Refutación de todos los juicios, tanto elogiosos como hostiles, que hasta ahora se han emitido sobre la película la sociedad del espectáculo

Debord, G. (1999). Refutación de todos los juicios, tanto elogiosos como hostiles, que hasta ahora se han emitido sobre la película la sociedad del espectáculo. Banda aparte. (14):49-52. http://hdl.handle.net/10251/42340.Importación Masiva49521

Guy Debord

Debord, G. (1999). Guy Debord. Banda aparte. (14):34-34. http://hdl.handle.net/10251/42337.Importación Masiva34341

Nota Sobre o Emprego de Filmes Roubados

Sobre a questão dos filmes roubados, ou seja, os fragmentos pré-existentes de filmes de terceiros incorporados aos meus próprios filmes – notadamente em A Sociedade do Espetáculo (Guy Debord, 1974) – (considero aqui principalmente os filmes que interrompem e pontuam, com seus próprios diálogos, a narração derivada do livro), é preciso notar os seguintes pontos: Já se podia ler em “Mode d’emploi du détournement” (Lèvres nues, n. 8): “É preciso conceber um estado paródico-sério onde a acumulação de elementos distorcidos... é empregada para restituir um certo sublime”.    A “distorção” não é inimiga da arte. Os inimigos da arte são, ao contrário, aqueles que não consideram as lições positivas da “arte degenerada”.Palavras-chave: Filmes roubados, distorção, "A Sociedade do Espetáculo

Walking women: interviews with artists on the move

No abstract available

Aullidos por Sade

Debord, G.; Sarmiento, JA. (1999). Aullidos por Sade. Banda aparte. (14):53-55. http://hdl.handle.net/10251/42341.Importación Masiva53551

This progressive production: Agency, durability and keeping it contemporary

This is an Author's Accepted Manuscript of an article published in Performance Research: A Journal of the Performing Arts, 17(5), 71-77, 2012 [copyright Taylor & Francis], available online at: http://www.tandfonline.com/10.1080/13528165.2012.728447.Tino Sehgal is a Berlin based Anglo-German conceptual artist who creates ‘constructed situations’; a process whereby he hands over the delivery of the work to selected ‘interpreters’ or in the case of the Tate Modern (London) 2012 commission, to ‘participants’, who he rehearses and supports to carry out the instructions which embody his vision. Each time a Sehgal work is presented, it is animated by those he has asked and paid to participate, for an audience who are often called upon to engage with a question or conversation. In taking this approach, Sehgal explicitly rejects the idea of the artist as a making of objects. However, unlike the sorts of transitory and ephemeral works of art created in the 1970s which were a deliberate challenge to the commodification of art and by extension the artist, Sehgal constructs situations for other reasons which will be explored in this article. This article will also start to consider how dependence on interpreters or participants extends, transforms or circumscribes authorial control. It will begin to consider the extent to which the construction of live artworks that potentially exceed the life time and certainly the physical presence of the maker represent long-term duration. Does such an approach extend the field of influence and the potential for lasting impact? What impact does duration have on the re-enactor/interpreters capacity to comply with the artist's instructions and what investment do they have in embodying another's artistic vision, particularly if they are required to do so for an extended period of time

The Schizoid Dialectic Theses on winning the Union back

Bringing together Anderson's work as a cultural activist in performance (the Institute for the Art and Practice of Dissent at Home (www.twoaddthree.org)) and his role as Branch Chair of his institution's union for teaching staff (University and College Union), this performative paper will argue that a dialectical, agonistic blurring of boundaries across the borders of conflicting identities and interests is not only productive and desirable, but also liberatory and could constitute a small act of social justice. From lived experience the paper stages a series of arguments - in dialogue form - between Gary the anarchist art-activist and Gary the reformist trade unionist branch chair. Whilst both would agree that social justice is the 'bottom line' neither would agree that the task of institutional transformation is in part to recognise the dialectical flux inherent in their (Gary's) conflicting identities. Yet, this is what emerges when these identities are juxtaposed to engage in agonistic debate. The dialogues focus on the institutional context of higher education in particular, and suggests that agonistically robust debate produces not a winner and a loser, but a dialectical schizoid (Deleuze and Guattari, 2004 Deleuze, Gilles, and Félix Guattari (2004) A Thousand Plateaus: Capitalism and schizophrenia, London: Continuum Impacts. [Google Scholar]) who occupies both positions, more or less, simultaneously. The dialogues deploys two texts: Karl Marx's Theses on Feuerbach (1845) - of which the union chair is enamoured - and the rewritten Theses on Winning the Union Back - which the art-activist performance artist has vandalised. The paper contains the full text of the rewritten Theses on Winning the Union Back