Guerras floridas
Thesis 1: In political cinema of agitation there is a juxtaposition of the old and the new that entails an audiovisual practice in the form of aberration. In this cinema, agitation no longer emerges from new awareness nor calls for mass mobilization, but rather consists of putting everything in a trance, including the camera itself, relating the different instances of violence to each other, so that the trance, the crisis or the aberration determines a constructivity that, intervened from the real, produces collective audiovisuals of the Missing People.
Thesis 2: A political cinema of agitation whose condition of possibility is the ravages of neoliberal capitalism and leads, in the audiovisual realm, to a double form of aberration: the sinister and estrangement.
Thesis 3: The exacerbation of the sinister leads to the intolerable. The vision, presence and insistence of the intolerable opens up a horizon that enables the emergence and autonomy of the Missing People.
Thesis 4: In the political cinema of agitation there are three forms of the People: The Supposed People, the Missing People and the Population[1].
Thesis 5: The political cinema of agitation leads to an autonomy of images. Autonomy is not separatism, nor is it the taking over or occupation of the State, nor is it the totalitarian productivity of images, but rather the creation and appropriation of parallel sensory, perceptual, poetic and speculative structures within existing structures.
[1] The space of media representation that corporate governments have built around them excludes the People. What corporate governments presuppose as a correlate of their own unpopular image is a population, a mass that they can administer, quantify, manage. The consistency of this space of representation is completely homogeneous, overdetermined, quantified and non-antagonistic. The determining dimension of the official discourse aims to model a total, coherent image that ends once and for all replacing or transforming the Missing People and the Supposed People into a Population. What the image emporium of corporate governments presupposes is a spectator-population or an expectant-population, a mass of hallucinated people that responds out of the unison of a passive civility to the question: what is behind the governmental or corporate images and audiovisual productions? Or: to what expectant totality do the monstrous stagings such as those continually undertaken by world corporate governments and their tele-computerized allies against all possible construction and articulation of Missing Peoples refer? The quantified, subjugated mass intimidated by these questions answers without a voice and from the rostrum of its atomization, responds as a Population. Behind the sound-images that corporate-cinemas and government-cinemas disseminate, behind the hegemonic empowerment of the corporate-sovereign-mannequins, there is an ideal of a spectator: a regulated population without a clear political territory, in a desolate environment of insecurity, as well as in a vertiginous aesthetic-political uprooting.
Thesis on the Audiovisual by Colectivo Los Ingrávidos
