El resentimiento antiestético

La versión original de este artículo apareció como “Le ressentiment anti-esthétique” en el Magazine littéraire nº 414 de noviembre de 2002. La estética no es una disciplina que haya tenido por objeto las prácticas artísticas o el juicio del gusto. Es todo un régimen de identificación del arte y supone todo un régimen de pensamiento

Arte del movimiento y movimiento del arte. Política, estética, acción

The lecture is about movement in contemporary art as well as the political effects and senses of art of action and performance. The text develops from the analysis of different cases, and mainly from two posters made by the Stenberg brothers for the film The Man with the Movie Camera and from a sequence from this film by Dziga Vertov. It is concluded that these works propose equivalence between the functional movement of machines and the automatism of acrobats or comedians. This equivalence is linked to Schiller’s game theory. Finally the author will establish the differences between the critical and active treatment of movement in arts and the way the European dictatorships from the twentieth century proposed the passive contemplation of a show in which the mass movement is presented as live performance of a becoming community.La conferencia trata del movimiento en el arte contemporáneo y de los sentidos y efectos políticos del arte de la acción y la actuación. El texto se desarrolla a partir del análisis de diversos casos y fundamentalmente de dos carteles de los hermanos Stenberg para El hombre de la cámara y de una secuencia de esta película de Dziga Vertov. Se concluye que estas obras proponen una equivalencia entre el movimiento funcional de las máquinas y el automatismo de los acróbatas o de los cómicos, equivalencia que se vincula con la teoría del juego de Schiller. Finalmente se establecen las diferencias entre el tratamiento activo y crítico del movimiento en las artes y el modo en que las dictaduras europeas del s. XX propusieron la contemplación pasiva de un espectáculo en que el movimiento de la masa se presenta como actuación viva de una comunidad por venir

Environmentalism, performance and applications: uncertainties and emancipations

This introductory article for a themed edition on environmentalism provides a particular context for those articles that follow, each of which engages with different aspects of environmentalism and performance in community-related settings. Responding to the proposition that there is a lacuna in the field of applied drama and environmentalism (Bottoms, 2010), we suggest that the more significant lack is that of ecocriticism. As the articles in this journal testify, there are many examples of applied theatre practice; what is required is sustained and rigorous critical engagement. It is to the gap of ecocriticism that we address this issue, signalling what we hope is the emergence of a critical field. One response to the multiple challenges of climate change is to more transparently locate the human animal within the environment, as one agent amongst many. Here, we seek to transparently locate the critic, intertwining the personal – ourselves, human actants – with global environmental concerns. This tactic mirrors much contemporary writing on climate change and its education, privileging personal engagement – a shift we interrogate as much as we perform. The key trope we anchor is that of uncertainty: the uncertainties that accompany stepping into a new research environment; the uncertainties arising from multiple relations (human and non-human); the uncertainties of scientific fact; the uncertainties of forecasting the future; and the uncertainties of outcomes – including those of performance practices. Having analysed a particular turn in environmental education (towards social learning) and the failure to successfully combine ‘art and reality’ in recent UK mainstream theatre events, such uncertainties lead to our suggestion for an ‘emancipated’ environmentalism. In support of this proposal, we offer up a reflection on a key weekend of performance practice that brought us to attend to the small – but not insignificant – and to consider first hand the complex relationships between environmental ‘grand narratives’ and personal experiential encounters. Locating ourselves within the field and mapping out some of the many conceptual challenges attached to it serves to introduce the territories which the following journal articles expand upon

Políticas indigenistas en Argentina: entre la hegemonía neoliberal de los años noventa y la "Nacional y Popular" de la última década.

