2017 - The Unseen Workshop

/ TONI SERRA *) ABU ALI

Toni Serra *) Abu Ali

An activity in the framework of OVNI programme for 2017 at the Centre de Cultura Contemporània de Barcelona that proposes -with the help of videos and texts- to go in depth into the notion of the invisible. Given by Toni Serra (Abu Ali), the workshop goes from the political to the poetic, or from poetry to mysticism.

From forced invisibility to permanent exhibition in the panopticon. The image as a veil. Tunnels of reality. The reality of the dream. Crossing the other side. On contemplation. The one and the multiple.

You are asleep and your vision is a dream; all you are seeing is a mirage. (1)

Capitalism’s gigantic audio-visual machine, like all its machines, is driven by an extractivist impulse: life as an infinite reservoir to be exploited. It makes sense to counter this instrumentalist drive with a method based on collaboration, immersion, and commitment that weaves together the creators of images and their environment, and does not turn them into mere agents at the service of that machine. However, there is a danger that this measure alone will be insufficient and reversible, unless it is accompanied by a radical critique of the notion of vision that has prevailed in the dominant global culture: if we do not consider vision’s capacity to extract but also to involve and project, if we do not deconstruct the visual language that implements the colonisation of time and of perception....

We normally associate images with vision, but in the society of global capitalism the use of images as spectacle (2) has turned vision into a kind of blindness, creating an imaginary woven from a huge number of images that are renewed and also replicated unceasingly. A tissue that solidifies until it forms a dense veil of images that not only hinders vision and obstructs direct experience, but also tends to colonise our realities and dreams, while plundering deposits of fantasy (3) and personal or shared imaginaries. A dominant reality that threatens the fabric of other realities, that threatens to wipe out forms of knowledge, landscapes, people, ways of life, affects... As if a thousand libraries of Alexandria, still embedded in people’s daily lives, in their chores, their places, were already burning once again.

Much has been said about the manipulative nature of media images, their capacity to deflect, distort, and distract the senses, creating a vision of reality that is completely biased on favour of the big economic powers. A huge, seemingly diverse, audio-visual production machine, in the hands of a few private, government, or hybrid corporations. But the real power of these images does not lie in denying, coercing, or manipulating (which always generate resistance and thus opposition), but in claiming to build, to constitute, to give space and make meaning. In other words, to create an imaginary and offer a place, an individual or creative role in that master film that will then be projected under the heading of “reality”. Of course it is no more real than a theme park or a shopping mall that simulates town squares, street musicians, and even action scenes...

This spectacle-reality is forged in the constant, high centrifugation of labels: news, fiction, advertising, education, entertainment, training, and so on. Themes and concepts are mixed together, and so is the syntax of consumption, permutating them in time and space until they become indistinguishable or their differences become irrelevant, once they are consumed and absorbed as part of the same segment of experience.

Audio-visual media have undergone radical change and hybridisation under the impetus of the new consumer, entertainment, and socialisation technologies. They have partly yielded the oligopoly of the means of audio-visual production, and are now complemented (and challenged) by the massive spread of devices for recording, editing, and disseminating images. They have hybridised with other media based on micro-segments of information and opinion..., creating a dense media ambience in which TV news, advertising, video games, film, advertorials, and social media are constantly in self-referential mode. Inspired by marketing strategies and informed by the personal information that is “voluntarily” provided on so-called social networks, critical voices also take on a spectacle-role. An implementation of a new version of the panopticon, given that any “social” element of these networks dissolves with the ownership, management, and use of the data they amass.

Models are no longer simply projected onto passive viewers, like in the old Hollywood dream factory. Instead, what were formerly audiences are offered an “opportunity to participate”, a chance for interaction that gives them an active leading role in a pre-written script. Stories, feelings, private and shared dramas, aspirations, desires, dreams, fears, likes and dislikes, emotions and ideas, are the raw material that fuels the great accumulation machine, always geared towards obtaining and maintaining maximum profit in the form of financial or cognitive capital. In this context, as Pasolini saw, free participation and interaction paradoxically coexists with looting and plunder, with the exploitation of the enormous experiential and cultural reservoirs, the personal and collective realities of those who participate, whose reality either becomes productive or is cancelled. The “raw material” is used according to the financial logic of marketing and the politics of control. It is extracted, inserted into the timeline (4), filtered, and put back on screen in the form of the global imaginary.

