Discussion paper: When the Cinderellas unite

Igor Ahedo Gurrutxaga
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引用次数: 2

Abstract

The accelerated context of uncertainty and objective or subjective precariousness in which we are immersed, aggravated by Covid, has dashed the hopes of thousands of people who cannot find comfort in an "outside" marked by the weakening of community and identity networks. [...]if we look at the analysis of reality, we must be aware that we work in cracked territories, in a barren land where community ties have been broken, and dozens of broken dolls survive adrift on the currents (Mirowski, 2009). [...]if our practice could be exemplified by this tale, our goal would be for Cinderella to throw off the yoke of those who condemn her to prostration, allowing her to rise up to recreate new forms of power. [...]the text we draw on is a clear example of the various types of dances with power via which AR has got Cinderellas involved over many decades: some shorter, others more intense, some with abrupt ends and others that are still going on. [...]the game of life, in a good fight with neoliberal dystopia, becomes a kind of unbridled dance for survival in which only one person is left dancing at the end. on the wreckage of the rest.
讨论文件:灰姑娘何时联合
新冠疫情加剧了我们所处的不确定性和客观或主观不稳定性的加速背景,使成千上万的人的希望破灭,他们无法在以社区和身份网络削弱为标志的“外部”中找到安慰。[…如果我们看一下现实的分析,我们必须意识到,我们在破碎的领土上工作,在一片贫瘠的土地上,社区关系已经破裂,几十个破碎的娃娃在水流中漂流。[…如果我们的实践可以以这个故事为例,我们的目标是让灰姑娘摆脱那些使她屈服的人的枷锁,让她站起来重新创造新的权力形式。[…我们引用的文本是一个清晰的例子,表明了几十年来,AR让灰姑娘参与了各种类型的权力舞蹈:有些更短,有些更激烈,有些结束得很突然,有些还在继续。[…生活的游戏,在与新自由主义的反乌托邦的斗争中,变成了一种肆无忌惮的生存之舞,最后只剩下一个人在跳舞。在剩下的残骸上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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