on the public imaginary.
nor a ready-made solution to a society of the spectacle, but is as uncertain and precarious, neither are legitimated in advance but need continually to be performed and tested in every specific context.
74
qué son las estéticas decoloniales, Aesthesis decolonial?
Se restringen solo al arte?
son modos de interpelación a las lógicas, las retóricas y pragmáticas del arte y la estética de la modernidad. Resistencia a la estetica colonial, control de la representaciòn y experiencia de la modernidad
Las estéticas decoloniales insurgen en los dominios del arte y la estética, pero no se restringen a estos territorios, puesto que la colonialidad de lo sensible no se agota en estos dos espacios, sino que cumple sus funciones en todas las dimensiones en las que la modernidad instala su matrizt
75
What do we need to recognize in relation to art and politics… bishop
para qué puede ser usado el arte
Form of experimental activity overlapping with the world, whose negativity may lend support towards a political project
76
What is the value of pedagogic art projects, que nos requiere…
what is the central problem of artistic practice in the social field… .and risks…
CBishop
they require us to examine our assumptions about both fields of operation, and to ponder the productive overlaps and incompatibilities that might arise from their experimental conjunction, with the consequence of perpetually reinventing both.
Risks of edutainment or pedagogical aesthetics if we do not revise the criteria in each
77
Guattari’s on the double finality of art…
Art is a source of what?
to insert itself into a social network which will either appropriate or reject it, and [secondly] to celebrate, once again, the Universe of art as such, precisely because it is always in danger of collapsing.
How do you bring a classroom to life as if it were a work of art?
An endlessly renewable source of vitalist energy and creation, a constant force of mutation and subversion
78
Que se debe preguntar el maestro estudiante antes de empezar el dialogo… freire
The dialogical character of education as the practice of freedom does not begin when the teacher-student meets with the students-teachers in pedagogical situation, but rather when the former first asks herself or himself what she or he will dialogue with the latter about.
79
hay pensamiento decolonial, podemos salir de la matriz colonial... (mignolo)
no, reconocernos como parte... y desenchufarnos
repensar el conocimiento, para que haya inferiores, si no hay una relación de inferioridad, no hay dominación
80
Qué genera la repetición de violencia (Sagato)
Cuál podría ser el proyecto histórico
La repetición de la violencia produce un efecto de normalización de un paisaje de crueldad y, con esto, promueve en la gente los bajos umbrales de empatía indispensables para la empresa preda dora. La crueldad habitual es directamente proporcional a formas de gozo narcisístico y consumista, y al aislamiento de los ciudadanos mediante su desensibilización al sufrimiento de los otros.
Un proyecto histórico dirigido por la meta del vínculo como realización de la felicidad muta hacia un proyecto histórico dirigido por la meta de las cosas como forma de satisfacción1.
81
Que relacion tenemos con las categorías teóricas… y las preguntas que nos surgen
Metáfora de procusto…
Segato
Hay sociedades, espacios geopolíticos destinados a producir categorías teóricas. Y otros espacios, los nuestros, que están destinados a consumir categorías teóricas.
ansiosos por enganchamos con los linajes de pensadores del norte geopolítico, no escuchamos las preguntas que nos llegan de las inmediaciones desde donde pen samos nosotros. Si escucháramos las preguntas que nos llegan, nos veríamos obligados a trabajar de otra forma. Ya no sería posible responder esas preguntas con fichas de lectura de autores europeos o norteamericanos.
Si lo hiciéramos, el conocimiento limitado por una cama de Procusto, en la cual las dimensiones del sujeto pen sante se encuentran prefijadas de antemano y la extensión de su cuerpo se verá amputada si osa exceder esos límites, no serviría para responder las preguntas que nos llegan del mismo suelo que pisamos.
82
Cómo se expanden los derechos humanos y universales.. cuál es el motor
Que representa el otro
Cómo nos expandemos y comprendemos el sentido de la vida
Que dos tipos de ética hay
Segato
el motor de la expansión de los Derechos Universales es la resistencia que el rostro del otro nos opone: su desafío, su opacidad y su pregunta. Su interpelación y su diferencia. Cada pueblo, cada uno de nosotros, representa una humanidad parcial, limitada; solo al abrirse a la incomodidad del otro, con su diferencia y su demanda, en ese gesto expansivo, acogedor, anfitrión, esa humani dad expande su inteligencia y su capacidad de comprensión del sentido de la vida.
en la aldea más pequeña existen dos pulsiones éticas: la de la conformidad, la ética conservadora, obediente; y la de la insatisfacción, inquieta en la búsqueda de caminos hacia un mundo más benigno para más gente. Esa ética insatisfecha es estimulada, desencadenada, por el desafío del otro, con su diferencia.