The dominant power presents itself in an outward-oriented imaginary, but this does not mean that it is only used on forms and surfaces. Rather, it provokes and forces the interior – anonymous, hidden, insignificant – to flow towards the surface, to be reduced to it, to show and advertise itself and ultimately become only that outwardness. Only thus can it be mapped in its entirety, its identities grouped and produced, experts assigned, and goods targeted to it.

The sleep of our era is not a good sleep that provides rest. It’s an anxious sleep that leaves you feeling even more worn out (...) There is a narcosis that begs for an even deeper narcosis . (5)

This is the sleep that gives rise to “capitalist realism” (6), which mainly affects people living in the central parts of the global system, where capitalism tends to seem unfair but unavoidable, with no conceivable alternative. Mark Fisher, who coined the term, describes it as the impossibility of there being space for an alternate possibility within a capitalist framework.

Capitalist realism cannot be confined to art or the quasi-propagandistic way in which advertising functions. It is more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as a kind of invisible barrier constraining thought and action. (7)

Capitalist realism, implemented as a hegemonic ideology, consists of the conviction that there is no alternative to the paradigm of capitalist social organisation, and also of its own means of reproduction and dissemination to most of the population.

As we have seen, the image industry and the media are essential for projecting this capitalist realism onto the social screen. Two of its media strategies are notable for their capacity to go viral.

The first, presented as “information” and “objectivity”, consists of what we could call the creation and export of the visual concept of poverty. Through images (preferably taken from countries on the global periphery), news and mainstream documentaries present decontextualised, re-situated visual segments that illustrate the dominant idea of poverty for “central” audiences and export it as a global imaginary. At the same time

4th  Independent Vídeo Show & Interactive Phenomena

/ CONTEXT 1994 - 2020

4th  Independent Vídeo Show & Interactive Phenomena

IDENTITY vs MEDIA / 4th  Independent Vídeo Show & Interactive Phenomena / OVNI 1997

The MVI&Fi presents an extensive theme-based programme that is not exclusively dedicated to new audio-visual productions. The Mostra is non-competitive and all the participants are paid for their contributions. These are the specific criteria that distinguish the Mostra from other festivals.

As in previous editions the audio-visual works presented in the MVI&FI are selected in two ways. On the one hand, a rigorous selection of works received through a public call for entries and the other, works selected from a variety of archives and programmers or through direct contact with the authors.

The theme of identity , once again, is of central importance in the Mostra; identity, in this cases, at the cross-roads of the social, sexual, emotional and familial with the interior world of madness, pain and the intimate, ...A spectrum amply illustrated in the four programmes of the Dark Night of the Soul .

In this edition, for the first time, the Mostra presents two monographic sections: An extensive selection of the work of the Canadian Steven Reinke and more limited programme dedicated to Joe Gibbons.

We are also presenting an extended version of the William Burroughs monographic programme that was projected at the MACBA, consisting of works that go beyond the strictly videographic, and representing both a way of understanding visual experimentation and a radical critique of contemporary culture and society. There are works in with Burroughs actively collaborated, such as the films of Antony Balch and Gus Van Sant and others in which his writings or voice served as a point of reference, such as the shorts of Francis Ford Coppola, Herbert Distel, Philip Hunt, ...

We are especially pleased to be showing The Society of the Spectacle by Guy Debord , with Keith Sanborn ’s English translation.

The 4MVI&FI also includes two programmes of Experimental Television compiled by Andy Davies and during the Mostra Barcelona Television will broadcast a especial programme of ambient tv by Park 4 dtv.

This year the Mostra has two sections dedicated to Interactive Pieces and Quicktime Movies . The first is both wide-ranging and informative and the second, more specific, consists of multimedia works from ZKM – Zentrum für Kunst und Medientechnologie in Karlshure- Deutschland and 10 representative CD roms of the archaeology of mass media from the Rick Prellinger Archives in New York.

Each the programmes that make up the MVI&FI work as a route intended to transport the viewer through a series of emotional and mental landscapes as if in a ritual or journey, in which each of the stages influence and alter the others. The programmes consist of works that are formally diverse, that flow in a way that excludes neither contradiction nor paradox, that may be read over and above the significance of each specific piece.

Thematical screenings

Hall and Auditorium.  Simultaneous Screenings

Centre de Cultura Contemporània de Barcelona

Montalegre 5. 08001 Barcelona

Journey into the light

Monday, December 29, 2025, 7:30 PM

CC La Farinera del Clot – 3rd floor

Gran Via de les Corts Catalanes, 837 – Barcelona

Closing of the 20th edition of the FLUX Author Video Festival. Screening and discussion.

