When we are not elucidating the fact that the reality of humanity in the second decade of the 21st Century has literally become sci-fi, we can ponder that neoliberal common sense implies hostility to caring about others and to contributing to collective well-being and is therefore against public schools, social security, immigration and to public institutions in general. It also means that governments now function to create conditions for private interests to maximize wealth, because neoliberal common sense believes that profits and economic growth will trickle down from the top and that eventually everyone will profit as well. If the trickle down of riches from the top fails and inequality remains or worsens, then neoliberal common sense preaches that the cause is the personal failing of disadvantaged individuals and communities suffering. As a result, hoards of economic refugees or what I prefer to call “redundant populations” (which include dispossessed originary peoples, climate change and war refugees as well as illegal immigrants everywhere and the pauperized and the global unemployed working class) have been emerging throughout the globe. Aside from existing under bare surviving conditions, the redundant population is the backside of a phenomenon I have observed and that has been described by Rana Dasgupta as a symptom of how now sympathy and solidarity in human beings are blocked in one direction and emerged in another: in Delhi as in Mexico City, many privileged women or women from the richest families treat both members of the redundant populations and their inferiors with fear and contempt and yet devote their spare time to caring for stray dogs: from collecting food and blankets for them, to taking them to the vet when they are sick, going through great troubles to find adoptive families for them.
In Silvia Gruner’s (born 1959 in Mexico City, work in Mexico) work, the loop is the medium and temporality a mental structure in order to deliver mentalscapes of inhabitable locations. In her work, the surfaces of objects and the figments of the mind correspond to each other and film and video go beyond their status as indexes to function as analogies that suggest emotions, moods or states of mind.
Allotropy, from the Greek “allos” (other) and “tropos” (form) means “of another form”, and in chemistry, it designates the property of some chemical elements to exist in two or more different forms. Indeed, allotropes are different structural modifications of an element, atoms bonded together differently. Giving the title “Allotropes” to my blog, in no way implies a collection of writings that is not systematic, but rather, it describes the ways in which recurrent, urgent topics and debates on contemporary issues are articulated in the texts.
An array of concepts, signifiers, theories and practices such as: feminism, postpolitics, art, human rights, neoliberalism, globalization, the sensible, film, criticism, anthropocene/capitalocene, originary peoples’ struggles, redundant populations, modernism/decolonization, global warming, branding, etc. will be addressed, as they will combine and recombine giving new shape to diagnoses, ideas, tools, explanations and proposals.