the postal service - such great heights

cancioncita de amor y maquinas.

los rubios

y para terminar de apelmasar el blog de cosas unas notas del documental ficcionalizado los rubios, que mire como parte de las tareas que me paso mi vecina para pensar lo visual del trabajo, y para correr el eje. empiezo con que hace unos anyos que casi no puedo mirar peliculas que vuelvan a la dictadura, un poco por que el modo testimonial no logra mas que pasarme una desesperacion importante, y otro poco por que el tratamiento me parece limitado.

sin duda los rubios presenta otro recorrido y todo el tiempo correr el riesgo de que la acuse de no dar ninguna de las imagenes oficiales sobre la militancia armada y las desapariciones. trabaja con fragmentos, pero no tanto de memoria, que es el concepto que gira en la pelicula y en los modos de definir como deberiamos relacionarnos con esa parte de la historia. los fragmentos creo son las sensaciones que siguen rebotando y ni siquiera es que se actualizan sino que pasan de una forma a otra y empezaron tan bruscamente que no se van mas. si creo que alguna parte de la critica le asigna una distancia un poco poco comprometida aunque si que señala algo traumatico, me pareció que la tension esta en no poder separarse, ni siquiera en el intento de poner a una actriz que represente a la protagonista directora. la actriz es solamente algo mas que se incorpoora a la busqueda y que queda metida en la historia pero no media nada, me dio la sensacion que amplifica como los chicos con el sonido cuidado y las chicas de las camaras. albertina esta siempre ahi, los padres siguen inexplicables, y la mujer que los delata pasa clara y vanal como un comentariode vecina molesta.

Mujeres Publicas

miradas

bueno esta va en castellano. otra de las cosas que me cuestan incroporar apenas llego es la mirada directa de la gente que no es ni amable ni necesariamente curiosa. en la calle se mira para saber quienes estan alrededor y como situarlos en alguna forma de clasificacion, creo. como una de las cosas que vuelan en el aire es el mideo (en la forma de la seguridad-inseguridad que movilizo gente esta semana) se mira para prevenir supuestos peligros. pero se mira tambien sin disimulo, pasa una chica un tipo se detiene, mira, gira la cabeza y sigue mirando, la chica, creo que contenta, sigue. una pareja en una pizzeria me mira, se rien, contagian y siguen mirando. en la foto el tipo nos mira con desconfianza, desapruebo, desafio una vez que descubre lo que dice el cartel. miro por la camara cuando mi companyera lo ve y lo mira vigilando que no pase nada.

mas tarde entrada con mas fotos de la marcha del 4 de marzo y de la accio de mujeres publicas que ahora me dieron ok para que suba las fotos.

after neoliberalism

one of the first impressions i have of the city, even when i do not really want to see this, is both the amount of advertising, especially the multiplication of huge images of feminine bodies hipersexualized, the other is the state of decay of most of the buldings, and public spaces. There is a wired combination of tv screens with advertisement being installed everywhere (now subways, elevators and taxis), and the cracks in the street, the leaking pipes, electric cables hanging everywhere. probably one of the places place were the flows converging in the city condense, is puerto madero.

last sunday we went there with chris, a friend who is both a geographer and photographer, we spent some time looking around a bit with eyes of familiarity and somehow trying to grasp how the space had changed since we used to work in an urban nature reserve 12 years ago with a mix of horror and love. we met in a corner of the san telmo market, and the first comment was then the degree at which the market has spread. it is not so much that there are more and more people, but also the number of streets being cut from traffic and the quantity of kiosks of people selling from antiques and handicrafts to almost anything. in any way it is one f the centres of encounter of what the tourists come looking for in buenos aires, some kind of architecture, and what porteños involved in sales offer. it is still shocking the degree of the encounter that used to be a much more timid thing in the times of mendez and the immediate years of the crisis.