Saturday, November 29 at 7 p.m.

Berenguer III, 122 - Mollet del Vallès

Journey into the light, an audio-visual project by Alessandro Quaranta, based on the project ‘I lluminations – the experience of light’ , a research project by Toni Serra *) Abu Ali , who travelled to certain regions and cities in Iran to compile a collection of video footage, sound recordings and encounters; with the aim of creating, in the first instance, an audio-visual installation in an exhibition space. However, this project never came to fruition under Toni Serra’s direction, as he passed away at the end of 2019, leaving behind unpublished material and many notes.

Journey into the light is a single-channel version based on a sound processing by Barbara Held  and the visuals’ edition by Alessandro Quaranta .

Screening and discussion with the authors.

Organized by Observatory of Non Identified Video and CRA'P . In collaboration with Abelló Museum . With the support of Mollet del Vallès City Council ,  and the guest researchers programme of the MACBA Research and Documentation Centre.

El Barri Xinès (work in progress) and other City films

Mass Media Archaeology: A Selection from the Prelinger Archives

Calling all Active Agents

Low Tech : Strange Weather

Each and Every One of You

Jennifer Reeder - Sadie Benning

/ CONTEXT 1994 - 2020

The Unidentified Video Observatory composed in the time by Nuria Canal, Joan Leandre and Toni Serra curated from 1996 until 1998 sixteen monthly and thematic video sessions in the Barcelona Museum of Contemporary Art, MACBA. The OVNI video programs at MACBA, were the very first of its kind in the museum and as an essential part of this initiative the Observatory curated and proposed as well the acquisition of a selection of video titles to start the early video library of the Museum.

The OVNI sessions at MACBA were mostly but not only focused in the area of media identity and mass media criticism and they were a fine distillation of the programs OVNI was periodically organizing at the neighbor institution the CCCB Barcelona Contemporary Culture Center. The sessions introduced thanks to the work of the authors, early key concepts that were describing as much the analog media times as the future huge shock wave of the digital age to come.

The programs of these sessions were often dealing with the notion of media archeology which was and still is is one of the conceptual pillars of the Unidentified Video Observatory. That is, to look back to “ephemeral” archival footage such as educational or propaganda films, to be able to better understand the present through it. Media archeology, media digest, media interpretations and media transgressions through the deconstructive use of appropriated mass media footage were among the main structural  arguments of the project since its foundation.

One of the main Unidentified Video Observatory  goals specially in the decade of the 90s was to promote the huge communicative potentiality of video through its heterodox spectrum of possibilities. And so, in these sessions there was a wide range of authors and perspectives related to the generous and open use of the medium. Works such as the video diaries of George Kuchar and the modular and serial projects of Steve Reinke were already pointing to some sort of early “analog video blogging”, anticipating future uses and understandings of the video. Visionary initiatives like the Prelingers Archives founded by Rick Prelinger in New York and completely dedicated to the recovery and preservation of ephemeral media. Corporate mass media hacking projects like Spin in which the author Brian Springer gained access to internal and private broadcast television feeds or the first glimpses of culture jamming by Donald Goodes and Anne Marie Léger were included in this sessions. Following the tradition of scratch video based in the use of found footage, some authors such as Dara Birnbaum, Klaus von Bruch, Nam June Paik, Mathïas Muller, Craig Baldwin, Rafael Montáñez Ortiz, Herbert Distel, Peter Guyer and others were mainly having a strong "digestive" attitude towards media, recycling or deconstruction and so redirecting meanings from the media flow. In this mood the precursor and essential work of Bruce Conner was shown for the first time in Barcelona in the last program of the MACBA sessions.

The balance of this video program sessions was found in one hand in the authors whose main concern was to use media and video as a contemporary tool of human insight and positioning, for instance the love-hate relation “identity vs media” in which the works of Peggy Ahwesh, Sadie Benning and Jennifer Reeder could be included, all of them often oscillating between gender identity and the mass media inertia, between the camera as an artifact and the human being in front and behind it. In the other hand balance was found in what  apparently seems to be the antipodes of the mostly media related conceptual approach in the MACBA sessions, through classic names such as Bill Viola and Gary Hill, already known names in Europe such as Francisco Ruiz Infante, foreign authors living in Barcelona and centering their work in the realities of the transformation of the city such as Adam Cohen and a special double program dedicated to the writer William Burroughs.

