[-empyre-] Frente 3 de Fevereiro forward

naxsmash naxsmash at mac.com
Sun Jun 1 05:45:36 EST 2008

dear Eduardo,

Thank you for your passionate and loving words, your attention to us  
all on the list.  --
my deepest respect and admiration!


On May 31, 2008, at 11:51 AM, Eduardo Molinari wrote:

> Hi Felipe and Daniel!
> hi Brian, hi all,
> never is late!!!
> thank you for your words.
> Close to the end,
> I want to say thank you very much to Jennifer,
> that invites me to this big and intense dialogue.
> Also to Cristina, Brian and all.
> I really have many new questions in my brainnnnn!
> I wish that our reflections bring to us new tools for our daily
> fight against a world without social justice
> and also to find a new relation with nature.
> All the best for all,
> from Buenos Aires (in the middle of the "Soja battle")
> muchas gracias,
> eduardo
> Eduardo Molinari / Archivo Caminante
> Aramburu 880, Dto.1 (1640) Martínez
> Provincia de Buenos Aires – Argentina
> 0541 1 47 98 48 35
> --- El sáb 31-may-08, brian whitener <iwaslike at hotmail.com> escribió:
>> De: brian whitener <iwaslike at hotmail.com>
>> Asunto: [-empyre-] Frente 3 de Fevereiro forward
>> Para: empyre at lists.cofa.unsw.edu.au
>> Fecha: sábado, 31 de mayo de 2008, 2:31 pm
>> Dear friends,
>> I sent this e-mail yesterday, but I still haven't
>> received it yet on the list.
>> Could you send it again for me, please?
>> And please explain that I sent it yesterday and not today.
>> Thank you very much.
>>          Abrazos,
>>  Felipe
>> Hi Everybody,
>> We, from the Frente 3 de Fevereiro, are really sorry to
>> only contribute to this discussion in the end of it.
>> We
>> have been really busy in the last month finishing our Music
>> Album and improving our Website.
>> We have finished both.
>> We invite everybody to visit the new website:
>> http://www.frente3defevereiro.com.br/
>> The songs can be heard there and soon they will be
>> available for download at the website (June 10th).
>> We would like to contribute to the discussion first by
>> answering some questions that Brian Whitener has put for
>> us.
>> The questions were:
>> 1) How these
>> critiques that are very
>> conscious of global geo-politics with very localized, or
>> situated and
>> responsive interventions, are conceived (and how do they
>> direct the work)?
>> 2) What are the
>> mechanisms of intervention?
>> 3) What can we learn from these groups and
>> artists (most of whom have 10 or more years of working).
>> 4) How can we
>> translate (conceptually, literally, and figurative) between
>> these
>> experiences, contexts, and theorizations/embodiments of
>> critique?
>> 5) And
>> how can we potenciate a new cycle of struggle?
>> 6)
>> What are the forces in your context (both situated and
>> historical)?
>> Globalization? Neoliberalism? Imperialism? (a related
>> question would
>> be: can the Argentinean experience from 1999-2003 be
>> collapsed into the
>> anti-globalization movement? What about Brazilian
>> movements? Are we
>> still in the neoliberal moment? Or its crisis? Or is crisis
>> its
>> moment?)
>> 7) What does the current moment look like/feel like?
>> (for example in Mexico, there several strong insurgent
>> movements, APPO,
>> Zap,  but in Mexico City we continue to watch and wait.
>> Thus, our
>> moment is much different from the Argentinean moment).
>> 8) Current practices. What are you doing and why?
>> 9) One question you think we should be thinking about.
>> 10) The group started as
>> response to media, does it continue like this...?
>> 11) Can you talk more about
>> the idea of "the cartographer is a true cultural
>> cannibal¨"
>> 12) Is it accurate to say
>> that your practice is concerned with inventing new ways of
>> reading and writing desires, therefore inventing new forms
>> of
>> sociability?
>> 13) Current projects?
>> Here are the Answers:
>> 1)
>> Our group was formed with a very clear and specific
>> objective: to
>> reflect and act upon the racism issue in Brazilian society.
>> Of course,
>> from that we could connect this issue with other issues
>> that are more
>> ample, and more global (like immigration problems, or mass
>> incarceration processes, etc.). Since the
>> beginning we have questioned exclusion and
>> oppression mechanisms like the racist bias in the police
>> action, the
>> architecture of exclusion of our cities, the industry of
>> fear, the
>> security bubbles created in our
>> society and the criminalization and mass confinement
>> policies that
>> have targeted mainly black young people. The critique comes
>> from the
>> identification of some sort of "urgency" that we
>> feel and that we
>> consider that others also feel it. From this
>> identification, we try to
>> find elements or symbols that could help us reveal the
>> mechanisms and
>> contradictions surrounding the urgency context. The direct
>> intervention
>> in the public space brings us new elements to make the
>> urgency
>> situation evident and to provoke a reflection about it. So,
>> the
>> critique of the mechanisms that creates urgencies is always
>> the
>> starting point to our work, which seeks to not only make
>> the critique
>> public, but to foster a reflections in the public about the
>> problem.
>> 2)
>> To elaborate the intervention, we try to find a symbolic
>> and artistic
>> way to expose the urgency. We also try to find cracks in
>> the systems
>> that controls the public spaces, so that we can use these
>> cracks that
>> are not foreseen by the system to foster a reflection in
>> the public
>> space. The target are the people who are on the public
>> space of the
>> action, but also, if it is possible to find a crack in the
>> media
>> system, the possible viewers of the media system. For
>> example, we
>> opened huge flags with messages questioning the racism in
>> football
>> games, so we got to the public watching the game at the
>> stadium, but we
>> also got the TV to show it live, so we reached everybody
>> who was
>> watching the game. After that we also try to organize an
>> artistic
>> presentation (with music, video and performance) to reach
>> even more
>> people and new publics. This different arts combine to
>> create an artistic dialogue and discourse that allows
>> different
>> appropriations from the viewers. So, the artistic and the
>> political are always together in our work.