Es una ética permanentemente insatisfecha con lo que soy, con lo que me enseñaron a ser y ve en la diferencia del otro, con sus demandas, lo que todavía le falta.
83
Que evidencia diferencia entre first y third world freedom of movement, achiume
Freedom of movement exhibits structural dynamics related to the ones just discussed: First World citizens have far greater capacity for lawful international mobility relative to their Third World counterparts, even setting aside questions of personal financial means. One’s nationality determines the range of one’s freedom of movement in a way that completely belies claims that assert or imply that all persons are equally without the right of freedom of international movement in our global order.
Whites have more freedom of movement (by which I mean travel across borders) than most nonwhites. The reality is that the mortal cost of international mobility is largely a nonwhite problem.
They are not only the most excludable category of persons, but they inhabit the status of excluded even without or before any attempt to seek admission and inclusion in the First World.
Further still, among Third World citizens, political and economic elites have differential access to permission to move, quite apart from the resources necessary to effect physical passage across borders. Due to prohibitively expensive and complex visa application processes, politically and economically marginal Third World citizens—including many who are likely to consider economic migration—are foreclosed from even seeking permission to move legally across borders.
They simply cannot afford to do so.
84
por qué publica, cuándo Borges...
«Publico para dejar de corregir», Jorge Luis Borges
85
Ethical aim / matarrosa
Sobre complejidad, engagement, escuchar
The most important ethical aim artists working in community must master is bringing out the full complexity of a situation, including all of its contradictions and ambiguities.
4
The most important ethical skill artists working in community need is the ability to engage everyone in an ethical challenge in a way that is enlighteningto all, that uplifts the moment into true learning and creates maximum possibility.
5
The highest form of resolution is one that redefines issues so that everyone feels heard, respected and included in the outcome.
.
86
Comitè invisible sobre recursos naturales y subjetivos
agotamiento de los recursos naturales probablemente está bastante menos avanzado que el agotamiento de los recursos subjetivos, de los recursos vitales, que afecta a nuestros contemporáneos.
Si tanto nos complacemos detallando la devastación del medio ambiente, es tam- bién para velar la aterradora ruina de las subjetividades. Cada derra- me de petróleo, cada llanura estéril y cada extinción de una especie es una imagen de las almas en harapos, un reflejo de nuestra ausencia de mundo, de nuestra impotencia íntima para habitarlo.
87
Fanon sobre racismo... es de la piel (albán)
no es cuestión epidérmica, es mental
independiente a circustancia
88
"soy marroquí en españa, peruano acá, cubano en méxico"
del centro y perifeiras
el mundo es relacional...
el centro tiene sus perfierias, las perfierias tiene sus centros
albán
89
Tales de Mileto... que podemos inferir de su nombre (Albán)
es importante saber de dónde viene el conocimiento, no es el apellido
90
migrar es desterritorializar?
no es lo mismo desterritorializadx que desterradx
91
what signals the decolonial aesthesis, from what age to what age…
the epochal transition from the age of enunciation (control of representation and owning) to the age of listening
92
quién (no) es, cuándo se deja de ser filosofx en relación al poder, Gerardo Ávalos
guía, no todas las respuestas si no todas las preguntas... interroga
cuándo se le deja de cuestionar y a personas subalternas.
93
ética y moral, GAvalos
ética la razón de la moral,
muchas moralidades, libre individualidad
ética es contradicción, es reflexión, es filosofía
el ser humano es contradictorio
(político es lucha y conciliación)
94
homo saccer... qués en GAvalos
puede ser asesinado impunemente... Trump nos impone esa figura
en México no hay capacidad para investigar todos los crímenes
95
The end of contemporary… RV
It exercises its power over the definition of now: those who belong and those in the past
End=alternative temporalities, disobey, delink
96
what is participatory art to matarossa
non professional and professional artist creating something unexpected as equals
the professional can edit, but nothing the participants dont like
97
what is culture
what is art
to matarossa
all we do, that is not essential to our survival, we dont think about it
before, taxonomy of things, forms and objects
any act (of creation) with an specific intention
98
Que implica la descolonizCion del inconsciente en relacion de personajes interiorizadxs… suelny
La descolonización del inconsciente implica un cons- tante esfuerzo para deshacernos de este personaje, reapropiarnos de la pulsión y, guiados por ella, crearnos nuevos personajes que estén a la altura de la vida, encarnando su potencia de variación transfiguradora.
