La Furia Umana, a journal of interference that (from the beginning) overcrosses boundaries, aims, on the contrary, to promote intersectionality and peace.
About Harun Farocki’s Parallel I-IV
Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms (telematics, IT, digitization, etc.), the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but – and this is the source of all the current suspense – is it, in fact, the real we worship or its disappearance?
Authors
The previous issue of La Furia Umana published the first part of my article “Woman’s Art and Ecological Aesthetics: The Way Forward.” In that part of my extended essay, I showed how Kenneth Rexroth’s encounter with Chinese poetry led him to a hierophantic conception of concrete reality. This resulted in his repudiating Anglo-Modernist beliefs about […]
Marx? Lenin? Mao o, meglio, Debord? No, per cominciare l’attraversamento degli anni più politici di Jean-Luc Godard cominciamo da Los Angeles e poi dall’osservazione di un filmmaker sperimentale americano raramente associato alla militanza politica, Paul Sharits. In una straordinaria conversazione su cinema e politica con Samuel Fuller, Peter Bogdanovich, Roger Corman e King Vidor, avvenuta […]
1. John Di Stefano … what are some influences that would underpin our collaborative project on Pasolini? Cathy Lee Crane … I saw this incredible video called Anna (1975)[i] in Montréal at the Festival du Nouveau Cinéma when my film Pasolini’s Last Words (2012)[ii] was showing in 2012. It was a work shot with an […]
« Brasília fica à beira » a écrit Clarice Lispector en 1970 dans sa chronique pour le Jornal do Brasil intitulée « Nos primeiros começos deBrasília », soit, en français « Les débuts de Brasília ». « Brasília fica à beira ». « Brasília se trouve sur la rive », dit la traduction de Jacques et Teresa Thériot.i« Brasília reste au bord », pourrions-nous aussi entendre. Quelle que soit […]
It is the time of fire. And Kamñaii wants to expand its blaze. The fire of Kamña is gunpowder, flame and fuel for an unbound fire that scorches the earth, that drowns villages, that decimates people. Kamña’s insatiable thirst still lusts to carve out deserts. Kamña wants meat, lot’s of it, red and bloody, sacrificing hordes […]
Un sentir es el del sintiente, pero otro es el del sentidor. João Guimarães Rosa, Grande Sertão: Veredas1 Cincelado a lo largo de una docena de cortos y mediometrajes, el cine de Ana Vaz combina la experimentación formal —un lenguaje singular, esculpido al margen del canon y en diálogo constante con las formas visuales de los modernismos— con una reflexión acerca de […]
I. Perplejidad Este escrito es el registro de una experiencia de lectura compartida. Un ejercicio de explicitación de algunas de las preguntas que formulé en “portuñol salvaje” durante la conversación virtual que sostuvimos en el espacio que llamamos “Cosmoestéticas del sur” mientras cumplíamos los variados requisitos de aislamiento físico entre 2020 y 2021. Preguntas situadas, formuladas […]
La relación de los pueblos originarios con las plantas de poder ha sido objeto de estudio antropológicos y etnobotánicos prolíficos, y han sido atestiguadas en todo el mundo. En general, las ciencias antropológicas han considerado a las plantas, y sobre todo a las que tienen efectos psicotrópicos, como dispositivos de mediación entre los humanos y […]
Inicialmente gostaria de dizer que essas considerações advêm das reuniões da Rede Internacional de Grupos de Pesquisa “Cosmoestéticas do Sul” que, após reunir-se ao longo de mais de um ano, organizou uma Jornada sobre a obra estudada: A queda do céu. Palavras de um xamã yanomami, de Davi Kopenawa e Bruce Albert. A leitura, estudo […]
When we started collectively reading[1] The falling sky: Words of a Yanomami shaman, by Davi Kopenawa and Bruce Albert[2], in the context of the research network “Cosmoaesthetics of the South”, I was coming from dedicating the last years to develop the hypothesis of cinema as a footprint -trace, recreation- of the ritual crossing of worlds. […]
Quando começámos a ler colectivamente[1] A queda do céu. Palavras de um xamã yanomami, de Davi Kopenawa e Bruce Albert[2], no contexto da rede de investigação “Cosmoestéticas do Sul”, vinha de dedicar os últimos anos a desenvolver a hipótese do cinema como pegada -traço, recriação- da travessia ritual de mundos. Apesar da resistência, foi difícil […]