In the article we discuss the meaning of the body in its material dimension in relation to its transformation in the current context, which is determined by the multi-layered convergence of biopolitics (Foucault 1978–79), necropolitics (Mbembe 2003), digital psychopolitics (Han 2014), and gore capitalism (Valencia 2010). It is an inquire of the ways in which the contemporary body becomes a form of mass media for certain populations who choose to consent to the mandate of making themselves entrepreneurs of their own bodies within the livestream regime (Valencia 2016, 2018). The author analyzes a variety of representations of femininity taking physical form g-locally in bodies, which—in an effort to comply with capitalist mandates and with binary choreographies of gender and sexuality—become businesses themselves.
Valencia jest autorką koncepcji kapitalizmu gore opartej na diagnozie męskiej przemocy jako modus operandi obecnej fazy kapitalizmu (Valencia 2010); w wielu częściach świata upłciowiona przemoc stanowi jedno z podstawowych narzędzi akumulacji kapitału. W niniejszym tekście odnosi tę koncepcje do transfeminizmu i postuluje uwolnienie męskości z toksycznego i destrukcyjnego romansu z kapitalizmem. Skoro nikt nie rodzi się mężczyzna, tylko się nim staje, to zawsze może stawać się inaczej, poza ramami wyznaczanymi przez hegemoniczny wzorzec męskości.
In this paper, I propose the concept of the live-streamed regime as a way to reflect on the new political dimension of the governance of emotions. This is carried out via the use of digital (audio-) visual elements, in order to stoke the fascination for violence and authoritarianism by means of the design of images and cultural material that are highly cosmetic. These kinds of images are used by the extreme digital right (the Alt-Right) to: 1) cosmeticise fascism and make it attractive again, 2) trivialise and justify the violence inflicted on communities that are disadvantaged and marginalised due to issues of gender, race, class, sexual diversity, disability or immigration status.
Images can activate or deactivate violence and have important political value, so analyzing their implications is essential. In this article we will investigate the representative forms of violence against women and racialized, impoverished bodies located in the Global South, specifically in Colombia and Mexico, through two recent films: La mujer del Animal (2016), directed by Víctor Gaviria, and Backyard: El traspatio (2009), directed by Carlos Carrera and written by Mexican playwright and feminist Sabina Berman. We will use an interdisciplinary methodology in which feminist film theory and critical discourse analysis intersect in order to propose a transfeminist methodology of encryption and re-codification of the images of violence, so they do not give up their role as social criticism. ; As imagens podem ativar ou desativar a violência e possuem um importante valor político, o que faz com que seja imprescindível analisar em que implica suas reproduções. No presente artigo, indagaremos as formas de representação da violência contra as mulheres e os corpos racializados, empobrecidos e geopoliticamente situados no Sul global, especificamente na Colômbia e no México, através de dois filmes recentes: La mujer del Animal (2016), dirigida por Víctor Gaviria, e Backyard: El traspatio (2009), dirigida por Carlos Carrera e escrita pela dramaturga e feminista mexicana Sabina Berman. Para tanto, faremos uso de uma metodologia interdisciplinar na qual se cruzam a teoria cinematográfica feminista e a análise crítica do discurso, para assim propor uma metodologia transfeminista de encriptação e recodificação das imagens da violência de modo que estas não percam sua natureza de denúncia social. ; Las imágenes pueden activar o desactivar la violencia y poseen un importante valor político por lo que es imprescindible analizar qué implican sus reproducciones. En el presente artículo indagaremos en las formas de representación de la violencia contra las mujeres y los cuerpos racializados, empobrecidos y geopolíticamente situados en el Sur global, específicamente en Colombia y México, a través de dos películas recientes: La mujer del Animal (2016), dirigida por Víctor Gaviria, y Backyard: El traspatio (2009), dirigida por Carlos Carrera y escrita por la dramaturga y feminista mexicana Sabina Berman. Para ello, haremos uso de una metodología interdisciplinar en la cual se intersectan la teoría fílmica feminista y el análisis crítico del discurso, para así proponer una metodología transfeminista de encriptación y re-codificación de las imágenes de la violencia de modo que estas no pierdan su carácter de denuncia social.
