Geopolitics of pimping. Suely Rolnik
critical
response to the emergency
Antropofagia
Strong winds have stirred the territory of art since the early 1990's. With different strategies, from the most distant pamphleteering and artistry to the most strongly aesthetic, such movement of the air time is one of its main targets is the policy of financial capitalism itself is installed on the planet from the final the years seventies, which is governed by processes of subjectification (especially on someone else's place and destiny of the force of creation). The confrontation with this problem area requires the convening of a transdisciplinary view, since there are many overlapping layers of reality, both at the macro-(the facts and ways of life in its external form, sociological) and the micropolitical (the reality forces shaking, dissolving its forms and generating another in a process that includes the desire and subjectivity).
In Brazil, this debate just outlined curiously from the turn of the century, a part of the new generation artists who begins to have public expression at the time, often organized in so-called "collective." Newer still is the local joint movement with the long discussion held outside the country [1]. Today, this type of issue begins even to join the Brazilian institutional setting, in the wake of what has been happening for quite some time abroad, where this movement has become a "trend" in the official circuit [2]. As we shall see, this incorporation refers to the place of art in the strategies of financial capitalism.
of these themes in the realm of art, some questions arise: what do they do there questions like these?, why have they become increasingly recurrent in the artistic practices? With respect to Brazil, why are only now?, What is the interest of institutions to incorporate? I will outline here some prospective pathways of, hoping that they can contribute to confronting these questions.
Before beginning the course of this mapping, we must remember that the emergence of any issue is always produced from problems that arise in a given context through our bodies, causing a crisis of our references. It is the uneasiness of the crisis that triggers the work of thinking, a creative process that can be expressed in a conceptual, visual, musical, film ... or just existential. Whatever the means of expression, we think / believe because something in our lives forces us to do to account for that which is seeking passage in our day to day, nothing to do with the notion of "tendency" of the logic media and prestige. Having understood from this perspective the function of thought, insisting on such topics tells us that politics of subjectivity, in relation to the other and cultural development is in crisis and that, surely, is operating a mutation in these fields. The uniqueness of art as a mode of expression and hence production of language and thought, is the invention of which acquire any body and they performed live on the site. Hence the power transmission and transformation that carries artistic action. By this action, is the world that is at work. No wonder then that art inquire about this and participate in the changes currently operating.
In search of vulnerability
One of the searches you have moved especially artistic practice of anesthesia overcoming vulnerability to another characteristic of the current political subjectivity. And that vulnerability is the condition for the other to cease being merely an object of predetermined image projection and can become a living presence, with which we build our territories of existence and the changing contours of our subjectivity. Now, being vulnerable depends on the activation of a specific capacity of the sensible, which was suppressed for many centuries, remaining active only in certain philosophical and poetic traditions that culminated in the cultural avant garde of the late nineteenth and early twentieth century, they propagated the social fabric in the course of the twentieth century. Neuroscience itself, in recent research, finds that each of our sense organs carries a dual capacity: cortical and subcortical [3].
The first is the perception, which allows us to apprehend the world in their ways and then project onto them the representations we have available, so as to give meaning. This capability, which we are most familiar, is therefore associated with time, to history of the subject and language. With it arise, clearly delineated figures of subject and object while maintaining a relation of exteriority. This ability of the sensory cortex is what allows us to keep the current map representations, so that we can move through a known scenario where things remain in their proper places, a minimum of stability.
subcortical The second capability, which because of its historical repression is less well known to us, we can grasp the world as a condition of the force fields that affect us and make us present in the body in the form of sensations. The exercise of this ability is unrelated to the story the subject and language. With it, the other is a living presence made of a plastic multiplicity of forces that pulse in our texture sensitive, thus becoming part of us and of ourselves. Dissolve Here the figures of subject and object, and what separates them from the world body. Back in the eighties (in a book that has recently been reissued [4]) called "resonant body" to this second capacity of our sense organs as a whole. It is our body as a whole which has this power of vibration on the forces of the world.
