This texteo mixes (or creates a montage with) three elements: the ideas and images of Third Cinema
filmmakers and theorists Octavio Getino and Fernando Solanas, my writing describing one of the binaries raised by my reflections on LFYT 2007, and two videos in their own dialectic. In my blog post "On Slogans"
I write: "I ask you to think of the following slogans—penned by committed artists from long-past revolutions, times, and places, and then followed by my own slogan responses—as a call to arms for how we might better muster today's technology to contribute to an ongoing project of improving the possibilities for presentation, interpretation, and abstract social evaluation, human interaction, perception, and epistemology, through media praxis
According to Paul Schroeder, The Hour of the Furnaces
was "shot clandestinely between 1966 and 1968, during the initial stages of what would come to be known as Argentina's infamous 'dirty war,' the film was screened clandestinely as well, to sympathetic audiences of workers, anarchists and revolutionaries who would regularly interrupt the projection to discuss concepts and issues raised in the film."[cit]
"The practice of captioning (specifically, cats) started many years ago on anonymous forums, most prominently called the *chans. Supposedly, the practice of posting and the actual type of these images was termed 'Caturday': A day when people all around the internet create, submit, send, email and send pictures of lolcat's around the world ..."[cit]
The Third Cinema was a radical film movement
that occurred in the 1960s during decolonization and neocolonialism in the Third World, including Latin America, Africa and Asia. Like DIY, Third Cinema is "an ideologically charged and aesthetically meaningful term that denotes the adoption of an independent, often oppositional stance towards commercial genre and auteurist cinemas emanating from the more developed, Western (or Westernized, in the cases of Israel and Australia) capitalist world. As such, Third Cinema is both less geographically bound and more actively shaped by anti-imperialist and counterculture movements that emerged during the 1960s."[cit]
One of my ten founding terms
for this project is producer
: We need to expand the role of the artist/intellectual in society: who makes, when, what, and with which supports. This begs us to consider the difference between a politics of self-expression and that of cultural revolution.