we got to puerto madero finally and there we had the usual convergence of even more elements, the super trendy places and apartments, the british port constructions of a port that was always a failure since the begining (aparently there were lots of mistakes and a badly chosen location for the port that was never able to work because of the low level of the river in there), a refurbishing process that almost failed and turned into ruins during the crisis and the final concretion of the project tha managed to turn the area in a neighborhood, a hotels and restaurants area, and a public space that is still used, as usual by "popular sectors" from the south of metropolitan buenos aires. we have enjoyed for a couple of years already to the the minimalist fountain with its exclusive design to decorate a roundabout, used by crowds of children to refresh in hot days (we tried going through with the bike with good results). also the pilng up of activities in the end of puerto madero in the lola mora fountain, with a city recreation fixed activity, music in the park in the side, una murga rehearsing in the lower stairs, people roller blading the animals in the reserve (mostly water birds), the incredible design of el puente de la mujer conecting a hilton hotel with the other side of the deck. finally the towers area built after corrupt officials decided to break the dispositions of the neoliberal puerto madero that set a style and allowed hight of the buildings, by making a new neighborhood in the fine stripe of one block in between the end of the port and the river - reserva and made it possible to build high towers that as in the photo are springing up everywhere. and many other etcs.

while we were adding to the landscape by sitting down beside a deck in the sun and drink mate i couldn't stop saying "es incredible, todavia no me acostumbro a que sea esto" to which chris replied "pero es lindo no? donde ves todo esto todo junto? estas construcciones nuevas me hacien acordar a las casas en los angeles, todas berretas y la gente paga fortunas, pero las gruas, el agua, los doques remodelados todo esta bueno" and i had o agree, even trying to remember any other place like this and not being able. at that point we were walking back, the sun was down and the careful lighting of the port-that-never-was- a port were on, in one restauran with an italian name, a woman sang cheesy italian melodic songs, a few steps after that street photo exhibit showed the history of flamenco in buenos aires, and after that a whole band of mariachis entertained people in other restaurant. es demaciado, pero esta bueno we repeated.

And here a quote of david harvey in spanish that just matches the landscape

En un artículo que escribí para la New Left Review, “El derecho a la ciudad”, señalaba yo que en los últimos 30 años un inmenso volumen de excedente de capital ha sido absorbido por la urbanización: por la reestructuración, la expansión y la especulación urbanas. Todas y cada una de las ciudades que he visitado constituyen enormes emplazamientos de construcción aptos para la absorción de excedente capitalista. Ahora, ni que decir tiene, muchos de esos proyectos han quedado a medio hacer.


y aca una foto de cris tb

day 3

I arrived in Buenos aires being the second night for me without sleeping. This plus the factit seemed really bizzar to get out of the vanouver habit all of a sudden and leave the collective bodies connections i have there, made me arrive in a state of particular estrangement. I am writing this down quickly before the effect vanishes and i get repositioned my self and by my previous portenyo connections. i am deciding to try to keep this in english, maybe because i am afraid of losing the resonance of many talks in that language and also maybe to keep some sense of estrangement, the language of empire, also the language of good comedies. i will jump whenever i need anyways.


buenos aires started in the waiting room in Atlanta, full of two types of people. The first visitors expecting to find that energetic and strangely huge city they heard about form other fellow traveller friends, internet, guide books, travel agents, news. every one will love them, will show them how cool, interesting deep, combativos, we are. they will be overwhelmed, seduced, disgusted by the city. The second of course portenyos talking on their cel phones in spanish about how many good buisnesses they have done in the us, how great a trip they had, what they had bought. i can't stand portenyos pretending to be something that no one is very sure what it is. however none cares to show that they are pretending, nothing is covered or behind or below or in reality. is all there. we all know. the man with the belly looking grey, stressed telling his cel "no paramos de abrir locales, nos va barbaro" .

