INTERNACIONAL SITUACIONISTA MANIFIESTO PDF

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A dozen responses from programmers, critics, and theorists from the experimental field of European dance and performance, whom we asked for a critical reflection on the project proposal, resonated in a consensus of questions: Do you mean collectivity as a modus operandi or as a topic of research?

In other words, are you working collectively or on collectivity? The uneasiness with collectivity is more than a symptom of the politics of liberal individualism in performing arts. Is authorship always already assigned to the one who initiates a project?

SITUACIONISMO « ARTE NÓMADA

situacionisya How can an initiative to invite authors for research reassure an egalitarian basis of collaboration, a frame of collectivity without central leadership? Does collectivity in Western societies today only conjure images of collective political action in a strong ideological vein abolished after ?

Is collectivism necessarily understood — and therefore, dismissed — as the tool for emancipatory politics by an obsolete model of the theatre and performance practices in the 60s? The dramaturgy of the ascending ritualist voyage of an individual within a collective, be it in the life of a tribal commune or in stage representation — as the theatre collectives in the 60s pursued — dissolved its own project of social and political change, manifirsto in the final stage of the process, it narrows it down to the abstract idea of individual freedom.

They handed down a legacy of libertarian depoliticizing thought: The sovereign individual chooser nowadays: Collectivity in the models we chose to remember is relegated to ideological disasters or social breakdowns, as if doomed to always fall into fascist regimes of collaboration.

What should be more http: Such scenes from the performances of Living Theatre, Manifiedto Group, even from some of Judson Dance Theatre performances, have also transfigured into a hidden matrix of self-expression, appearing in the format of solo work or communal improvisation set-ups today. Individualist self-expression makes a fetishist aura of dance in Western society: The individualism of artistic or cultural producers, especially in the corporeal outfit of the dancer is, moreover, the admirable capital of the values such as creativity, complexity, mobility, flexibility, or innovation.

It is the individual and not the collective enterprise of performance which inspires the figure of the contemporary worker in the context of neo-liberalism. The collapse of communism was internaciojal with a liberal response that involves an eager repression of the very question being-in-common which so-called real communism repressed under a common Being Nancy, What we have in common is commerce and communication — in one word: Networking provides the illusion of surpassing the boundaries of local professional community and breaking into the international field of the discipline contemporary performance.

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The Coyote tirelessly chases the bird over the flat boundless surface of the desert, keeping always the same never-to-be-bridged distance from the bird, until he flips over a cliff, the end of the road.

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He never dies, just leaves the full imprint of his body at the bottom of the abyss. The desert expands in a movement of deterritorialization, each action generating a fresh situaionista, and a line of flight only measured by the inventiveness and speed of movement.

According to this see-saw model, research happens when it breaks a new ground that can potentially develop into a field.

The field is not just a plane of consistency, as the popular Deleuzian discourse would have it. In effect, it is represented by networks of venues, festivals, research labs, flying programmers, showcase platforms, online criticism platforms etc.: The kind of immaterial labor the artist undertakes is to: The latter shapes the immaterial production as information in the form of a performative promise: Community is a given fact, rather than an agency of mobilization, for there is nothing to mobilize for collectively.

The demands which brought performance artists to new experimental frames of working in the 60s are now fulfilled: The then pressing concern for collaboration arose from the climate of political and social movements calling for cooperation. Self-determination and the question of art labour In the types of collectivity and collaboration practiced today dominates an instrumental logic: They represent a sustainable model for continuous collaboration that does not question its foundation and methodology or seek political or social action.

However the encounters between established authors can be intriguing in themselves, they are primarily stimulated by taste and box-office measurement of the programmer. The more collaboration is spoken of, the more it is lacking, symptomatic of crisis, says Myriam Van Imschoot: Collectivity and collaboration, thus, no longer appear as viable models of experimentation and critique as they are already subsumed under the institutional order and a cultural policy trend.

However, it is criticality as an antiessentialist stand that has formed a new common and shared perspective in the choreography of the 90s. These choreographers have contributed to a distinct type of authorship based on discursive intervention, or the effect of disturbing the spectacle of performance.

One thing is certain: I want to stress: At most, these authors share a community of discourse, out of which collaborations can spring occasionally, even conceptualize the contractual basis of authorship such as the performance Xavier Le Roy, commissioned and signed by Bel and realized by Le Roy. But there is no need for collectiveness as such to help establish the sovereignty of these authorial interventions.

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Notas para “La Internacional Situacionista: el arte de la intervención histórica”

The power of self-determination in the concept of dance could be potentially transformative if it also applied to the frame of working, production and presentation.

At this moment, it is capable of articulating something like a speech-act: So far it produces open, flexible and contingent definitions of dance and critique in how we are habituated to perceive it, but it remains dependent on internal, medium-specific matters of dance because operating in the institutional context of theatre makes its critique bound to the theatre dispositif.

Would the circularity of conceptual methodology be broken through if authors collaborated on the exchange and confrontation of concepts, risking their constructions?

What could be the conditions for such a collectivity of situacinoista, as well as its specific difference to the frames of collaboration we know of today? There is a growing number of performance practitioners engaged in experiments and new concepts of performance, theatre, and choreography. As usual, there are always a number of participants gathering around a project. Increasing the number of people involved in interaction, even manifiestp only from two to three qualitatively alters the situation.

What are the qualities of interaction that could result from working outside labor market requirements and cultural policy orientation? There is no pre-given sense, essence, identity or meaning for which to collect or mobilize with ideological confidence. It is the heterogeneity of surfaces that touch each other; heterogeneity that stimulates further heterogenesis, and not homogenization under the responsibility of one or the attraction maniifiesto one author.

But the virtual taking-place needs a space that would allow production and experimentation without the theatre dispositif hovering above it. Should we transform institutions studios, performing spaces into resource centers or platforms for working rather than presenting?

For the desire in persisting in a process whereby irreducible and not desirable and manageable differences are productive for new configurations of working, a process whereby no overarching conception should provide safety to a prior self-regulation.

Michael Hardt, Minnesota, MA: University of Minnesota Press, Sally Banes, Terpsichore in Sneakers. Wesleyan Unievrsity Press, Reflections, Essays, Aphorisms, Autobiographical Writings, trans.

Edmund Jephcott, New York: Collect-if by Collect-if, Collect-if: Penguin Books,pp. Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, Minnesota: The Project Series E. Politiek in tijden van globalisering, Antwerp: Internacinoal and Anne E.

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