Among the body to resonate and ability of perception there is a paradoxical, because these are modes of apprehension of reality that obey logical entirely distinct and irreducible. Is the tension of this paradox that mobilizes and boosts the power of thought / creation, to the extent that the new sensations that are incorporated into our texture sensitive are transmittable by the representations we have. For this reason they throw in crisis and impose our references to the urgency of inventing new forms of expression. Thus we integrate into our body the signs that the world gives us, and through its expression, we incorporate our existential territories. This operation restores a shared reference map with new boundaries. Moved by this paradox, we are continually forced to think / create according to what has already been suggested. The exercise of thought / creation therefore has a power to intervene in reality and to participate in the orientation of its destiny, constituting an essential tool for transforming the subjective and objective landscape.
The weight of each of these two modes of knowledge of the world, and the relationship between them is variable. That is, the place of another and the policy of relationship with him or her. This in turn defines a mode of subjectivity. Are known to change policies subjectification historical transformations as each regime depends on a specific form of subjectivity to become viable in the daily life of each and every one of us and us. It is in this area in which a regime acquires existential consistency and concrete. Thus we can speak of 'political' of subjectivity. However, in the specific case of neoliberalism, the strategy of subjectivity, in relation to the other cultural and creative takes on critical importance, because it holds a central role in the very principle that governs the modern version of capitalism. The fact is that this system is fed primarily - to the point that has recently been described as "cognitive capitalism" or "cultural" [5] - subjective forces, especially those of knowledge and creation. Considering this, I can now propose a mapping of the changes that have taken art to engage with these problems. I will take as its starting point the sixties and seventies.
flexible subjectivity born
Until the early sixties we were under a disciplinary Fordist regime that reached its apex in the triumphant American way of life after the war in the subjectivity was governed by identity politics and his rejection of the resonant body, two aspects are inseparable and that only in so far as to anesthetize our vulnerability we can maintain a stable image of self-activity and the other, or is an identity. Otherwise, we are constantly carried and taken to redesign our own boundaries and territories of our existence. Until that time, the imagination operated mainly by sneaking through margins. The half ended in the sixties and seventies as a result of cultural movements that problematized the current regime, calling for "imagination to power." Such movements put into crisis mode of subjectivity dominant then, dragging along their whole structure collapse of the Victorian family in their Hollywood heyday, for the regime at that time began to lose hegemony. Then created a "flexible subjectivity" [6], accompanied by a radical experimentation with ways of life and cultural building for implosion in the heart of desire, in the way of life "bourgeois" in its political identity, as culture and, of course, his political relation with otherness. In this counterculture created forms of expression that indicates the resonant body affected by the otherness of the world, realizing the problems of his time. The forms thus created tend to convey the manner in which subjectivity enters the forces that shake up the environment. The advent of such forms is inseparable from a self-becoming-other. Moreover, they are the result of a public life in a strong sense: the collective construction of reality which is built permanently from the tensions that destabilize the maps in use.