99
Suely sobre sus palabras
Descarten palabras que se separan de su alma
100
MASTERY, Agamben
contener imperfección en la perfección
hechar a perder poquito lo perfecto
101
Pedro Costa, what is cinema for..
How to
Learn to see... Then show something to see
Takes time
Life is to be filmed
From the guts, not oppressed like capitalism
102
Challenges of making a film, costa
Months... To understand
Film is about time, they do not give you
A film all your life... You never understand a person
Is full of anxieties
103
Como no debe ser listening, roger
Moralizing, xcriticial, evaluating
Acceptance, and freedom...
Pensar con ellxs y tal vez desde ahi
104
Why collective, bishop
Rehumanises society rendered numb and fragmented by capitalism
105
Ranciere, what is critique of spectacle, metaphir
Alpha and omega of politics of art
106
es bueno explicar, ranciere.
que puede ser malo
“Whoever teaches without emancipating stultifies.”
― Jacques Ranciere
“To explain something to someone is first of all to show him he cannot understand it by himself.”
― Jacques Rancière, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation
107
qué es critical art... ranciere
“Critical art is an art that aims to produce a new perception of the world, and therefore to create a commitment to its transformation. This schema, very simple in appearance, is actually the conjunction of three processes: first, the production of a sensory form of 'strangeness'; second, the development of an awareness of the reason for that strangeness and third, a mobilization of individuals as a result of that awareness.”
― Jacques Rancière, Dissensus: On Politics and Aesthetics
108
que es disgreement, ranciere
“Disagreement is not the conflict between one who says white and another who says black. It is the conflict between one who says white and another who also says white but does not understand the same thing by it.”
― Jacques Ranci
109
what makes participatory art, unique, matarossa
at least two ways in which participatory art is unique, and in that uniqueness, different from work made in the fine art tradition. they are, first, the fusing of professional and non-professional cre- ativity and, second, the balance between process and product.
110
tips de body language
mostrar manos,
no cubrir organos
no manos en podio
111
importancia de lenguaje verbal, ejemplo...
how to be smart at TED talk
112
que decía Rothko de cuando acabar su obra
"I can't recognize myself any longer in this particular painting, and therefore I must take it up again. I am forced to continue working on it... When I recognize myself in a work, then I realize it's completed."
113
certainties of art theory
3 preguntas...
comic
1. cultural artefacts are made
2. contemporary creators and viewers have an attitude = theory of art
3. mirar atrás... theory of the history of art
4. el punto 3 afecta
what do it means? who is an artist? good and bad?
114
que relaciones cambiar segun Fraser... e relacion a etica y dominacion
The relations I might want to transform may be relations in which I feel myself to be dominated, or they may be relations in which I feel dominant. The ethical dimension of the imperative of site specificity, however, pertains entirely to my status as dominant
115
sobre etica y que rigue alain badiou
deisgnates a principle that govern how we rela to whats going on
116
Renzo, problema con lo participativo
“I don’t want art to be this place where a group of people who already have
everything they need then get fed with beautiful fairytales about how great we are
staging beautiful collaborative projects here and there. I think that’s a farce, I think it
obscures what the ruling dynamics in this world are, and I see it as my task to show
what these ruling dynamics are.” – Renzo Martens
117
Renzo on empathy
“empathy as a reaction allows you not to see their suffering and your agency to look
at that suffering. It allows you to not put it on the same map, as if it belongs to
another world.” - Renzo Martens
118
Renzo on activism
I'm an activist in the sense of activating ideas. Most art activism feeds on real problems and crises, taking people's hopes, energy, ambitions, and transforming these into a spectacle that doesn't challenge anything. Since it doesn't take responsibility for the fact that it's based on privilege, and only possible through privilege, it doesn't even try to create validity outside of the art world. This is something I want to work with. [...]
119
ethics of aesthetics?
The aesthetic condition of ethics
que es Aesthetics?
Not an ethics of aesthetics
Aesthetics of ethics
Aesthetics of social relations, how do ethical relations create aesthetic form
Perceptible, appearance of things
120
Ethics and morals
Morals fixed set of rules how we should live regardless of circumstances
Ethics
No fixed, aristotle
Dynamic system to maximize common good, a virtuous life
Moral, no mates
Ethics, basis for anylisis de una situación itself
121
Badiu on ethics and moral, situation
Morales reflexive action, ajena
Ethics immediate, particular no abstract (HR)
Imanente a situación
122
Is ethics relativism?
No, maximize common good y acting in a virtuous manner
123
Norwich (2008: 1) ‘dilemmas of difference
This is the predicament, having to choose between emphasising similarity or dissimilarity amongst
the learners they serve.
