Re-visiones (E-Journal)
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The Energy-Image: Towards a Revised Conception of the Image
No full textThe properties of the image in contemporary communication circuits are increasingly linked to a very specific material context, from the fossil fuels on which it depends, the fibreoptic cables and data centres through which it travels, to the devices that produce and reproduce it. Through the term “energy-image”, I appeal to the finiteness of that which, despite being intangible, has a very precise environmental impact, in order to critically understand the complexities that surround the visual today. This image is increasingly accelerated, and it has broken with the linearity of its production to be recombined again and again into electricity, heat, light - but never detached from its ideological, colonial and capitalist heritage
For Forest, o el bosque que no deja ver el árbol
No full textEl 8 de septiembre de 2019, el “mediador independiente internacional de arte contemporáneo” Klaus Littmann inauguró For Forest. The Unending Attraction of Nature en Klagenfurt (Austria), una insta-lación de arte monumental de casi trescientos árboles sobre el estadio principal de la ciudad, el Wörthersee-Stadion, que fue acompañado de una serie de eventos culturales. El proyecto, que to-maba como punto de partida un dibujo de 1970-71 de Max Peintner y se anunciaba con ambiciones ecológicas, aprovechó tanto condiciones y necesidades institucionales de lo más diversas, como vínculos corporativos de dudoso compromiso social. El siguiente texto expone estas circunstancias en detalle para confrontar los aspectos centrales de la obra de Littmann a un marco metodológico de heterodoxia marxista en relación al bosque, la tierra, la desposesión y la explotación. Al explorar los imaginarios culturales y estéticos contenidos en For Forest, el artículo indaga en cómo estas características pueden resultar instrumentales al idealismo universal y ahistórico dominante, así como funcionales a las posiciones político-económicas hegemónicas que le dan forma
Apocalypse-Calipso
No full textEste ensayo visual es un mash-up de ilustraciones, una crítica cultural compuesta por una concatenación no narrativa de remakes a rotulador de portadas de discos y revistas, fotos de prensa, postales, anuncios y carteles de cine, todos ellos provenientes de las décadas de los 60, 70 y 80, que toma Benidorm como paradigma de la construcción masiva y de la transformación cultural y visual desde el tardofranquismo hasta el s. XXI. El recorrido gráfico conceptualiza un imaginario extractivista que analiza los cambios entre imagen, cultura y petromodernidad derivados del turismo, la globalización, el consumo masivo y el auge lo desechable, el imperio del souvenir y de lo kitsch, o la estética pop y del parque temático, en un entorno cada vez más artificial y menos sostenible. El juego etimológico entre apocalipsis y Calipso (género musical caribeño y ninfa hija del titán Atlas que reinaba en la isla de Ogigia, y hermana por tanto de las Hespérides, las Híades y las Pléyades), propicia, in crescendo, una reflexión entre lo velado y lo revelado, el bikini y el topless, lo idílico y lo contaminado, a través de la profecía retro-futurista de una catástrofe natural acuática pop.Este proyecto es una deriva, en tiempos del COVID-19, de nuestra serie Follarse la Ciudad vol III: We love Benidorm
Feeling-Thinking with the Land. Transitions: Transatlantic bridges for designing networks between Souths and Norths
No full textThis text seeks to invert the established logic in the hierarchies of knowledge, and it argues that the proposals of some social movements (of and for indigenous and Afro-descendent people, environmentalists, campesinos and women), regarding matters of land and territory, are in fact at the cutting-edge of current thinking on these issues (and other issues too, such as food autonomy and alternative models for development), and are not relics of the past, nor romantic expressions that reality will duly unpick. With this as the starting point, I suggest the creation of something which, for now, I refer to as a space for thinking about transitions. More than a “center” or a “school”, the notion of a space (which is widely used in the fields of art and design, giving it thus a somewhat more open and experimental feel) implies the creation of a platform (or perhaps an “ontology”, as this concept is understood in the digital field, as well as in the so-called semantic web) for the construction of thinking, research and praxis for the transitions to the pluriverse. One of the objectives of this space would be to contribute to the creation of lexicons for these transitions, and encourage a perception of design as a critical praxis for them (ontological design)
Notes on a graphic journey
