EXPANDED CINEMA. Journalist Gene Youngblood published Expanded Cinema in 1970, heralding the extensive possibilities offered by experimental cinema thanks to the new technologies. According to the author, cinema could be made using three media: traditional celluloid, video and computer. This was not about creating new contents, but new contexts for viewing it.
Where as industrial capitalism produced goods with exchange value, and post- Fordist capitalism veered towards the production of subjectivity, today the capital gains are concentrated in the self-production of identity. The logic of the subject of self-exploitation has been imposed, occupied full time in itself. The rhetoric of entrepreneurship and ideological advertising is unequivocal about this: “Do it Yourself. I Am What I Am.” This new productive slogan – Do it Yourself – causes widespread nervous hyperactivity. We find ourselves constantly obliged to make countless small decisions in all areas (work, emotional, social) which supposedly give us an identity and confer visibility on us, but which have already become the new workforce: they do not enclose anything and guarantee the profit generated by the constant action of dis-quiet. The subject has become mixed up with the incessant movement of its own alienation.
Bárbara Sánchez Barroso
In a photograph of The Who, Pete Townshend appears with an adolescent look posing in a safari-coloured shirt that harks back to the military (both the shoulder flaps and the colour) and is full of logos and medals. In another photograph taken sometime later, though now in black and white, Keith Moon, the drummer of The Who, poses among Lambretta scooters wearing a turtleneck jersey on which appear in writing the letters POW. POW are the initials used to designate and identify prisoners of war. The strategy of The Who was the underlying strategy that was used years later by London’s first punks with a mixture of logos, medals or signs that would range from the A within a circle representing anarchism to the swastika. Thus the aim was to dismantle all the signs by taking them out of context, used very skilfully by the highly situationist techniques of detournement and very Dada.
“Aesthetic emotion”, which is repeated like a mantra in the social organization of Art, has become a way of vetoing common values. This concept, which was originally described by the composer Arnold Schoenberg in his book “Writings on Musical Experience” (1978) and who, three decades ago, realized what it was all about by appreciating works beyond “what is contingent, tangible and relative”, is today the alibi for a cultural hierarchy based on interests and arbitrariness which arise precisely when the species of critic and commitment in the West seemed to begin to run out of fuel, becoming extracted from antagonism by integrating into the social and liberal field of ideology, or by becoming pure evasion thanks to the hard drug offered at the story’s end, withdrawing to the spaces already designated as being institutional: in other words, conveyor belts of the “decorative emotion” of the rich and powerful that justifies itself without requiring any integrity. Networks of interests that so often…
QUEER (theory). Starting from the premise that sexuality is not a simple natural fact but a social construction, this field of studies, the heir of feminism, has developed into a field of research and activism on the culture of gays, lesbians, bisexuals, transsexuals and intersexuals. The ‘queer’ theory as seen from various specialised fields -history, critique, literature, sociology, philosophy, art…