If we emphasise similarity, we facilitate integrated educational settings,
strengthen pursuit of a common curriculum and increase recognition of every human being’s right
to learning and development. This sense of communality, however, may not help us to provide
distinctive help for individuals or for specific groups based on actual need.
if we emphasise difference, we may be able more readily to access specialist support and pursue differentiated approaches in order to make learning successful, but can then find ourselves having to segregate some learners from others in order to accomplish this.
While Norwich’s main focus is on
children with special educational needs and disabilities, the dilemma is applicable much more
widely:
whether to recognise differences or not to recognise them, ‘as either option has some negative implications or risks associated with stigma, devaluation, rejection or denial of opportunities’
124
Estructura de letter de apoyo en la escucha
Siempre he apreciado, espero me perdone
Love about you... Gracias por estar y ser importante
no se preocupe, le deseo, recuerde cuando piense
125
basis of listening, mannix
-no judging.. am i worthy
- silences es cuando pienso, dar informacion es no silencio
- puedo no saber que decir, corazon cuando toque...
- do i really understand...
"parece que.." "si lo entendí bien... estoy bien" (get to that's right), ??, check, ??, summary
check for emotions
no si lo entendí? que he entendido?
nada de soluciones sencillas...
126
mannix, questions
“Helpful questions and prompts to explore the current situation:
Tell me more about …
How do you feel about that?
What else did you think/say/do/feel?
What do you think about that now?
Could we be missing anything here?
Is there something else?”
127
mannix, to move forward questions
“Helpful questions to explore possible ways forward:
Have you had any ideas about what to do next?
Is there something about this that could easily be changed?
Do you have any other information about this situation?
Could there be a different interpretation?
Have you ever dealt with a problem like this in the past? What did you do? Can you apply any of that experience here?
If a friend had a problem like this, what would you advise them?”
128
Brancusi en la simplicidad
Es la complejidad resuelta
Simplicity is not an end in art, but we usually arrive at simplicity as we approach the true sense of things
129
Como aprender el Color, Rothko
Trabajando el color, y mas allá
Learn by doing
130
Al leer una obr ao lectura.. Que principios está chido
Active listening...
131
Why art not social practice
Que debe significar
Aesthetic manifestation of the ethical dimension
It's proposed modification to the social contract, with the artwork as signification
Aesthetic implications of the modification, not if the artwork makes it a social program
132
Duchamp on arts etymology
The word 'art' interests me very much. If it comes from Sanskrit, as I've heard, it signifies 'making.' Now everyone makes something, and those who make things on a canvas with a frame, they're called artists. Formerly, they were called craftsmen, a term I prefer. We're all craftsmen, in civilian or military or artistic life.
133
ranciere, distribution of the sensible
established rules de lo que se puede producir, hacer, decir, sentir y pensar
system of self-evident facts
of sense perception that simultaneously discloses the existence of
something in common and the delimitations that define the respective
parts and positions within it. something common that is shared
and exclusive parts.
Politics revolves around what is seen and what can be said about it,
around who has the ability to see and the talent to speak, around the
properties of spaces and the possibilities of time
ej. citizen puede participar en el acto de gobierno, quién es citizen
134
podemos determinar lo que hay que ver en ellas
cuál es la tarea de la poetica de la imagen
andrea soto
Además, desde la perspectiva de quien las percibe, percibir es siempre percibir más y menos de lo que se ve, las interpretaciones semánticas del contenido visual siempre las hacemos a partir de nuestra propia historia, de lo que ha configurado nuestra manera de sentir, pensar y ver,
por lo que tampoco nos ayuda intentar determinar qué es lo que hay que ver en ellas.
La tarea de una poética de la imagen es inventar en un medio del arte una nueva imagen e impulsar alianzas para perpetrar el movimiento de sus relaciones.
Soto Calderón, Andrea. La performatividad de las imágenes (Spanish Edition) (p. 73). Ediciones metales pesados. Kindle Edition.
135
Que es terapia
Que es terapia artistica
Proceso por el cual se busca producir un cambio ante un desequilibrio mental
Uilizaer el arte en un proceso o entorno terapeutico
136
Ethics and politics
Ethics and status quo. Levinas
Politics without ethics, is blind
Ethics is disturbance of the status quo
137
infinite responsibility
quién la merece? o bajo que condiciones?
In his view, infinite responsibility arises immediately and unavoidably upon the contact with another human face.
we don’t even need to know anything about the Other in order to feel infinitely responsible toward them. In the ethical demand that arrests us, we feel their needs and rights becoming our obligations, starting with the most basic, material ones and never really ending.