>> 3)
>> When we exchange experiences with other groups, we get in
>> contact with
>> other realities, which helps us to understand better the
>> mechanism of
>> the processes that we confront in the local context, but
>> that are also
>> linked to global processes. We also get in touch with other
>> ways of
>> action and their relations to the specific contexts. This
>> gives us the
>> opportunity to reflect about our own conceptions and
>> practices. So,
>> both our knowledge of our reality and our creative process
>> can enlarge
>> in contact with other groups.
>> 4) We consider that we can
>> translate these experiences by two ways. One is by
>> analyzing their
>> local context and how it relates to global processes and
>> compare this
>> to how our local context also relates to global processes.
>> The other is
>> by analyzing their strategies and its relations to the
>> local context
>> and then understanding the differences and similarities of
>> these
>> relations with the relations between our strategies and our
>> local
>> contexts. Again, this allows us to translate these
>> experiences as to
>> their realities and to their methodologies or strategies.
>> 5)
>> This is a really difficult question. We don't think
>> that anyone has the
>> final answer to it. For now, we believe that we have to
>> keep exchanging
>> experiences between our groups and creating international
>> networks. But
>> these networks shouldn't be just for discussing, they
>> must be useful to
>> create partnerships for mew works, that is, they must allow
>> the
>> different groups not only to share experiences, but to put
>> groups from
>> different contexts to work together in some other local
>> contexts. Here
>> we agree with Bijari about the
>> "situação-relacional" ("relational
>> situation").
>> 6) In the reality of our country, we can identify
>> some of this forces like neoliberalism or imperialism. But
>> the kind of
>> forces that we more directly deal with are criminalization
>> and
>> anti-social mechanisms that create exclusion in the cities
>> and in its
>> public spaces. These (and the forces related to them like
>> mass
>> incarceration and increasing violence in the urban
>> conflicts) are the
>> processes that have a more direct effect on us. Of course,
>> they are
>> connected to the more general forces, like neoliberalism
>> (http://sociology.berkeley.edu/faculty/wacquant/wacquant_pdf/PENALISAPOVNEOLIB-EJPPR.pdf
>> ; also
>> http://sociology.berkeley.edu/faculty/wacquant/wacquant_pdf/DICTATORSHIPOOR.pdf) 
>> ,
>> but we try to act upon the more concrete ways in which
>> these general
>> processes really affect peoples lives, so we deal more with
>> these other
>> more "local" forces. We are not sure if it is
>> clear that the Brazilian
>> movements are related to the anti-globalization movement.
>> Of course,
>> there is influence (it is not a coincidence that the firsts
>> World
>> Social Forums were here), but also, the reality of most of
>> the people
>> here is very distant from such global discussions.
>> Just as a personal
>> note, I consider that neoliberalism is actually in crisis
>> and that we
>> are experiencing some kind of post-neoliberal moment not
>> only in Latin
>> America, but also in the world.
>> 7) In Brazil, we have two
>> contradictory movements going on. One is a much wider
>> discussion on
>> topics like public security, affirmative action,
>> criminalization,
>> incarceration policies and social exclusion and inequality.
>> On the
>> other hand, there is a conservative reaction that affirms
>> the idea of
>> the fear of the urban criminal violence and therefore
>> creates support
>> for more oppression and penalization. So this is a crucial
>> moment in
>> Brazil and we still don't know which way the country
>> will follow.
>> Therefore, the social mobilization is critical to influence
>> the
>> direction that we think is right. We consider our work very
>> important
>> in this context to contribute to a more democratic,
>> inclusive and
>> public society, with new forms of sociability.
>> 8)
>> We just finished a music album, which was the third part of
>> a work that
>> included a documentary and a book. Right now we are
>> developing a
>> project that will discuss the issues of the geography of
>> exclusion in
>> three different contexts: Johannesburg, São Paulo and
>> Berlin. This will
>> help us to reflect about the mechanisms of exclusion and
>> the potentials
>> of overcoming barriers in really different realities.
>> 9) Some questions:
>> What are the possibilities to
>> break the established order and in which way they can
>> contribute to
>> emancipation?
>> How can we scape from
>> criminalization?
>> What are the mechanisms that
>> create exclusion in the cities?
>> 10)
>> Actually, we don't really respond to the media. We take
>> advantage of
>> some facts that the media are making public and use them to
>> question
>> established ideas about racism and exclusion, reaching the
>> public that
>> gets in touch with these issues trough the media. We still
>> act this way.
>> 11)
>> This idea means that the cartographer appropriates himself
>> of
>> everything around him so that he can poetically express new
>> forms of
>> reading and writing his desires, that which makes him move
>> and act. In
>> this way, he uses everything he can from the world to
>> create new and
>> multiple practices, ways of understanding and forms of
>> sociability.
>> This is what we try to do.
>> 12) That is exactly our ultimate goal.
>> 13)
>> As we said, we just finished the music album and the new
>> website, we
>> are developing the Johannesburg-São Paulo-Berlin project
>> and we are
>> trying to develop a project to take the group to the U.S.
>> to discuss
>> the connections between the Prison Industrial Complex,
>> Racism and
>> Immigration issues.
>> Sorry for the very long e-mail.
>> And sorry for contributing just at the end of the
>> discussion.
>> We are open for further discussion, questions, or doubts.
>> Thank you very much,
>>               Felipe and Daniel - Frente 3 de Fevereiro
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Christina McPhee

PO Box 7063
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Department of Film and Digital Media
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