Today, these transformations have been consolidated. The scenario of our time is different: we are no longer under the regime of identity, subjectivity and politics is not the same. All now have available a flexible and processual subjectivity as it was established by those movements, and our creative force in its experimental freedom is not only well received and welcomed, but is even stimulated, celebrated and often glamorized. However, there is a "but" this is not exactly irrelevant and we can not ignore: at present, the main destination of flexible subjectivity and freedom of creation that accompanies it is not the invention of forms of expression for feelings that signal the effects of the other's existence in our body vibrating. It is by no means creating policy areas - and, implicitly, in relation to the other - that pervades our contemporary: what guides us in this endeavor, in our post-Fordist flexibility is almost hypnotic identification with the images broadcast by the advertising world and mass culture. However (regardless of style or target audience) such images are invariably carry the message that there is paradise, but now in this world and not in an afterlife, and, above all, that some people have the privilege of inhabit. And yet, it conveys the idea that we can be one of these VIPs, enough for it invested all our life energy - of desire, affection, knowledge, intellect, eroticism, imagination, action, etc .-- upgrade in our stock in these virtual worlds of signs through the consumption of objects and services they are proposing. A new rush for the idea of \u200b\u200bparadise Judeo-Christian religions, which implies a rejection of the vulnerability to another and the turmoil it brings, and, indeed, a disregard for the fragility that there necessarily occurs. In other words, the Western idea of \u200b\u200bparadise promised corresponds to a rejection of life in nature inherent momentum of continuous creation. In its land, the capital has replaced God in the role of guarantor of the promise, and the power that makes us worthy became consumption: this is the fundamental myth of advanced capitalism. Given this, it is at least wrong to consider that we lack in contemporary myths: it is precisely through our belief in religious myth of neoliberalism that the image-world that this regime produces become reality in our own stocks.
flexible subjectivity comes to cool
In other words, the "cognitive capitalism" or "cultural", invented specifically as a solution to the crisis caused by movements the sixties and seventies, incorporated the modes of existence they invented and appropriated the subjective forces, especially the power of creation at that time was emancipated in the social effect put in power. However, we now know that this is a micro-operation that is to make this power the main fuel for his insatiable hypermachine production and accumulation of capital, to a point where one can speak of a new class of workers who some authors call "cognitariat [7]. It is this force, and prettier, which at an exponential rate is transforming the planet into a gigantic market and its inhabitants into zombies or rags hyperactive including human excluded: two poles between which outlines the targets allocated to them, interdependent fruits of the same logic. That's the world that imagination creates in the present. It is hoped that the politics of subjectivity and relations with the other that predominates in this scenario is extremely impoverished.
Today, after almost three decades, it is possible to perceive the logic of cognitive capitalism operating in subjectivity. However, at the end of the seventies, when he began his introduction, experimentation that came out collectively in the past decades, in order to emancipate themselves from the pattern Fordist disciplinary subjectivity, could hardly distinguish from its incorporation into the new regime. The consequence of this difficulty is that many of those who staged the movement of previous decades fell into the trap. Dazzled with the enthronement of the force of creation and its transgressive and experimental attitude - until then stigmatized and confined to the margins - and fascinated with the prestige of his image in the media and the hefty salaries newly conquered voluntarily surrendered his pimping. Many of these people turned themselves creators and constructors in the world built by and for capitalism in this, his new clothes.
This confusion undoubtedly stems from the politics of desire that characterizes the pimping of subjective and creative forces. One type of power relationship that is basically through the spell of seduction. The person who calls on the person seduce seduced an idealization that stuns: the latter happens to identify with the aggressor and then obey it, driven by his own desire, hoping to be worthy of belonging to their world. Only recently has become aware of this situation, which tends to lead to break the spell. This permeates the different strategies of individual and collective resistance that accumulate in recent years particularly the initiative of a new generation that does not identify at all with the proposed model of existence, falling into the account of what their operation. Obviously, artistic practices, by its very nature as expressions of the problems of this as they flow through the body, could not remain indifferent to this movement. Rather, it is exactly for this reason that these questions emerged in art since the beginning of the nineties, as I mentioned at the beginning. Using different procedures, these strategies have been making an exodus from the minefield that lies between the opposite and complementary figures of subjectivity-class subjectivity garbage confined area where human destiny in the world of globalized capitalism.
An injury cost
But the difficulty of resisting the seduction of the serpent in its contemporary version, typical of neoliberal paradise, further aggravated in Latin America and Eastern Europe [as well as in Spain], which, as in Brazil, were under totalitarian regimes at the time of the establishment of financial capitalism. Do not forget that the democratic opening that occurred throughout the eighties in these countries [since the mid-seventies in Spain] is due in part to the influx of post-Fordist regime, since the rigidity of the totalitarian systems as a hindrance to flexibility.