If the Other is hungry, we must feed them, if they’re naked, we must clothe them and assuage any other need they might have, bearing in mind these needs are sacred simply because they are our neighbor’s. The ethical moment of responsibility toward the Other precedes any philosophical discourse, and more fundamentally, it precedes our freedom and our choices. Responsibility comes before anything else; it is the essence of our subjectivity and a constitutive, inescapable part of our being. To be is to be responsible.
This responsibility is not reciprocal at all, in fact it is, and should be, profoundly imbalanced. Levinas is fond of quoting Dostoevsky's Alyosha Karamazov when he says “We are all responsible for everyone else—but I am more responsible than all the others.’’
138
cómo manejar lo infinito de Levinas, Critchet
The ability to laugh at one’s tragic imperfections offers soothing lucidity; in a somewhat counterintuitive way, humor assuages guilt and anxiety by heightening one’s awareness of them. In humor, “ethical experience is both staged and assuaged”
Critchley confesses the problem with Levinas is that his ethical demand is just too extreme and too infinite. Levinas needs humor for his points to hit home. Otherwise all he’s doing is exposing his readers to a traumatic experience too painful to embrace, and a demand too extreme to even keep the subject healthy and functional. He needs the sublimation and ironic distancing of comedy to both communicate the infinite complexity of his ethics, and to prevent it from overwhelming his readers.
In a recent interview, Critchley admits: “In some alternative ideal universe I can imagine a blending of Levinas with Stewart Lee.“
139
what is true decolonization
True decolonization is more than simply placing Indigenous or previously colonized people into positions held by colonizers. Decolonization includes the reevaluation of the political, social, economic and judicial structures themselves and the development, if appropriate, of new structures that can hold and house the values and aspirations of the colonized people.
– Poka Laenui in “Processes of Decolonization”
140
Godard on political art
Not do it.. But do art politically
141
Thomas hishhorn, art politcally
Where do I stand... Where do I stand, what I want
4 spheres love, philosophy, politics, aesthetics
142
Thomas hish on form
Not make a form,, but give form
That stands facts, takes a stand, resists
143
por qué la condición número 3 de la eterna paz, EKant
derecho a no ser tratadxs violentamente si no con hospitalidad, visitation and resort
All men are entitled to present themselves thus to society in virtue of their right to the common possession of the surface of the earth, to no part of which any one had originally more right than another;
and upon which, from its being a globe, they &unot scatter themselves to infinite distances, but, must at last bear to live side by side with each other.
144
mediterraneo, situación
IOM reveal that since 2000, more than 45,000 migrants have drowned, mostly in the Mediterranean. As a recent report observes, “[t]his is despite the fact that this stretch of water is the most heavily surveyed and among the most tranquil in the world.”148
145
regimes del arte
ethical, el arte en relación a su función, no darle poder
representacional, Art is granted its own sphere with its own rules, and elevated above those of common craft. Politically, this second way of thinking about art objects corresponds to the bourgeoisification of the artist, his transformation into a figure with his own freedom and independence,
estético, en su singularidad, rompe jerarquías, el arte influye en la vida?
146
que son las imagenes intolerables
The intolerable images of political art are displaced by fictions that disrupt or break the ideological framing and interpretations of the surfeit of images in capitalist societies that generate new possibilities of what can be seen, said and thought.
147
que critica ranciere de la linea logica de las imagenes
que logran las imagenes politicamente
qué condición
“ It was generated by the disappointed belief in a straight line between perception, affection, comprehension and action.
Renewed confidence in the political capacity of images assumes a critique of this strategic schema.
The images of art do not supply weapons for battles. They help sketch new configurations of what can be seen, what can be said and what can be thought and, consequently, a new landscape of the possible.
But they do so on condition that their meaning or effect is not anticipated.”
148
cuál es el pago de la modernidad, mignolo
coloniality
149
Originarios, yasnaya
[3/4 12:53 p. m.] LUIS L: Los pueblos indígenas no somos la raíz de México, somos su negación constante. Esto de ser las raíces de México es despolitizarnos, usarnos para justificar algo en lo que nunca participamos, es decir, crear el Estado. Por eso somos una negación”
[3/4 12:54 p. m.] LUIS L: Pocas veces se nos ve como agentes políticos. Somos usados como una reserva folklórica que justifica cultural y espiritualmente al Estado mexicano”
150
Yasnaya, indigena
“Siento que hay una relación compleja con la palabra indígena”, cuenta Aguilar, lingüista, ensayista y uno de los secretos mejor guardados de las letras mexicanas. “Tiene mucha carga, aunque es verdad que la palabra indio tiene más. Indígena es la versión políticamente correcta de indio. La incomodidad tiene que ver con el hecho de ser categorizado como indígena por los Estados nacionales”.