No full textThis visual essay offers a journey through a series of posters made for campaigns in defense of the environment and the land, led by indigenous and farming communities, as well as environmental organizations, in Ecuador’s Amazonia region and other parts of Abya Yala, since 2009. Specifically, they represent acts of resistance to fossil fuel drilling and mining campaigns carried out by multinational corporations such as Chevron–Texaco, or by economic sectors of the national elites, which have torn apart the region’s eco-social fabric by forcibly displacing its inhabitants and stripping the land of its resources. This overview of the posters likewise reveals the author’s own dynamic understanding of the conflicts, as her perspective shifts from that of doomwatcher to that of situated participant whose practice takes place alongside those who live in this region, with their own culture and worldview. At the same time, the potential of these images is reflected through their reuse by other movements in different geopolitical spheres of Africa and Latin America, forming networks of empathy that have joined together far-flung but like-minded struggles for cultural, economic and environmental difference
Surrealismo, situacionistas, ciudad y Gran Aceleración. Por una psicogeografía del "ahí" en la era de la crisis ecológica.
No full textLa psicogeografía y otros juegos poéticos con el espacio urbano, que surrealistas y situacionistas entendieron como armas de cambio revolucionario, deben ser analizados en sus contextos socioecológicos e históricos específicos. Así, la época canónica de la psicogeografía hay que entenderla en el marco de la realidad metabólica de la Gran Aceleración y su efecto sobre la ciudad, con el paso del carbón al petróleo como centro de nuestra matriz energética. El artículo analiza estas conexiones e indaga en las nuevas realidades socioecológicas que una psicogeografía del siglo XXI debe asumir como punto de partida: la consumación de la ciudad neoliberal y la crisis ecológica de la civilización industrial
Surrealism, situationists, city and Great Acceleration. Towards a psychogeography of the “right there” [ahí] in the era of ecological crisis
No full textPsychogeography and other poetic games with urban space, which the surrealists and situationists understood as weapons of revolutionary change, must be analyzed in their specific socio-ecological and historical contexts. Thus, the canonical period of psychogeography must be understood within the framework of the metabolic reality of the Great Acceleration and its effect on the city, with the transition from coal to oil as the center of our energy matrix. This article analyzes these connections and investigates the new socio-ecological realities that a 21st-century psychogeography must take as its starting point: the consummation of the neoliberal city and the ecological crisis of industrial civilization
All that is solid (melts into air). Extractivism and necrolandscape in northeast Mexico
No full textThrough a set of images taken by Oswaldo Ruiz between 2019 and 2020 in the Monterrey metropolitan area, we seek to investigate the production of landscapes of death. These landscapes often accompany the range of extractive economies that are dedicated to the exploitation of the stone materials in Monterrey’s mountainsides, in a city which has historically been configured to become the industrial capital of Mexico.We propose the term necrolandscape to critically allude to the geological extractive processes that irreparably damage the natural landscape and its lifeforms, causing a death cycle in which nature and territory are reduced to low-cost goods at the service of the interests of big capital. These interests ensure that the same space from which the stone material was extracted is occupied with public and private infrastructure, as seen in the images below. This leads to a deprived landscape of exclusion.
Producing the Commons. Community Weavings and forms of the political
No full textOver the following pages I intend to do the following: first, to provide an overview of the many lines of thought woven into the shared fabric of our work at the Permanent Research Seminar Entramados comunitarios y formas de lo político (“Community weavings and forms of the political”), as part of the Graduate Studies in Sociology Program at the Universidad Autónoma de Puebla’s Social Science Institute. Second, I will methodically present some of the partial syntheses that we have reached as a group. My aim is to give an account of our own process of research and training, which is usually presented in dispersed and fragmentary form because of the academic world’s demands of individual authorship. Here, by contrast, I would like to present in more or less general terms our group’s shared findings and creations