And if you approach the totalitarian regimes in his face not visible macro but its invisible micro, can see that what characterizes such regimes is the pathological rigidity of the identity principle. This applies to totalitarian right and left, because from the standpoint of subjectification policies such schemes do not differ. To stay in power, not content to ignore the terms of the resonant body, ie cultural and existential forms engendered in a living relationship with the other and that continually destabilize the existing maps. Even for his own home is a violent reaction to the destabilization when it exceeds a threshold of tolerability for subjectivities servile adaptation to the status quo for them, such a threshold does not summon the urge to create, but rather to preserve the established order at any price. Destructively conservative, totalitarian regime goes beyond the mere disregard of the terms of the resonant body: they obstinately to disqualify and humiliate them until the force of creation, in which such expressions are the product, is so marked by the trauma of this terrorism vital that she finally blocks, reduced to silence. A century of psychoanalysis has shown that the time to confront and work through a trauma of this scope can be extended for thirty years [8].
is not difficult to imagine that the meeting of these two regimes makes the scenario even more vulnerable to abuses of pimping: penetration in totalitarian contexts, cultural capitalism took advantage of the experimental past, especially in these bold and unique countries, but also and above all the wounds that the forces of creation caused the beatings. The new regime is presented not only as the system that accepts and institutionalizes the principle of production of subjectivity and culture of the movements of the sixties and seventies, as was the case in the U.S. and Western European countries [and Spain]. In countries under dictatorship, the new scheme earns an extra power of seduction: his apparent status as a savior come to liberate the energy of creation from its bonds, to cure it of its weakened state, allowing it to reactivate and manifest itself again [9] . Although the power of government by seduction itself global financial capital is more light and subtle than the heavy hand of local governments led by the military states that predecessors, they are no less destructive effects, but with entirely different strategies and goals. It is expected therefore that the combination of both occurred in these countries has considerably aggravated the pathological state of alienation of subjectivity, especially in the policy governing the relationship with the other and the fate of the force of creation.
The anthropophagic know how
If micro-lens focus on Brazil, we find an even more specific. It is the existence of a unique feature of the counterculture as occurred in this country, which speaks of a revival of cannibalism in the sixties and seventies, which appears in cultural movements such as the tropical, taken in its broadest sense [10]. What makes this tradition are, without doubt, the fact that the convening of this tradition marks registered in our body brings the necessary support to sustain the creation of flexible subjectivity and the conquest of freedom of experimentation that is constituted at that time. Cannibalism is rediscovered in, as he had proposed Oswald de Andrade, a "re-education program of sensibility" that can function as a "social therapy the modern world "[11].
In fact, like all cultural vanguard of those years, the visionary spirit of the Brazilian modernist critical notes, and in the twenties, the policy limits of subjectivity, in relation to the other and producing culture of the discipline. Also like other avant-garde, one of the main targets of his critique of identity politics was fueled by the rules. But the avant-garde in Europe had to invent from scratch, new ways of living and creating, and in some cases, they did figure inspired by his alleged "other" the colonized subject of the utopian imaginary projection of the settlers, who tended to be idealized reverse themselves. In Brazil, however, that other political subjectivity did not have to be invented, was inscribed in our memory, since the beginning of the country's founding. I mean the absence of absolute identification and stable with any code, the lack of obedience to the rules, openness to incorporate new universes, freedom of hybridization, the flexibility of experimentation and improvisation to create their respective territories and maps (all carried with grace and joy). The service Brazilian modernist movement gave to the country's culture was to circumscribe and evaluate this policy, giving the name of "cannibalism." This made it possible to realize this cultural uniqueness that can be asserted against the idealization of European culture, a colonial heritage that marked the intelligentsia of the country. It should be noted that this identification is submissive even today the mark of a good part of the Brazilian intellectual production, which in some sectors has merely replaced the object of idealization of American culture, which was recorded especially for the art.