Mixes y todos los demas
151
Adorno sobre el arte moderno y la utopia
Mimesis and rationality complete each other but they are not a harmonious pair; tensions and contradictions exist between them.
“Dissonance is expression,” whereas harmony always tends to calm down expressivity. The endeavour of beauty has a similar effect. The attempt to make beautiful semblances or illusions is in complete opposition to what Adorno regards as artistic expression in the proper sense of the word.
Since the social conditions are negative, modern art may be ugly and may contain dissonances and compulsive elements. Art is capable of maintaining the possibility of a better life only as its inverse. In Adorno’s aesthetics, this reflects the difference between classicism and modern art. If classical art attempted to render harmony with beautiful semblances or illusions, modern art breaks such semblances.
Modern art does not, however, represent the ugly as such. The mimetic impulse transforms the ugly and displeasing feelings into ciphers, symbols and hieroglyphs that help to maintain an inverse picture of the corrupted world. Adorno means that rather than attempting to make an illusion of a better world, a utopia, art should refer to its possibility with an inverse picture, a negative utopia:
“Art is no more able than theory to concretize utopia, not even negatively. A cryptogram of the new (art) is the image of collapse: only by virtue of the absolute negativity of collapse does art enunciate the unspeakable: utopia. In this collapse all stigmata of the repulsive and loathsome in modern art gather. “
“In the image of catastrophe, an image that is not a copy of the event but a cipher of its potential, the magical trace of art’s most distant prehistory reappears under the total spell, as if art wanted to prevent the catastrophe by conjuring up its image.” (AT, 32 – 33.)
152
venus in two acts, dark times
what stories do we tell in dark times?
153
haraway, what matters (think, stories)
“It matters what we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.
154
Relation self and other
Bonds are infinite
The gaps as well
155
What fears the self
Otherness, thinking it will overwhelm it and cease
Yet it is the other alone that compels the self
156
adversary, mouffe
somebody whose ideas we combat but whose right to defend those ideas we do not put into question’, a ‘legitimate enemy’
with whom ‘we have a shared adhesion to the ethico-political principles of liberal democracy: liberty and equality’, ‘This is the real meaning of liberaldemocratic tolerance.’ "
157
sadiya, problemas de posicionalidad en narrativa de slave
the problem of craft-ing a narrative for the slave as subject, and in terms of positionali-ty, asking, "Who does that narrative enable?"
That's where the whole issue of empathic identification is central for me. Because it just seems that every attempt to emplot the slave in a narrative ulti-mately resulted in his or her obliteration, regardless of whether it was a leftist narrative of political agency — the slave stepping into someone else's shoes and then becoming a political agent — or whether it was about being able to unveil the slave's humanity by actually finding oneself in that position.
158
minh-ha, on the silent and signification
The silent common people-those who -have never expressed themselves" unless they are given the opportunity to voice their thoughts by the one who comes to redeem them-are constantly summoned to signify the real world.
159
minh-ha on needs
first create a need, then help...
160
minh-ha on reality
Reality is more fabulous, more maddening. more strangely rnanipuiative than fiction.
161
documentary cámaras y consecuencia
A documentary film is shot with three cameras: 1- the camera in the technical sense; 2) the filmmaker's mind; and 3 the generic patterns of the documentary film, which are founded on the expectations of the audience that patronizes it. For this reason one cannot simply say that the documentary film portrays facts. It photographs isolated facts and assembles from them a iii1m-ent set of facts according to three divergent schemata. All remaining possible facts and factual contexts are excluded.
The naive treatment of documentation therefore provides a unique opportunity to concoct fables. In and of itself, the documentary is no more realistic than the feature film (Alexander Kluge).
162
minhha and camera
empty center,
akward moments,
unique aspects without being total view,
camera enables encounter
163
minh-ha, approach to the flower
not the shape, or color, the aroma...
mapuche (savila)?
such as Derrida, Delida, etc
164
saidiya hartman
que orden de violencia podemos imponer en las personas
Relación con pensamiento de Mignolo
My account replicates the very order of violence that it writes against by placing yet another demand upon the girl, by requiring that her life be made useful or instructive, by finding in it a lesson for our future or a hope for history. We all know better.
It is much too late for the accounts of death to prevent other deaths; and it is much too early for such scenes of death to halt other crimes.
But in the meantime, in the space of the interval, between too late and too early, between the no longer and the not yet, our lives are coeval with the girl’s in the as-yet-incomplete project of freedom. In the meantime, it is clear that her life and ours hang in the balance.
