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Trazos de sangre y fuego: bionecropolítica y juvenicidio en América Latina

"Capital comes into the world dripping blood and mud from every pore, from head to toe" (Marx 2014, 646) and reproduces itself, according to Valenzuela, with traces of blood and fire. This book is in line with a critique of capitalism as an economic model that resorts to necropolitics in order to reproduce itself. Specifically, it is a model that develops strategies that produce life and death, that determine who should or deserves to die. During the 123 pages of his book, Valenzuela tells us about precarious lives, lives that can be sacrificed, disposable lives, lives that are expendable, lives on the edge, young lives exposed on the verge of juvenicide, death, corruption, unimaginable pain; all of these are destructive features of capitalism and the globalised condition of the world. Traces of blood and mud, juvenicide, classism and inequality, biopolitics, necropolitics, snuff torture and bioresistances are some of the concepts that the author brings to the discussion and which serve to define and analyse current social problems in Latin America which, although they may seem alien to us Europeans, are correlated with the moment of multiple crises in which we find ourselves and where the death of young people is not physical, but moral. In this line, Valenzuela mentions Carles Feiza (2015) who, from the set of strategies of social exclusion, economic juvenicide (destruction of youth employment) and symbolic juvenicide (media and cultural stigmatisation of young people), gives content to what he himself calls moral juvenicide. In order to cover such a complex subject, the author appeals to cases of crime, violence and also the resistance of young people in Latin America; scenarios that have occurred in recent decades and which are presented in this book as references that make explicit current phenomena to be problematised by the academy. The aim is to study the past in order to explain the present and to understand how power relations function from the perspective of biopolitics (control/resistance of the body) and bioproxaemia (symbolic dimension of the body-space/territory relationship). Finally, the author ends by calling for the struggle for freedom as a commitment to life in the face of the strategies of death that neoliberal capitalism systematically reproduces.José Manuel Valenzuela Arce, a sociology graduate, is currently a professor and researcher in the Department of Cultural Studies at El Colegio de la Frontera Norte. His work has been of great importance for the understanding of the socio-cultural processes that define the border between Mexico and the United States, as well as for explaining youth movements in both countries, a field in which he is an expert. He stands out mainly for his great ability to create and apply concepts, filling them with content that helps us to describe and understand current phenomena. &nbsp

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Enfoque culturocéntrico y dimensión socioeconómica de la creatividad

Today a mode of production emerges and asserts itself in which life and work are increasingly closely associated. To study this new situation, a radical change is needed in the way of observing and questioning cultural processes: the transition from an economic-centric approach, polarized on production and the economic dimension, to a cultural-centric approach focused on distribution, consumption and use. It is a question of considering, namely, the cultural industries as a system where both are integrated together: those who work directly in creative activities such as artists, musicians, cartoonists, decorators, photographers, writers, etc.; and others whose profession is in principle not immediately close to the artistic and intellectual sphere. It is, therefore, a question of overturning the traditional analysis of the relationship between the arts and industry for which the realization of products is linked to services such as tourism, advertising and design, to annex them to its non-cultural sphere; to understand how, on the contrary, it is industrial activities that are becoming practically subordinate to them almost to the point of turning into a subset of the creative industries and its fabric of micro-enterprises. The set of practices selected and highlighted on the basis of the cultural-centric perspective then corresponds to initiatives that refer to a conception of culture that involves everything that manages to promote an existence that wants to be both singular and plural. Able to make life a political object: to focus attention on oneself, on what one is capable of doing, but in such a way that the question of the art of living is at the same time put to the test of oneself and relationship with the other, with others.

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