The MACBA sessions were an essential step for the maturity and consolidation of the Unidentified Video Observatory it was an effort to find the essence of the project future continuity. They were developed with the help of Gloria Picazzo and Anna Guarro, both of them part of the MACBA staff. Some content of the sessions would have been impossible without the inspiration found in the work of Eugeni Bonet, Andy Davies and Rick Prelinger.

/ CONTEXT 1994 - 2020

This program in the form of an essay aims to shed light on some of the more disturbing aspects of contemporary life. Specifically, it looks at experiences involving conflict with power and at the imminent arrival of an even greater confrontation. A clash that exceeds the political realm and expands towards the notion of civilisation itself, and that seems to emanate from a source within the inner life of human beings.

Bearing this in mind, we present a series of screenings that look further than the immediacy of recent events, the logic of action-reaction, and the persistent notion of the other as intrinsically negative, in order to take a step back and observe from a distance that allows reflection.

We convey this vision through a programme with a dual core: La Commune by Peter Watkins, and The Mahabharata by Peter Brook, which we have contextualised with a series of documentaries and other documents that show contemporary expressions of the central theme.

La Commune offers a vision of contemporary conflict that transcends political oblivion. A cinematic reflection that looks back to a historical milestone – the emergence and disappearance of the 1871 Paris Commune and, at the same time, questions our own social reality and its representation in the media, given that Watkins chose to work with non-actors, people who express the actual conditions of their lives in Paris in 1999.

We will screen this film in three parts, each followed by a discussion session led by members of Rebond La Commune , the group that was created as a result of the making of this film.

Peter Brook’s The Mahabharata also deals with conflict but rather than taking a historical approach it positions itself outside of history, outside of linear time. It plays out in mythical time, the time of constant return and of the dialectic tension between the oblivion and remembrance of true human nature. The Mahabharata presents this conflict on several levels – linked to politics (power), civilisation, and the survival of life on Earth –, but also as an expression of the inner struggle that is fought out within every human being.

Each of the three parts of The Mahabharata will be preceded by excerpts from a conversation that we recorded with Jean-Claude Carrière, the screenwriter in charge of the theatrical adaptation of Brook's The Mahabharata , in which we explore the keys to this work in relation to the notions of conflict and oblivion.

This story is about you

The programme begins by following the course of the Mahabharata, an immense poem that flows with the majesty of a great river, which is full of “inexhaustible riches, defies all analysis, whether structural, thematic, historical or psychological. Doors are continually opening, which lead onto other doors. The Mahabharata cannot be held in the hollow of one’s hand. There are many ramifications. Sometimes seemingly contradictory, they succeed each other and intertwine, but we never lose the central theme of a looming threat, to which everything starkly points. We are living in a time of destruction. The question is, can we avoid it?” (1)

Against this background, from its very first lines, the Mahabharata takes us on an inner journey of knowledge and transformation.

• What is the poem about?

• It is about you. It is the story of your race. How your ancestors were born. How they grew. How vast war arose. It is the poetical history of mankind. If you listen carefully, at the end you will be someone else. (2)

  The illusion of power

The story gradually introduces us into a confrontation between the Pandava and the Kaurava . A confrontation that is a battle for power, although it arises from two almost opposite conceptions of life. With all their nuances and ambivalence, we see the Pandava proceed in accordance with their quest to fulfil the dharma , while the Kaurava seem to be guided only by desire and fear: the desire to possess power and the fear of losing it. They do not hesitate to use all possible means to achieve their end, they respect no limits whatsoever. And they act with the complicity of their parents, a blind king and a queen who voluntarily blindfolds herself.

Then the two sides play a game of dice, as a way of representing and temporarily avoiding direct conflict; but it is also a frame-up. The game is rigged – power play is always rigged. There can only be one outcome: defeat and the loss of everything they own, even their freedom. The Pandava face a future of exile and war.

In the present day, this rigged game takes on shapes and names that often hide its true purpose: to create a reality that is tailored to the private interests of a few. This is the case of so-called “free trade”, for example, which is supposedly a fair game in the sphere of economics. But the unequal terms of its participants and the non-reciprocal nature of the rules mean that it is inherently based on a desire for supremacy. Other examples disguise the obvious corporate and entrepreneurial nature of some social networks, and of many digital tools that barely hide their dark underside of control. And so we dwell in a realm of appearances: we appear to choose, we appear to communicate, we appear to be safe, thanks to a dense network of social devices. But inadvertently, when we comply with the daily ritual of submission to our work, to the educational and health system, to culture and to entertainment, we are signing a silent contract:

I accept competition as the foundation of our system, even though I am aware that it generates frustration and anger for the majority of those who lose. I agree to be humiliated and exploited in exchange for being allowed to humiliate and exploit those on a lower rung of the social pyramid (...)"