165
Ranking writing about slavement, intention of empathy, Saidiya
In order to convince the reader of the horrors of slavery, Rankin must volunteer himself and his family for abasement. Put differently, the effort to counteract the commonplace callousness to black suffering requires that the white body be positioned in the place of the black body in order to make this suffering visible and intelligible.
166
empathy, Saidiya
empathy is a projection of oneself into another in order to better under- stand the other or "the projection of one's own personality into an object, with the attribution to the object of one's own emotions."
167
frontera vertical, aida silva
no solo desplazamiento,
vertical
oficial inm
extraoficial narco
168
minh-ha speaking nearby in difference for and about
Oppositions, finite
“The process of differentiation, however, continues, and speaking nearby or together with certainly differs from speaking for and about. The latter aims at the finite and dwells in the realm of fixed oppositions (subject/ object difference; man/woman sexual difference), ”
169
minh-ha cotton, tale functions
And, depending 01'1 who constitutes its audiences. the story can open onto the fantastic World of the imagination; It can offer a pleasant pas- time; or it can engage the listener in a revelatory spirituaUphilo- sophical journey across Fulani ethics and cosmology. I am there- fore at the same time useless, useful. and instructive.
The mediator- storyteller, through whom truth is summoned to unwind itself to the audience. is at once a creator, a dehghter. and a teacher.
170
porno miseria, key points
"la explotación que hay detrás del cine miserabilista que convierte al ser humano en objeto, en instrumento de un discurso ajeno a su propia condición."
"si la miseria le había servido al cine independiente como elemento de denuncia y análisis, el afán mercantilista la convirtir en válvula de escape del sistema mismo que la generó,"
El cine independiente colombiano tuvo dos origenes, Uno
que trataba de interpretar o analizar la realidad y otro que
descubria dentro de esa realidad elementos antropológicos y culturales para transformarla.
la miseria se convirtió en tema impactante y por lo tanto, en mercancía. facilmente vendible, especialmente en el exterior, donde lamiseria es la contrapartida de la opulencia de los consumidores, si la miseria le había servido al cine independiente como elemento de denuncia y análisis, el afán mercantilista la convirtir en válvula de escape del sistema mismo que la generó,
Este afán de lucro no permitía un método que descubriera nuevas premisas para el análisis de la pobreza sino, que, al contrario, creó esquemas demagógicos hasta convertirse en un género que podriamos llamar cine miserabilista o porno-miseria.
Estas deformaciones estaban conduciendo al cine colom-
biano por una via peligrosa pues la miseria se estaba presentando como un espectáculo más, donde el espectador podía lavar su mala conciencia, conmoverse y tranquilizarse. AGARRANDO PUEBLO la hicimos como una especie de antidoto o baño maiacovskiano para abrirle los ojos a la gente sobre la explotación
que hay detrás del cine miserabilista que convierte al ser
humano en objeto, en instrumento de un discurso ajeno a su propia condición.
171
Agamben y DDHH
Pareciera que pesa mas el derecho que lo humano, para tenerlos hay que ser ciudadanx
172
Necropolitics, expression of sovereignty. Mbembe
Ultimate expression, in the power and capacity to dictate who may live and who must die
173
Death worlds, mbembe
Social existance in which vast populations are subjected to conditions of life conferring upon them the status of living dead
174
Manifiesto antropofago, Andrade
In the manifesto, Andrade draws on metaphors, aphorisms, and sixteenth-century travelers’ accounts about the supposed cannibal activity of native Brazilians who “de-voured” their enemies in order to obtain their strength and valor. Yet he does so in order to argue that one had to “swallow” European cultural legacies and “digest” them in order to create an entirely new and original Brazilian culture—a synthesis of the colonized and the colonizer, the barbarous and the modern
This artistic and literary movement first emerged in São Paulo, Brazil, in the early 1920s, where a group of intellectu-als embraced European cultural trends like cubism and futurism but also sought to transform them into something authentically Brazilian.
175
Fiorini, de dónde nace la creación, qué conlleva
Fiorini sostiene que hay un empuje del psiquismo creador contra la “amenaza capturante” de las formas ya establecidas, lo conocido. Considera este empuje como pulsional, que apunta a desorganizar lo establecido para explorar en nuevos espacios desconocidos. Esta tensión entre lo dado y lo desconocido es la lucha que se produce en el interior del psiquismo, es la dinámica creativa. (Fiorini H. 1995)
La creación implica un atravesamiento de límites, una transgresión que provoca ansiedad y a la vez placer. Placer por esa experiencia de liberación que supone lo nuevo, angustia por ese estremecimiento que provoca el caos, un cierto vértigo, un cierto vacío. Según creo podríamos hablar de vacío en el sentido de espacio en blanco, espacio muy metafórico que lo sugiere el papel en blanco.