In the decades of sixties and seventies, the inventions of the early twentieth century art ceased to be restricted to the cultural avant garde; past few decades, they had contaminated the social and would come to be expressed most strongly in the generation born after the Second World War. For this generation, the disciplinary society that reached its peak at that time became quite intolerable, causing her to embark on a process of breaking this pattern in his own daily existence. Flexible subjectivity thus became the new model. In Brazil, in the same period, the ideology anthropophagic reactivated, which led to this movement in the country a freedom of experimentation especially radical.
Zombies anthropophagic
The existence of this tradition in Brazil antropofágica generated a peculiar situation also in the installation process of neoliberalism and the cloning performed movements previous decades: the know how anthropophagic gave the Brazilians a set of special belt to adapt to new times. We are ecstatic to be as contemporary, being so comfortable on the international scene of new subjectivities, post-identity, of being well equipped to live the post-Fordist flexibility (making us such international champions in advertising and positions them high in the world ranking of media strategies) [12]. However, this is just the way that the voluptuous and alienated took delivery of this system in their acclimation on Brazilian soil, making its inhabitants, mainly urban, true zombie cannibals. What are the characteristics expected in a country with a colonial past? Whatever the answer, an obvious sign of this pathetically uncritical identification with the financial capitalism of the Brazilian cultural elite, is the fact that the leadership of the group that restructured the Brazilian state petrified by the military regime, making the re-democratization process of alignment on neoliberalism, was composed largely of leftist intellectuals who lived many of them in exile during the period dictatorship.
Because it is a form of subjectivity whose difference from the identity politics does not guarantee anything in itself, since you can invest in different ethical, the most critical to the most despicable reactionary. Already pointed Oswald de Andrade, designating the latter "low cannibalism [13]. What distinguishes between the ethics it is the same "but" that I mentioned above when referring to the difference between flexible subjectivity invented in the sixties and seventies and its clone produced by the post-Fordist capitalism. The difference lies in the strategy of creation of territories and, implicitly, in policy regarding the other: so that this process be guided by an ethic of affirmation of life is necessary to create territories based on the urgency indicated by the sensations , ie, signals the presence of another in our resonant body. It is about the expression of these signals and their reverberation in subjectivities that breathe the same air time, which are potential opening in the individual and collective existence.
But this is not in any way, the creation of land policy that has prevailed in Brazil, neoliberalism mobilized what this tradition is the worst, the lowest cannibalism. The "plasticity" of the boundary between public and private and "freedom" of private appropriation of public property taken as a joke is one of its worst aspects, steeped in the colonial heritage (it is precisely this aspect of cannibalism that Oswald de Andrade had drawn attention to designate its reactionary side.) This lineage intoxicated to the point where Brazilian society, especially its political class, it would be naive to imagine it could disappear as if by magic.
five centuries of experience are cannibalistic and almost a reflection on it from time, to circumscribe critically, the modernists made it conscious. Given this, we know how anthropophagic can be useful today, not to guarantee their access to capital imaginary havens, but to help us question this unfortunate confusion between the two flexible subjective policies, separating the chaff from the wheat, which is distinguished mainly by the location place or another. This knowledge allows us to participate fruitfully in the debate internationally around the problematization of a regime that has now become hegemonic, and also in the invention of strategies of rural exodus imagery that originates in its deadly myth [14 ]. The art has a privileged vocation for such a task, to the extent that tears the mapping of this life freeing breakpoints in restoring the strength of germination: a task quite different and irreducible to those other complaints or awareness , which are the domain of the macro.
But for that, we have to treat the disease that resulted from the unfortunate confluence in Brazil of three historical factors impacted negatively on our creative imagination: the traumatic violation by the dictatorship, pimping exploitation by the neo-liberalism and the activation of low cannibalism. This confluence clearly exacerbated the degradation of critical and slavish identification with the new regime.