I accept that, in the name of peace, the largest Government expense will be Defence (...) I agree to be served up negative and terrifying news from around the world every day, so that I can ascertain the extent to which our situation is normal. (3)

Obviously, failure to sign “the contract” entails various increasing forms of exclusion. In view of this situation, protest can easily be channelled through the realm of appearance and made to give up its transformative power. But if protest tries to become real it will be stigmatised as sectarian, aggressive and violent, regardless of the means and ends it chooses.

Del Poder (“On Power”), the documentary by Zaván, focuses precisely on this aspect: the moment at which power reveals its true nature, beyond the fine names that it adopts to protect and legitimise its actions. This moment of revelation when power shows its true face comes about when it turns to the violence of repression. Genoa, 2001, hundreds of thousands of demonstrators protest on the streets. It is not an isolated event, the movement has been gaining strength, in Seattle in 1999, in Prague in 2000, and it is starting to represent a possibility for change… The “authorities” shield the city. They fence in entire neighbourhoods and suspend the Schengen treaty, to protect the summit of the heads of the world’s eight most powerful states. According to police trade union sources, they deliberately plan for a scenario of extreme violence, without ruling out the possibility that people may be killed (4). Police violence is unleashed, people are beaten indiscriminately. There are soon casualties, hundreds of them, some of people in comma. The situation quickly becomes a trap for the protesters, to such an extent that Amnesty International declares it “the greatest violation of human rights in Italy’s history since World War II.” Carlo Guiliani is killed by two shots to the head; the Commissioner who is tried for his murder is subsequently absolved. Far from reigning in the police violence, this death seems to stimulate it and give it its true meaning. The repression continues undiminished during the days that follow. De

Unidentified Video Observatory Constellations

Presentation at the MACBA 2023-2024 IEP

Una eina per a explorar

L'Observatori de Vídeo No Identificat és una potent eina per a la incursió entre els «oasis» que resisteixen a l'extensió del desert. Incursió en el sentit d'exploració i viatge, alhora físic i iniciàtic, obertura a l'encontre amb l'inaudit que mai deixa igual.

«Tornar a obrir el camp de l'experimentació»

A la seva manera modesta, situada, funambulista amb la Institució — una de les pràctiques que ovni ha perseguit des del principi ressona amb aquesta veu indígena que es va alçar amb força, en la mateixa meitat dels '90, des del cor de la selva: Veu de les comunitats sense veu, que no ha cessat, veu emmascarada, on la màscara es torna una manera de comparèixer que subverteix des del principi la unificació global tecnocapitalista i els seus «mecanismes per a separar aquesta cria de la terra de la seva mare» (Ailton Krenak) (1). Aquesta pràctica consisteix a «tornar a obrir el camp de l'experimentació» — tornar a recuperar l'obertura, l'incisiu, la proximitat i la commoció crítica que havia tingut el vídeo en els seus inicis. Tornar a portar el documental independent, el testimoniatge, la visió poètica, el treball d'arxiu (2).

Per tant, el treball d'ovni–desorg va més enllà de les consideracions banals sobre el vídeo i l'audiovisual, la diferència amb el cinema o les qüestions tècniques. El projecte és una eina brutal perquè al llarg dels anys es torna més i més evident que el vídeo, l'arxiu, la imatge són, en la societat de la imatge en què vivim, eines fonamentals que ajuden a pensar el present . — Pensar, deia DH Lawrence, no consisteix, com es creu, a recuperar dades obsoletes i extreure conclusions falses. Pensar consisteix en un descobriment, que es fa amb tot el cos i el començament del qual és generalment dolorós (3). Descobriment dolorós quan trenca l'aparent normalitat unívoca, la closca que ens tanca i ens encega, esquerda (4) — íntima i poètica o política i comunitària— que obre a formes més vitals, més amables, més reparadores i més riques d'habitar, els «oasis» (5).