so the trip is going back, get surrounded by old objects, in a space that makes her wonder when exactly is that. space has some grip, stops and directs how and where will she start moving. more or less the same. retiro , a shower, put on some old clothes, eat a fruit, chat, make a couple of phone calls, san telmo, suitcases with what she was using yesterday with some other thongs around and in other assemblages of people, objects, music, ideas, temperature. unpack, clean, go to the computer space -which remains almost the same-. sleep. wake up. mate and off to the street. the grocery in front, some neighbour, microcentro, long lines of waiting, moving compacted, cursing. bakery the woman chats her she is hungry, about to eat, misses mate in the summer. stop at the fruit store, the peaches are too good, smell sweet. and on to an apartment. a bus guard fights with a woman with the wrong ticket, the rise of the ticket was recent, other people get anxious, tell the woman to get off or to pay, she pays tells the guard he can now be happy with his miserable salary siendo un buchon. fresh night air and now you can start the day again.

so this is my provincial experience. not of being nowhere or wherever, but in a city where most of the people is around. not only flow but lots of grip and happy or unwanted stopping. and the style of this writing is Kathleen Stuart even when the duration of the events are probably two long and linear.

cuadro

rafa y la nomadologia

super preliminary

some notes on a ossible dissertation outline just to have something i can change.

Chapter 1 Opening dialogues while doing and reading

Chapter 2 I see you but I don’t touch you: going form scene to obsene in the making of Buenos Aires. [maybe some connection to this?, are they differnt field taht do not touch? not sure]

Chapter 3 the overflowed chaco: movement and toba cosmopolitanism

Chapter 4 far from downtown: structured mobilities, side roads and “lines of flight”

Chapter 5 (rural – urban connections) traveling and the making of distance

Chapter 6 (urban transnational) marginal cosmopolitanism: moving spaces of ambiguity (relation with Bolivians and other migrants)

Chapter 7 (Urban Urban conections) together but apart toba barrios networks and its outcasts

Chapter 8 (urban rural connections) the call of the bush

Chapter 9 Urban multiplicities: subjects space affect after the neoliberalist experiment

primo levi

Today i went to a great class in which we were discussing about agamben and the holocaust and the quotes form primo levi made me think about this i wrote three years ago. its been a while since i read this tale but the story Difteria still resonates on the issue of the limits of the human and how to think "nature", not only in the dimension of nature as construction, but considering the government of the non human and the difficult boundaries. here it goes