Here we return to our initial inquiry into the peculiar situation of Brazil in the geopolitical field of international debate that has been gathering for almost two decades in the realm of art, about the fate of subjectivity, in relation to the other and its power of invention under the regime of cultural capitalism. The unfortunate confluence of these three historical factors may be one reason why this is so recent debate in the country. Of course there are exceptions, such as Lygia Clark, who one year after May 1968, already foresaw this situation. Here is how she describes the time: "At the same time digesting the object, the artist is digested by the company and found for him a title and a bureaucratic: it is the engineer of entertainment the future, an activity which does not affect the balance of social structures. The only way the artist to escape co-optation is unleashing the creativity generally sinningún psychological or social limits. His creativity is expressed in lived experience "[15].
What can art?
is from within this new scenario emerging questions that are asked of those who think / believe, and especially artists, in the attempt to delineate a map of the present, and that they do to identify points of tension right there to break the force of creation of other worlds.
A first set of questions would relate to the mapping of pimping exploitation. How to apply the tourniquet to our vitality that leads us to tolerate the intolerable, and even to desire? "By what processes our vulnerability to the other anesthesia? What mechanisms of our subjectivity, we have to offer our creative force for the realization of the market? How are captured by the faith in the promise of paradise for the capitalist religion our desire, our affection, our eroticism, our time? What artistic practices have fallen into this trap? What allows us to identify? What makes them so numerous?
Another set of questions, in fact inseparable from the first would be on mapping the movements of exodus. How to liberate the lives of his new dead ends? What can our creative force to meet this challenge? What artistic devices would achieve it? Which of these would be treating the territory of art, more and more coveted (and undermined) by the pimping that there is an inexhaustible source of power to extort surplus value? In short, how reactivated in the present day political power inherent in the act of art, setting up power potential?
Answers to these and many other questions are being built by different artistic practices along with the territories of all types that are reinvented every day. It appears that the global geopolitical landscape of pimping is not exactly the same. Molecular currents are moving the land. At this point, would be through the underground of Latin America.
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"Geopolitics da cafetinagem" , published in Contemporary Brazil. Um Chronicles country incognito, Arts & Crafts, Porto Alegre, 2006, reprinted in Rizoma.net. He has appeared in several languages \u200b\u200bin the cross lingual webjournal machinery and subjectivity, . In Castilian, serves as an introduction to Argentina's edition of the book of Felix Guattari and Suely Rolnik, Micropolitics. Cartographies of desire, Tinta Limón, Buenos Aires, 2006. English translation of Krauss and Florence Damian Gomez, Joaquin Barriendos and reviewed by Marcelo Expósito.
[1] the author refers to the proliferation of political art collective that has taken place primarily in the area of \u200b\u200bSão Paulo in recent years: Anti Philae Bijari, Cia Kitten, Taster's Stories, cobaia, A Revolução não be television, TrancaRua, Fremte 3 Fevereiro ... If picking up some moments of "visible" and "institutional" the articulation of this "local movement" with similar activities taking place outside Brazil - joint to Suely Rolnik referred without detail - you get an interesting diagram of some recent forms of translocal articulation between politicized artistic practices is happening in these years, some of whose features would be: the progressive connection with social and local policies (eg the Movimento Sem Teto do Centro ) and traslocales, a relationship "flexible", unbiased, with the art institution, with fluid inputs and outputs of institutions and so forth. See, for example, the participation of thirteen groups in the IX Biennial of Havana under the títuloTerritorio SãoPaulo (http://www.bienalhabana.cult.cu/protagonicas/proyectos/proyecto.php?idb=9&&idpy = 23), Kreativität Kollektive exhibition in Kassel, organized by the Zagreb collective What, How & for Whom (WHW) (http://www.fridericianum-kassel.de/ausst/ausst-kollektiv.html # interfunktionen_english), Buenos Aires Edition Ex Argentina project, coordinated by, among others, the Etcetera (http://www.exargentina.org/participantes.html) and exposiciónSelf-Education at the National Centre of Contemporary Art in Moscow, Daria Pirkyna coordinated and St. Petersburg collective Chto Delat? (What to do?) (Http://transform.eipcp.net/calendar/1153261452). About Kollektive Kreativity, WHW, Etcetera, former Argentina, Grupo de Arte Callejero (GAC )..., véase Brumaria, No. 5, Arte: the imaginación política radical verano 2005 [NED].
