Re-visiones (E-Journal)
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The three ages of the image
No full textThe three eras of image is the intelectual will of José Luis Brea, one of the most singular, subtle and lucid voices of contemporary thinking. Written in a fair and balanced style, this text accounts for the particular attention to language –not just to the ’what’, but specifically to the ’how’ -that distinguished Brea’s critical project. This concern brings him closer to literature, and lets us state that he was, above all, a ’writer’, since writing was not, for him, just a transparent mean for sharing knowledge, but a place where what wants to be said can be in-corporated. Brea is, in this sense, an “inhabitant of language” who, to use Roland Barthes’ expression, radically transforms the reason of things into how to write them”
Schäuble’s grandmother
No full textWhat rules are we talking about?In an article by Jochen Bittner, a collaborator with the prestigious weekly Die Zeit, published on 18th July, 2015 in the New York Times and titled It’s time for Greece to go, we read that “patience is rapidly wearing thin since the Greeks have shown with the referendum that, according to them, no rule can be considered to be set in stone”. The question of rules is central to the European cultural dispute. Mainly because it is not clear who is establishing the rules
Sobre investigaciones artísticas
No full textReseña: Curating and the Educational Turn. Paul O’Neill y Mick Wilson (Eds.). Londres, Open Editions/De Appel, 2010 Desacuerdos, 6. VV.AA. Arteleku-Diputación Foral de Guipúzkoa, Centro José Guerrero-Diputación de Granada, Museu d’Art Contemporani de Barcelona, Museo Nacional Centro de Arte Reina Sofía y UNIA arteypensamient, 2011 See it Again, Say it Again. The Artist as Researcher. Janneke Wesseling (Ed.), Ámsterdam, Valiz, 201
Crítica(s) de arte. Género, memoria y cultura visual en el primer franquismo (materiales cotidianos, más allá del arte).
No full textLa historiadora del arte María Rosón analiza el valor histórico de la imagen documental como materiales de la posguerra perdidos en el olvido. La cultura del cine y los archivos fotográficos familiares configuran una cultura visual testimonio de la vida cotidiana de la Posguerra española. El libro Género, memoria y cultura visual en el primer franquismo. Materiales cotidianos, más allá del arte aborda la construcción y recepción de las identidades de género en la cultura visual del periodo autárquico en España entre 1938-1953
"Écorces"
No full textDespués de la publicación en 2003 de Images, malgré tout [1], donde se analiza de forma lúcida y minuciosa la compleja relación entre experiencia y representación, Georges Didi-Huberman viaja por primera vez a Auschwitz-Birkenau en junio de 2011: “como tantos otros miles de turistas, miles de peregrinos o las pocas centenas de supervivientes -unos se toman a veces por los otros-, ‘visito’ esta capital del mal que el hombre sabe hacer al hombre” (p. 29)
ISIS desde la ficción oscura de Hollywood
No full text¿Puede la palabra „medieval“ describir a un grupo que está compitiendo con los mejores productores de alta tecnología en el mundo de las imágenes como „Hollywood“? En tiempos de globalización las imágenes juegan un papel relevante en la conformación de opiniones e identidades. Las imágenes de terror que vemos hoy en día publicadas por un grupo que se llama a sí mismo ISIS, son parte de nuestro mundo moderno. Hollywood ha estado generando un nuevo estereotipo de „Oriente“ y de los „musulmanes“ durante décadas y parece haber llegado una versión en vivo de su propio estereotipo. Las imágenes de ISIS tienen mucho en común con las de Hollywood: La calidad de la imagen y las técnicas propagandísticas por un lado, y por otro la adopción de un estereotipo como imagen representativa.La colaboración de Hollywood-Pentágono y/o Hollywood-Washington tiene sus raíces en los inicios de la industria cinematográfica. En muchos momentos críticos de la historia, esta colaboración ha podido remodelar la opinión pública en los EEUU. Esta propaganda ha llegado a su lado más sombrío en el año 2012 con la película La noche más oscura. ISIS, el peor enemigo del mundo hoy en día, es una consecuencia de las peores decisiones tomadas en nuestros tiempos. ISIS representa la imagen oscura del mundo moderno que, por primera vez, estamos viendo mas allá de las producciones de cine hollywoodiense
Total Drift: Theses on Urban Space-Times
No full textThe coordinates of Global ’North’ and ’South’ lose their meaning under conditions of full dislocation of geopolitical tectonic plates. In Bagdad, París, Río, New Orleans, North and South coexist in the same territories. Cities and even whole nations may shift in the Earth’s crust from one day to the next. Detroit, Greece and Spain used to be in the ’North’ and are now in the ’South’. Shifts and cross-hatching are not limited to space, but also occur along temporal planes- unsuspected geometries link past, present and future forms of dispossession and resistance. In fact, in the rhizomatic spacetime of our synchrony-city the past is never dead, it’s not even past; and the future is always already here, only unevenly distributed. As we become Blacks of Different Colours, in a whole neoliberal constellation of new, unevenly disempowered subjectivities of multiple kinds, our hope is symbolised precisely by the Black Jacobins who overcame Homo Sacer’s vulnerability and revolted in Haiti
Artistic Loops in Environment Memory
No full textAt a time when much of our life depends on the satisfactory exchange of networked digital data, socially shared memory could be interpreted as a floating environment of data and procedures to which we only have limited access. Cultural practices and artistic projects operating in this environment, proposing aesthetic positions and activating critical issues. This article shows the concept of environment memory, associated with technological innovations, in the omnipresence of the collective dream that Benjamin links with modernity and cinema. We will address this potential evolution of what we deem to be environmental memory through three fictional narratives, Nineteen Eighty Four, Big Brother and The Congress. In the second part of the paper we elaborate on some dimensions of this environment memory, considering the current folksonomic condition and data circulation on the Internet. And we will focus on some relevant strategies and artistic trends, starting from what we define as loops in the transmission channels and the consumption of resources (Parasite Loop, Interactive estrangement Loop, Infinite reproduction Loop, Prosurfer Loop and Popinternet Loop), which, among other things, seem to question what is proper and improper in what we interpret as environment memory
“To luc a” Who, when and where?
No full textIt is always necessary to look from a specific place, from a body, and from a time shared along with others. Nevertheless, these three points of departure should not be regarded as static landmarks, but as unstable processes in a permanent redefinition