Batalla
Thesis 25: Shamanic Materialism makes simultaneous perception possible according to two incompatible, paradoxical and irreconcilable perspectives.
Thesis 26: Incompatible perspectives are, at bottom, unreconciled perspectives.
Thesis 27: The historical a priori of Shamanic Materialism is non-reconciliation.
Thesis 28: Shamanic Materialism asserts an eventual perspectivism of History.
Thesis 29: Non-reconciliation is the transhistoric core of History.
Thesis 30: History is a grave for the eye. An overdetermination for the ear.
Thesis 31: The eye and the ear are attractors of contingencies.
Thesis 32: Materialism entails a prodigious accumulation of contingencies.
Thesis 33: Any contingency can be appropriated, organized and reformulated as a multinaturalist circumstance.[1]
Thesis 34: Every multinaturalist circumstance is an immediately relational multiplicity.
Thesis 35: What exists in multinature[2] are not self-identical entities perceived differently, but immediately relational multiplicities.
Thesis 36: Shamanic possession is the sensory outburst of the political cinema of agitation in an environment of immediately relational multiplicities.
Thesis 37: Cinema-trance implies the ability to see simultaneously according to incompatible, paradoxical and irreconcilable perspectives.
[1] The circumstance is the point of radical connection between contingency and facticity from which reason emerges. It is this situational sense of the circumstance in which reason acquires a possible determinability at the same time that it appears as a larval dimension that accompanies every entity, process and becoming (it should also be noted that the situational sense of the circumstance determines place, position and perspective). This perspective of nesting and infestation of reason supposes the nihilisation of something given. Reason, therefore, is, in principle, a lack of being with respect to a given being and not the emergence of a full being, this parasitic dimension of reason constitutes its expansive infra-being, that nothing of being, nothing of History in which contingency and facticity are linked.
[2]Multi-nature is a field of shamanic intersection between a constant epistemology and variable ontologies.
Thesis on the Audiovisual by Colectivo Los Ingrávidos
The Sun Quartet
On September 26, 2014, 43 students from the Ayotzinapa Rural Teachers´ College were disappeared in Iguala, Guerrero, Mexico by local police and Mexican Army. Every year the students take several buses to travel to Mexico City to celebrate the anniversary of the 1968 Tlatelolco Massacre.
The Sun Quartet is an audiovisual composition in multiple movements, political composition in natural resistance, kinematic composition in body mutations: a sun stone where youth blooms in protest, a river overflowing the streets, an ancestrality that arise from the sur-face of the objects, the burning plain rising in the city, the burn of a nation that trace the celluloid, the clamor of the people who after the night of September 26, 2014 shook to Mexico. The massive disappearance of 43 students of Ayotzinapa opened a breach in the Mexican political body, a new branch of the resistance arise. Faces in the crowd is a cinematographic composition of this event. A perceptive experience of the current Mexican war. This images are an expiring breath in danger of extinction. This images are what gets extinguished, consumed: a drop, a pure intensity which only appears when falling. This audiovisual crowds consists in the presence of the image as an affected body, harassed by the unique treads of entropy. A Faces exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye which would not need to see.
Until We Find You: The Disappeared of Ayotzinapa!
by Colectivo Los ingrávidos