[2] in the Piénsese última edición the Bienal de Sao Paulo, 2006 [NED].
[3] Véase Hubert Godard, "Blind Eye" by Lygia Clark's work at the event. We are mold. To give you breath, Suely Rolnik y Corinne Diserens (eds.), Museum of Fine Arts, Nantes, 2005. Versión Brasilena "Cego Olhar" by Lygia Clark, da obra ao acontecimento. Somos o molde, a você cabe o SOPRO, Pinacoteca del Estado, São Paulo, 2006. El texto is the transcript of a filmed interview with Godard in the context of a project that I have been developing since 2002, aimed at building a living memory of experimental practices proposed by Clark and the Brazilian and French cultural context in which they originated . The fifty-six films made so far were the subject of an exhibition in France and Brazil, which the aforementioned publication is the catalog.
[4] Suely Rolnik, Sentimental Cartography. Desejo do contemporary Cox transformation, Estação Liberdade, São Paulo, 1989. See also the edition of 2006 (Sulina, Porto Alegre), which includes a new preface.
[5] The notions of "cognitive capitalism" or "cultural", proposed by the group of thinkers associated with Toni Negri and the French journal Multitudes from the nineties, have inherited the idea that permeates the work of Deleuze and Guattari on the status of culture and subjectivity in contemporary capitalist system. [See Castilian: Maurizio Lazzarato, Yann Moulier Boutang, Antonella Corsani, Enzo Rullani et al., Cognitive capital. Intellectual property and collective creation, dealers of Dreams, Madrid, 2004, available at ].
[6] developed the notion "flexible subjectivity" in some of my recent essays, among which is "Politics of Flexible Subjectivity. The Event-Work of Lygia Clark "in Terry Smith, Nancy Condea & Okwui Enwezor (eds.), antinomies of Art and Culture: Modernity, postmodernity and contemporaneity, Duke University Press, Durham, 2006," Life for Sale " in Adriano Pedrosa (ed.), Farsites: Urban crisis and domestic Symptoms. InSite, San Diego and Tijuana, 2005. See Brian Holmes, "The Flexible Personality," in Hieroglyphs of the Future, and Arkzin WHW, Zagreb, 2002), available online at [English version: "The flexible personality. For a new cultural critique ", this volume, Brumaria, No. 7, Art, machines, immaterial labor, and publishing multilingual cross machines and subjectivity. ].
[7] See supra, note 5 [and also some discussions about new forms of work and the possible creation from them of new political subjects, as are occurring within some European movements around the social instability, see for example, in Castilian, Chainworkers, Working in the cathedrals of consumption, Brumaria, No. 3, 2004].
[8] At the start of military dictatorship in Brazil, the cultural movement persists in all its form. With the promulgation of the Institutional Act No. 5 (AI5) in December 1968, the regime deepens and the movement out of steam, tending to a standstill. Like any totalitarian regime, its worst effects may not have been those tangible and visible from prison, torture, repression and censorship, but other more subtle and invisible: the paralysis of the force of creation and the resulting frustration collective intelligence, by being associated with the terrifying threat of punishment that can lead to death. One of the most tangible effects of such blocking was the significant number of young individuals who lived psychotic episodes at the time, many of whom were interned in psychiatric hospitals, not a few who succumbed to the "psychiatricization" of their suffering, not having ever returned from the madness. Such psychotic, partly from the terror of the dictatorship, also occurred in the field of limit-experiences, characteristics of the so-called counterculture, which consisted of all sorts of sensory testing, usually including the use of hallucinogens, in a posture active resistance to the politics of bourgeois subjectivity. The diffuse presence terror and paranoia it engenders will no doubt contributed to the destinations of these experiences pathological opening of the senses to the resonant capacity.