Abstract This article proposes two specific interventions, utilizing a critical transfeminist positioning to critique a transexclusionary perspective in writing and research on the crucial problem of necropolitics and the murder of women in Mexican society: (1) the term postmortem/transmortem politics, to reflect on the forms that imagination and political practice developed inside a Mexican trans community to deal with the necropolitics that murders trans and cis women on an everyday basis with complete impunity—in this sense, the process of mobilization, here called postmortem/transmortem, builds bridges of transfeminist alliance since it reactivates and embodies struggles against femicide and transfemicide from communities of care and vulnerability; and (2) the goals of the transfeminist movement as a source of feminist repolitization and greater inclusivity for the subject of feminisms, considering those subjects left outside or energetically moved away from the neoliberal reconversion of the critical devices of the white heterosexual and institutional feminisms that we know today as gender politics or "women's politics," managed and operated by the state.
On Wednesday, July 3, 2019, I interviewed Sayak Valencia (Transfeminist philosopher from Tijuana-Mexico) at the Asentamiento Fernseh (a space for aesthetic / political / theoretical production of sexual dissidences and their representations) about her first visit to Córdoba. Sayak traveled to Buenos Aires to participate in the Global Humanities Curriculum Project workshop where she shared space with #NiUnaMenos Argentina, Verónica Gago and Homi Bhabha (organized by the Mahindra Humanities Center of Harvard University and the Humanities Department of San Andrés University) and it was for this reason that we were able to invite her to Córdoba. Indeed, Sayak's coming was a joint effort organized by the research team "Emotions, temporalities, images: towards a critique of neoliberal sensitivity" of the María Saleme Burnichon Research Center of the Faculty of Philosophy and Humanities and FemGeS (Area of Feminisms, Gender and Sexualities), the collective Emosido engañado and Raros somos todos (space for critical intervention and dissident psychoanalysis), the publisher Sexualidades Doctas and Asentamiento Fernseh. ; El pasado miércoles 3 de Julio de 2019 entrevisté a Sayak Valencia (filósofa Transfeminista de Tijuana-México) en Asentamiento Fernseh (espacio de producción estética / política / teórica de disidencias sexuales y sus representaciones) a propósito de su primera visita a Córdoba y a raíz del conversatorio "Necroscopia y ontologización de las imágenes de la violencia" organizado en Museo de Antropología (FFyH-UNC). Sayak viajó a CABA para participar del workshop Global Humanities Curriculum Project en donde compartió espacio con #NiUnaMenos Argentina, Verónica Gago y Homi Bhabha (organizado por Mahindra Humanities Center de la Universidad de Harvard y el departamento de Humanidades de la Universidad de San Andrés) y fue por ese motivo que pudimos invitarla a Córdoba. En efecto, la venida de Sayak fue un esfuerzo conjunto organizado por el equipo de investigación «Emociones, temporalidades, imágenes: hacia una crítica de la sensibilidad neoliberal» del Centro de Investigaciones María Saleme Burnichon de la Facultad de Filosofía y Humanidades y FemGeS (Área de Feminismos, Géneros y Sexualidades), el colectivo Emosido engañado y Raros somos todos (espacio de intervención de crítica y psicoanálisis disidente), la editora Sexualidades Doctas y Asentamiento Fernseh.
O presente artigo foi publicado originalmente como um capítulo de livro na compilação Queer y cuir: políticas de lo irreal (Editorial Fontamara, 2015), organizada por Fernando Lanuza e Raúl Carrasco. A revista Caderno Espaço Feminino agradece à pesquisadora Sayak Valencia por autorizar a publicação desta tradução.