176
Example of instrumentalization, cocacola
Ad to sell on liberation from work
Is dead...
Or preach to the converted
177
bruno latour, migrantes internos y externos...
"the migrants from outside who have to cross borders and leave their countries behind at the price of immense tragedies, we must from now on add the migrants from inside who, while remaining in place, are experiencing the drama of seeing themselves left behind by their own countries.”
178
Si todo es necropolitica,
Ya nada lo es,
179
Derrida y lo imposible
POSIBILIDAD (IMPOSIBLE) DE LO IMPOSIBLE
180
Why the world fears refugees, bauman
proud in society, educated..
they meet the precariat, lives by anxiety and fear, precarite, walking on moving sands
they embody all of our fears
181
orientalism?
The term orientalism denotes the exaggeration of difference, the presumption of Western superiority, and the application of clichéd analytical models for perceiving the "Oriental world".
182
subcomandante marcos, que escuchamos
¿Escucharon? Es el sonido de su mundo derrumbándose. Es el del nuestro resurgiendo. El día que fue el día, era noche. Y noche será el día que será el día
183
intelectualidad fragil
texto superior al video, alta cultura, selfies, arte popular, comerical
184
yumi sakugawa
creatividad is less about doing and more about receiving and allowing
185
angela davis, justicia
imperativo de que las personas puedan florecer
186
re-existencia, adolfo albán
the mechanisms that human groups implement as a strategy of questioning and making visible the practices of racialization, exclusion and marginalization, procuring the redefining and re-signifying of life in conditions of dignity and self-determination, while at the same time confronting the bio-politic that controls, dominates, and commodifies subjects and nature.
187
deBois sobre las voces
“demands responsibility and the willingness to take many perspectives, particularly the perspectives and points of view of those whose very existence is questioned and produced as dispensable and insignificant.”
188
shifting border, Ayelet Shachar, central argument of no humanitarian congruence
we dont help at point of departure, we make you go through sea, desert, and war zones
unlinke Canada in 2015
189
shifting border as to US
100 miles inward, 2/3 of population live.... no constitution zones
190
what is art, danto
The embodiment of ideas or, I would say, of meanings is perhaps all we require as a philosophical theory of what art is.
Today art can be made of anything, put together with anything, in the service of presenting any ideas whatsoever. Such a development puts great interpretative pressures on viewers to grasp the way the spirit of the artist undertook to present the ideas that concerned her or him.
191
como son los actos de hospitalidad, derrida
An act of hospitality can only be poetic." -Jacques Derrida
192
cómo escribe Derrida...
cómo si fuera un crimen,
se desnuda
le da miedo, cómo lo hice
193
Que hacen los malos y buenos poetas, ts Eliot
Los poetas inmaduros imitan, los poetas maduros roban, los malos poetas desfiguran lo que toman, y los buenos poetas lo convierten en algo mejor, o al menos en algo diferente. El buen poeta integra su robo en un todo de sentimiento que es único, patentemente distinto de aquello de lo que fue arrancado; el mal poeta lo estampa en algo que no tiene cohesión. Un buen poeta tomará prestado generalmente de autores lejanos en el tiempo, o extranjeros en la lengua, o de intereses diversos.
194
talento... y obra arriaga
a ver haslo como messi.....
195
como dirige almodovar a sus actrices y actores
el hace todo,,, mujeres, ninxs, sexo
196
etnographic allegory
Ethnographic allegory also refers to the process by which individuals are abstracted into general social patterns; individual subjects become representative of cultural practices and even "human" principles.
197
Hospitality to Derrida
"Let us say yes to who or what turns up before any determination or anticipation, whether or not it is to do with a foreigner, an immigrant, an uninvited guest, an unexpected visitor. Whether or not this new arrival, visitor, is the citizen of another country, human, animal or divine, a living or dead thing, male or female."
198
Fanon, respond to otherness
a first
lesson in racism from Frantz Fanon, a lesson where we
confront in that moment that someone points at our
Otherness and says, "look" (Fanon, 1994).
199
Joan didion on stories
We tell stories to live
200
que es study para Fred Moten
study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible conver- gence of all three, held under the name of speculative practice.
sort of sociality.That’s all that it is.’B+ intelectuallity present
y el disagreement con el térnico
201
cómo emerge la coalición
The coalition emerges out of your recognition that it’s fucked up for you, in the same way that we’ve already recognized that it’s fucked up for us. I don’t need your help. I just need you to recognize that this shit is killing you, too, however much more softly, you stupid motherfucker, you know?