[9] We have inserted at various points in this paper the reference to Spain as long as Suely Rolnik hypothesis about the kind of special "seduction" new regimes of subjectivity exercised between the seventies and eighties on the forces of creation that had been damaged by the blows of a dictatorship - with its authoritarian mode of subjectivity - it seems perfectly applicable to the English case: think if not how the "liberalization" and creative ways of life - with its various "moves" and cultural policies of state - had a central importance to legitimize the new political system responsible for implementing neoliberalism and flexible regime of subjectivity [NDE].
[10] The counterculture movement in Brazil was particularly radical and extensive, having been the Tropicalismo a major expression of his uniqueness. Active youth of the time was split between the counterculture and militancy, which suffered the same violence of the dictatorship: imprisonment, torture, murder, exile, in addition to the many who succumbed to madness, as I said. The counter, however, was never recognized in its political power, but for the military regime that punished it ferociously who participated, placing them in the same wards for prisoners political official. Brazilian society projected on the counter a pejorative image, born of a conservative view, shared in this specific aspect of the right and left (even by the militants of the same generation). Such denial, still persists in memory the period that differently, preserves and enhances the militant past.
[11] Oswald de Andrade, "A march das utopias" (1953), A Utopia cannibals, Complete Works of Oswald de Andrade. Globo, São Paulo, 1990.
[12] Brazilian television occupies a privileged place in the international arena. A clear sign of this is the fact that the novels of the Globo network are now broadcast in more than two hundred countries.
[13] Oswald de Andrade, "Cannibal Manifesto" (1928), A Utopia cannibals, op. cit.
[14] started to develop the issue of cannibalism, in the sense that I am problematizing here, in the early nineties. This dio trabajo place the three texts. El primero, written in 1993, es Schizoanalysis Anthropophagie et, en Eric Alliez (ed.), Gilles Deleuze. Une vie philosophique Les penser en rond of empêcheurs, Paris, 1998; versión brasileña: schizo and Antropofagia, en Gilles Deleuze. A philosophical life, Editora 34, São Paulo, 2000. El es second "Subjectivity Antropofágica" / "Anthropophagic Subjectivity", y en Paulo Herkenhoff Adriano Pedrosa (eds.), Brazilian Contemporary Art: A and / among other / s, XXIV Bienal Internacional de São Paulo. Fundación Bienal de São Paulo, 1998; reissued en Daniel Lins (ed.), Reason Nomad, Forensic University, Rio de Janeiro, 2005. The third is "Zombie Anthropophagy" in What, How & for Whom (WHW) (ed.), Collective Creativity. Dedicated to the anonymous worker, Kunsthalle Fridericianum, Kassel, 2005, French version: "Anthropophagie Zombie", in Mouvement. L'indiscipline des Arts Visuels in Artishoc, no 36-37, Paris, September-December 2005 [English version: "Cannibalism zombie" in this volume, Brumaria, No. 7, Art, machines, immaterial labor. See also supra, note 1].
[15] Lygia Clark, "O corpo é a casa" (1969), first published in French with the title "L'homme d'une architecture vivante structure biologique et celulaire" in Robho, No. 5-6, Paris, 1971, reproduced in Lygia Clark, Funarte, Rio de Janeiro, 1980, and later in Manuel Borja-Villel and Nuria Enguita Mayo (eds.), Lygia Clark, Fundació Tàpies, Barcelona, \u200b\u200b1997.
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