How to overcome the dualistic conception of the body? This is not a question that one can answer easily but I would like to consider some points on it. The division between body and soul – mind has been present in Western philosophy since antiquity and has been sediment in the Cartesian tradition of Science. This distinction has provided an order to understanding the world and permitted an increase of knowledge, from the biological functions of the human body to the existence of the subconscious. Nevertheless, it has been fixed as, in Berger and Lukman (1967), an objective reality (and not a socially created one) that obstructs the understanding of processes which exceed the limits of the body-mind dichotomy.
I consider two main critics to this dichotomy, one that comes from the anthropological perspective from the study of non-western societies. Another source appears in fiction , which I will illustrate with two stories from the Italian chemist/writer Primo Levy (1981, 1996) .
In the first case the study of non-western societies have shown alternative views of the body, which can be considered not only as “case studies”, but also, as recognised by Broch Due (1993), can contribute to theoretic understanding. The articles from Broch Due (1993), Parry (1989) and Bamford (1998) present the body for the Turkana in north Kenia, the Indu indians dieing in Benares, and the Kamea in Papua New Guinea, respectively, as opened systems.
The three articles break the univocal relation of one body – one individual – one identity, therefore creating the divisions; individuals – society, individuals – world. Each of them also show that the relation between these bodies and their society, is not only one of metaphoric representation. This body does not only incarnate the definition of a society’ s identity, it’s boundaries and taxonomies. It also acts as a vehicle for understanding the world, and is projected to the world in which it participates, as illustrated by Broch-Due (op cit). For the three authors, the body is a process in which the definition of the social distinctions are made (Bamford op cit). It is linked and analogous to socio - natural cycles, as the transition from wetness to dryness which is an explanation for human life and for cattle breading (Broch-Due op cit). Finally the body is a labelled entity, constantly threatened by disequilibrium, that must be kept apart from contaminating other bodies that can project particles of themselves. At the same time the body is a mean of reaching a ‘better body’ and finally liberating material existence, “end of the body” and unifying with the divine as (Perry op cit).
In these analyses the body appears as opened to, and containing particles of or being contained by, the surrounding world. For Indu indians the shared particles are with the kin members, are there before birth and after death. The Kamea stress how bodies are inter-connected with one another as a natural condition, such as in the example of boys who do not acquire masculine functions until they are ritually separated from their mother. Turkana integrate in their bodies, qualities shared and exchangeable with the outside.
This is an aspect pointed out by Primo Levy in his tale “Difteria” where he pictures a world were the action of a medicine to avoid transplants rejection has broken the limitation of interspecies reproduction. He focuses on the feelings of a girl with a vegetal ancestor who feels attracted by a cherry tree. By this argument he is proposing that a change in an aspect of the natural rules that fix limits to reproduction could create a interconnected world. One where animals humans and plants share not only genes, but also feelings, moods and personalities. Nevertheless he does not break with the idea of individuality, in that he disestablishes body-mind and nature-culture divisions. His view has a connection with the Turkana’s one as he is talking of opened interconnected systems.
In the tale “Carbon” (1996) he follows the adventure of a molecule of carbon from earth, experimenting with the process of combustion, going to the sea, the air, and becoming a part of a living organism. The molecule becomes the ink of the last point of the printed page of the book you are reading. Here again he puts into question the univocal and unchanged identity of things by reminding that the elements are fluctuating from animate into inanimate entities and the limits among them are just as different moments in a process. Each of the three articles is connected by an emphasis upon process rather than finite states. I would argue that in using a fictive context, Levi is avoiding the dualistic bases of science. As art is considered to be a restricted area of Western “expression” but less regarded as “knowledge”, it does not yet challenge the scientific conventions.
In conclusion I consider the work of anthropologists, and the contributions from literary writers, contribute to the solutions of the problems the body-mind, nature- culture, individual-society divisions bring. This can shed light on the way a society’s relations are created and recreated, challenged and changed, and remind us that this division was a social construction in the first place.

References

Bamford S, 1998 To eat for another: taboo and the elicitationh of bodily from among the Kamea of Papua New Guinea” in Bodies and persons. M. Lambek and Starthern eds. Cambridge: Cambridge University press pp. 158-177

Berger P Luckmann, T. 1967. The social construction of reality : a treatise in sociology of knowledge. Garden City, N.Y. : Doubleday.

Broch- Due V. 1993. “Making meaning out of matter: perceptions of sex, gender and bodies among the Turkana” in Carved flesh, cast selves: gendered symbols and social practices V. Broch- Due, T. Bleig, I Rudie eds., Providence RI: Berg, pp. 53-82

Levi P. 1996. The periodic table [translated by Raymond Rosenthal], New York : Alfred A. Knopf, 1996.

Levi P 1981 Lilít e altri racconti. Torino : Einaudi.

Saer J. J. 1997. El concepto de ficción. Buenos Aires : Ariel.

Parry J 1989 “The end of the body” in: Fragments for a history of the human body, Michel Feher ed.NY: Zone. Pp. 491-517

groundhog

two (northern) summers ago i was visiting my nice said that going to school was like being in groundhog. she could not believe my non understanding to her comment. so i finally saw the film in which bill murray i trapped waking up in a same day he hates, in a small town while celebrating the groundhog day. he tries a number of options, first picking up the girl he likes, failing one time and again, then he tries self destruction, failing again, until he gives up and inhabits that single day. even in the repetition of what seemed to be immobile there was always something different and infinite possibilities.