segunda-feira, dezembro 08, 2014

"Concerning Violence"

The powerful new film from Göran Hugo Olsson, director of The Black Power Mixtape, is a fresh and bold visual narrative, documenting the liberation from colonial rule in the ‘60s and ‘70s in Africa. Working with recently discovered archival footage, the film depicts some of the most daring moments ever captured during the anti-colonialist struggle. Drawn from Frantz Fanon’s still-evocative and searing text “The Wretched of the Earth” and narrated by the socially engaged singer Lauryn Hill, CONCERNING VIOLENCE is a striking and emotionally resonant cinematic essay, which confronts the dehumanizing mechanisms of colonialism of the past to illuminate the urgent need for change in the present. 


...We should flatly refuse the situation to which the Western countries wish to condemn us. Colonialism and imperialism have not paid their score when they withdraw their flags and their police forces from our territories. For centuries the capitalists have behaved in the underdeveloped world like nothing more than war criminals. Deportations, massacres, forced labor, and slavery have been the main methods used by capitalism to increase its wealth, its gold or diamond reserves, and to establish its power. Not long ago Nazism transformed the whole of Europe into a veritable colony. The governments of the various Europan nations called for reparations and demanded the restitution in kind and money of the wealth which had been stolen from them: cultural treasures, pictures, sculptures, and stained glass have been given back to their owners. There was only one slogan in the mouths of Europeans on the morrow of the 1945 V-day: "Germany must pay." Herr Adenauer, it must be said, at the opening of the Eichmann trial, and in the name of the German people, asked once more for forgiveness from the Jewish people. Herr Adenauer has renewed the promise of his people to go on paying to the state of Israel the enormous sums which are supposed to be compensation for the crimes of the Nazis.


In the same way we may say that the imperialist states would make a great mistake and commit an unspeakable injustice if they contented themselves with withdrawing from our soil the military cohorts, and the administrative and managerial services whose function it was to discover the wealth of the country, to extract it and to send it off to the mother countries. We are not blinded by the moral reparation of national independence; nor are we fed by it. The wealth of the imperial countries is our wealth too. On the universal plane this affirmation, you may be sure, should on no account be taken to signify that we feel ourselves affected by the creations of Western arts or techniques. For in a very concrete way Europe has stuffed herself inordinately with the gold and raw materials of the colonial countries: Latin America, China, and Africa. From all these continents, under whose eyes Europe today raises up her tower of opulence, there has flowed out for centuries toward that same Europe diamonds and oil, silk and cotton, wood and exotic products. Europe is literally the creation of the Third World. The wealth which smothers her is that which was stolen from the underdeveloped peoples. The ports of Holland, the docks of Bordeaux and Liverpool were specialized in the Negro slave trade, and owe their renown to millions of deported slaves. So when we hear the head of a European state declare with his hand on his heart that he must come to the aid of the poor underdeveloped peoples, we do not tremble with gratitude. Quite the contrary; we say to ourselves: "It's a just reparation which will be paid to us."

read the Full text of "Concerning Violence,"


quinta-feira, novembro 27, 2014

The Net is Not a Tool, It’s an Environment / Franco "Bifo" Berardi

For instance, in The Political Power of Social Media Technology, an essay published in Foreign Affairs in February 2011, Clay Shirky argues that:

'As the communications landscape gets denser, more complex, and more participatory, the networked population is gaining greater access to information, more opportunities to engage in public speech, and an enhanced ability to undertake collective action'.


The Paradox Of Media activism | The Net is Not a Tool, It’s an Environment 
(Franco "Bifo" Berardi November 2012)

sexta-feira, novembro 21, 2014

on performing the medium... (Notes/drafts)

An alternate operational entity that is spatially distributed but electronically connected. -- "Zombies&Cyborgs" Sterlarc

(...) Studying the dramaturgy of a tele-shared fictional or documentary action, intends the comprehension of an alternative space for action (also understood as performativity) where - as in Sterlarc's words - connectedness is bound in electricity becoming the core of every situation created; from the digital lonesomeness of the individual to the maximum collective reach, including every spectator/agent/user present in the network.

"In “Host Diary”, we use systems of telepresence and telematic control to produce the fiction that there is a space open all day to the arrival of others. In particular, the artwork raises the question through the “permissions” that mediate all hosting relationships. What is the guest allowed to do?"
-- Intact's project for CultureHub's REFEST'14 Art&Technology Festival

The output or product is defined by the medium itself and the agency we can have upon it. The only decision left ranges from fiction to non-fiction. Like in a site-specific production of theater, dance or performance work, the site specific here is the medium itself and everyone can be invited to take part, where all are qualified as fundamental along with the timeless and extended medium/site; that is contiguous across combined architectures and multiple 1's.  (...)

sexta-feira, outubro 31, 2014


To communicate means to try to establish a unity, to make one of many; this is what the word communion means. In one way or another, something is always missing from the communion sought by humans, driven by the feeling that solitude is impotence itself. We must necessarily risk our lives: this implies entering into a movement connecting ourselves to other humans who are similar to ourselves. This is absolutely necessary for the life of the flesh.
We would die quickly if we had not taken care to insert ourselves into a system of economic exchanges…

Georges Bataille, The Unfinished System of Non-Knowledge

terça-feira, setembro 09, 2014

Uncovering Ctrl: Teknokultura: "Vigilancia global y formas de resi...

Uncovering Ctrl: Teknokultura: "Vigilancia global y formas de resi...: De vuelta. Nuevo curso y nuevos proyectos... Empezamos con buen pie. el monográfico de Teknocultura Vigilancia global y formas de resi...

segunda-feira, agosto 04, 2014


When I was a kid,
I thought that snails changed shells.
I thought it was a beautiful idea,
changing your home, your exterior.
The idea that your body
wasn't linked to who you are.

I actually believed that
up to now.
I never realised that all those
empty shells were dead snails.

sexta-feira, julho 25, 2014

Cut! Reproduction and Recombination (A Kiss)

A Kiss

But there is an alternative interpretation.
Let's take a look at a differently postproduced image of cut and censored bodies. In the film 'Cinema Paradiso' (1988), a man watches a film roll made from the parts that a projectionist had to censor from fiction films. The result is a reel made of kisses that were too provocative to be shown in public, as they jeopardize ideas from family, property, race, and nation sustained by sexual norms and restrictions.
A reel of ousted kisses. Or is it the same kiss passed on from take to take across different protagonists? A kiss that replicates, travels, spreads, uncontrollably; a kiss that creates vectors of passion and affect, of labor, and, potentially, violence?
A kiss is an event that is shared and consists precisely of sharing, exchanging, and happening in between bodies. It is an edit articulating affect in ever-different combinations. It creates new junctions and forms between and across bodies, a form that is ever shifting and changing. A kiss is a moving surface, a ripple in time-space. Endless reproduction of the same kiss: each one unique.
A kiss is a wager, a territory of risk, a mess.
The idea of reproduction condensed into a fleeting moment. Let's think of reproduction as this kiss, which moves across cuts, from shot to shot, from frame to frame: linking and juxtaposing. Across lips and digital devices. It moves by ways of editing, exquisitely flipping around the idea of the cut, redistributing affects and desire, creating bodies joined by movement, love, pain.