Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Download
Standard view
Full view
of .
Save to My Library
Look up keyword or section
Like this
2Activity
0 of .
Results for:
No results containing your search query
P. 1
Holmes, Brian - Geocritique

Holmes, Brian - Geocritique

Ratings: (0)|Views: 46 |Likes:
Published by xciansemf
Taken from the fourth section of Brian Holmes' Escape the Overcode: Activist Art in the Control Society
Taken from the fourth section of Brian Holmes' Escape the Overcode: Activist Art in the Control Society

More info:

Published by: xciansemf on Jun 07, 2013
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less

09/15/2013

pdf

text

original

 
170 ⁄ 
brian holmes: escape the overcode
 
GEOCRITIQUE
10 /
R  P:
R  C  Ag
11 /
C D:
F G  G
12 /
A  Ck   W  Pw:
Iw w/16 B
13 /
I S
:Eu   Ag  C Fu
14 /
D  D   R T:
Cz, Fxz  Mz   C Iu
15 /
O W, O D:
C   Rk  Nw Suj
 
172 ⁄ 
brian holmes: escape the overcode
Pu M, h    Bu A,   h -990 u h  u  B’ u, h h  g  h “ y.”Fg h   , h   h    y hg h g u h y , g y  h gh   h . A g   y C u;  uy  ughu h ; hu   g    . Ty h u   , h -u    y   . Th h u  u h h   g, uy   h   g,    y h     h.Th  hu   x   ,  u  , h   uy     ’ uu  h h,  y    h-  h g u M, B Suh  IBM: h   u  h “ y.”Th  g  h quy  g y h gh  g h u g h  g  u,g y h Sh h
S C
:  u  y  j. A  qu  u hh
Puente de la Mujer,
 “Bg  W,”  ugu D 20, 200. Bu h’  – u h  h y  h Ag  g h qu  
R  P
R  C  A
For us it’s clear that i we want to strengthen a grassroots democracy, we have to make a defnitive bid or radicalization. It’s no longer a matter o “returning tonormal,” o returning to political rhetoric, o getting the game o ormal democracy into gear, or o constructing a “true representation o the people.” We have to strengthen other tendencies, other logics. We have to reinorce the popular struggles, and not channel them back toward power.
Cc Sc
, Mh 24, 200
10 /
 
174 ⁄ 
brian holmes: escape the overcode
 gz,  h y’       y g.Wh   h   g     h  y, Pu M   u,   h   h ,  h  –  h –    u  y. I g  h x 
déjà vu,
h yu h yu g h yu’ y ,g      h   h  y. I   qu u h  ,  , h   u-y.I’  y  
P V
’ 
Il ricordo del  presente; 
 h uuuy hg  h
Ex Argentina; 
h u   u    g    ;    h ,     y  qu  Bu A  R.

Th  quy  h     h   u-y  Ag. Th      u    h   x    h g u h u  h u. O u h y     u     h , ,  y . Th h  h h y  hugh h  ,     h      h.
history paintings
F h xh
Ex Argentina,
h 
Az B
 u     h  h u h   Pu M.Th u g –  -x
 grande machine 
h      g –  h uu,     Ag, gh gh   g- h    h . O h gh   h yu  h h, g h g, y g hg   h   h  g. O  h h hg     h   hg h - “g ” ju h h . Th   h  “zz  hg.” Ah      h . Ou h  yu   h   h , u h h  y u    x h .S  h gu  y u,  x, h
G S
, y   g h,  ug;  h  Fh g
Ppp Sck
,           Hu g (h h h  h - “F H
+
U”   y  h ,  u u   h u g  h 990). I h   h g  h   ,
A Lcz  Fb
,  “A,”h   y Ag uu, g  h  h  uu. A h g  
Ex Argentina,
 
Az B
  h uh h h h   h
“cultura de mierda,” 
h -uu hy    h h. “Thy   yhg,  h hz,” h .I h  
C M
, y   h  , 99-95, h 995-99. Dug h , h h   h -u u  u , h xy u, ug  g  h     h  – u y h h   20%  h .

Th    h  ,h h  hg   u. A h , g zz, 
Rb D
, h uh  h L  S  99 – h   h z. A h gh   
DC
,  u h  h   Chg,  h   
Pc
.
C
h y   h - “z”     h 90, ug hh –  y  ug u y  y   h  u y h ghy.Fuh  
F   R
,  h  Py, hu
M
 Ag  u h y h h  h C R   h, g  h u h . Th  x  h     uh, hhh  h     ug h  y  gz.A
D  R
,   u, 
Eq Fz
,  
01
  ⁄  
Thanks or a warmwelcome and a lot o insight to the memberso the groups Arde Arte,Etcétera, Grupo de ArteCallejero, Taller Popular deSerigraa and ColectivoSituaciones, as well asAzul Blaseotto, GracielaCarnevale, Ana Longoni,Eduardo Molinari andSantiago García Navarro.
02
  ⁄  
See the estimatesprovided by the criticaleconomist EduardoBasualdo, in
Sistema político y modelo deacumulación en la Argentina: Notas sobre eltransormismo argentinodurante la valorización fnanciera, 1946-2001
 (Buenos Aires, UniversidadNacional de QuilmesEdiciones, 2001).

You're Reading a Free Preview

Download
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->