Un balance de las políticas indigenistas que se limite a detallar los marcos legales vigentes, a describir las medidas adoptadas, o a explicitar lo que no se ha hecho o falta por hacer, dice poco de otros parámetros igualmente importantes para la evaluación de tales políticas, en cuanto procesos de construcción de hegemonía cultural, cuyos efectos requieren ser ponderados desde otros factores, ya sea a través de la redefinición de los campos de interlocución política, de las resignificaciones en las ideas y prácticas de ciudadanía o de sus impactos al nivel de las subjetividades. A partir de la experiencia argentina, este artículo discute la idea de sedimentación de dispositivos neoliberales, en un contexto de reapropiación hegemónica de un horizonte de soberanía "nacional y popular" sobre los territorios y recursos. El análisis de los efectos de las políticas indigenistas de la última década sobre el movimiento indígena enfatiza por tanto el examen del modelo de desarrollo adoptado y las transformaciones en las formas de caracterizar la plebs ?el campo de lo popular o de los menos privilegiados?, en cuanto parte tangencial o medular del populus o pueblo de la nación y, por ende, del demos, el espacio de quienes pueden ?legítimamente? dar forma y contenido al populus y poner su mundo en palabras.Fil: Briones, Claudia Noemi. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Patagonia Norte. Instituto de Investigaciones en Diversidad Cultural y Procesos de Cambio; Argentina. Universidad Nacional de Rio Negro; Argentin

Arquivo documental: relativo à visibilidade internacional da obra de Pedro Costa

O projecto “Principais tendências no cinema português contemporâneo” nasceu no Departamento de Cinema da ESTC, com o objectivo de desenvolver investigação especializada a partir de um núcleo formado por alunos da Licenciatura em Cinema e do Mestrado em Desenvolvimento de Projecto Cinematográfico, a que se juntaram professores-investigadores membros do CIAC e convidados. O que agora se divulga corresponde a dois anos e meio de trabalho desenvolvido pela equipa de investigação, entre Abril de 2009 e Novembro de 2011. Dada a forma que ele foi adquirindo, preferimos renomeá-lo, para efeitos de divulgação, “Novas & velhas tendências no cinema português contemporâneo”.QUAIS SÃO, hoje, as principais características do desenvolvimento de projectos para cinema em Portugal? O que pensam realizadores cinematográficos, produtores, distribuidores e exibidores sobre o cinema português? Que conclusões tirar das suas opiniões, relatos de experiências e análises da situação contemporânea? Que novas tendências surgiram no cinema português, nos primeiros anos do séc. XXI?Fundação para a Ciência e Tecnologia, Centro de Investigação em Artes e Comunicação, Instituto do Cinema e do Audiovisual, Ministério da Cultura, Escola Superior de Teatro e Cinema

Digital afx: digital dressing and affective shifts in Sin City and 300

In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representation

O espectador emancipado

Reflexão sobre as implicações do teatro contemporâneo, a partir das funções do espectador. Diante da vigência da “sociedade do espetáculo”, é desejável que a arte crítica introduza renovados mecanismos de partilha do sensível, promova a horizontalidade das relações, a redistribuição dos lugares comuns e reinstale no espectador o prazer do aprendizado. Abstract: Reflection on the implications of contemporary theater considering the functions of the spectator. Given the validity of the “society of spectacle”, it is desirable that the critic art introduces renewed mechanisms of sharing the sensitive, promotes horizontal relationships, the redistribution of common places and reinstall in the spectator the pleasure of learning. Tradução de Daniele Ávila

Povo ou multidões?

Discussão sobre os conceitos de povo ou multidão quer do ponto de vista das implicações políticas quanto éticas e estéticas que albergam. Legitimidade e desqualificação, identidade e deslocamento, produção e consumo são alguns dos temas debatidos, à luz das considerações éticas que devem presidir tais enfoques. Abstract: Discussion on the concepts of people or crowd from the point of view of political implications as well as the ethics and aesthetics involved. Disqualification and legitimacy, identity and displacement, production and consumption are among the topics discussed in the light of ethical considerations that should govern such approaches. Tradução de Cláudia Muller Sachs