Vivim una època de guerra sense fi. Una guerra l'objectiu de la qual és perpetuar-se i perpetuant-se imposar un «eix temporal global» unificat, com deia Kader Attia al final de la seva conferència (6). O dit amb les paraules de Ailton Krenak: «Mentre la humanitat va distanciant-se del seu lloc, un munt d'astutes corporacions va ensenyorint-se de la Terra. Nosaltres, la humanitat [que ens han dit que som, aïllant-nos d'aquest organisme del qual som part, la Terra] viurem en ambients artificials produïts per les mateixes corporacions que devoren selves, muntanyes i rius.» (7)

Però a l'interior d'aquest procés es produeixen ruptures (8), ruptures que a vegades ocorren, que trenquen el temps lineal, el temps d'una repetició normalitzada que es vol eterna. Ruptures que pleguen el temps de la subjectivitat i de les coses, ruptures intempestives i insospitades que obren el camp del possible — i deixen advenir veus d'Egipte, Líban, el Marroc o el poble Palestí en l'exili (9), veus de la selva i els ancestres, testimoniatges i visions des de l'Índia o des de Gènova o l'Argentina en la revolta, veus de la Frontera i de les Colònies, cosmovisions indígenes o africanes, Aymara o Quítxua o del Senegal— veus, presències i experiències de ruptura que també emergeixen aquí, a Barcelona, decolonials, feministes, o de pura revolta contra el capital i el seu món.

Una constel·lació contra l'oblit

Com a projecte de recerca i creació, l'Observatori és en el sentit més profund un arxiu de les ruptures i, per tant, quan l'arxiu és —com s'inclou en els debats contemporanis— una eina de la història i la història l'escriuen els vencedors, com deia Walter Benjamin,  l'Observatori és també una ruptura dels arxius (10), doncs, com també deia Benjamin, «Ni tan sols els morts estaran fora de perill si l'enemic venç… I aquest enemic no ha cessat de vèncer» (11). Ovni és així una constel·lació contra l'oblit — és una invitació a prosseguir —de manera artística, poètica o experimental— el que s'ha obert en les ruptures de l'època — que són també moments de bifurcació de continents perceptius — on la realitat està en joc.

És el que vèiem l'altre dia amb l'Elvira Espejo Ayca (12), on enfront del tipus de «saber» occidental, que contínuament "talla" o separa (emoció i raó, art i ciència, naturalesa i cultura) per a situar-se des de dalt com a domesticació i dominació de l'ésser humà, ens presentava la potència de la «criança mútua» com a desplegament de «interconnectivitats» i «cura i atenció màxima», on s'aprèn a través de la retina, el tacte, la sensació de tot el cos, donant lloc a una sensibilitat i una manera de viure on ja no ets «tu» l'important, sinó que la vitalitat de la Terra és l'important —«The Earth» de la qual parlava Achille Mbembe a partir d'ontologies Yoruba i Dogon (13)— cuidar el que et cuida, protegir el que et protegeix, mutar amb el que muta, atendre al que contínuament emergeix...

Ovni és una constel·lació contra l'oblit perquè els moments de ruptura o les fulguracions visionàries tornen a tancar-se sota la inèrcia de la normalitat, però queden traces, petjades, veus. I si des d'algun lloc val la pena continuar pensant és des d'aquests moments que esquerden el continuum de la història recent, des de l'experiència més alta.

Una invitació a l'encontre

Pensar avui és pensar no sols amb paraules, és pensar amb la gestualitat del cos i amb els cossos sonors, és pensar amb imatges que ens fereixen o ens encoratgen, o amb purs enigmes del temps, és convocar als espectres en el llindar de la nostra participació en el món. Pensar avui és pensar des de l'escolta i des de l'obertura a l'encontre amb l'inaudit no sols humà. Com a amic i col·laborador extern de desorg.org , veig que una dimensió fonamental del projecte, que jo he trobat en el seu centre, està en la invitació a l'encontre — com a manera de continuar el que s'obre amb la ruptura — que està en el cor del pensar, del delirar, del tractar de portar endavant pràctiques de llibertat.

Invitació a trobar-se que començava amb projectes d'autoria —també anònima o sense-identificar— que enviaven coses per a projectar des de molts llocs, pròxims i llunyans, i que seguia amb la invitació a l'encontre amb el que s'anava a buscar i que ressonava amb el que arribava. Invitació a l'encontre amb les veus i projectes que a Barcelona emergien en ruptura o en dissonància amb la monoforma, amb l'«eix temporal global» on «There is no alternative». Des d'Espai en Blanc a la Confraria Sufí senegalesa dels Baye Fall, 15M bcnTV o el grup de «Ciutat Morta». — L'objectiu exotèric no era capturar-los per a neutralitzar-los en la Institució Cultural , sinó, des dels seus marges, tibar la Institució per a fer sortir de polleguera la seva tendència a tancar-se sobre si mateixa i tornar-se irrespirable, sota la seva epistemologia d'experts i els seus procediments entre el management i la burocràcia. — Però l'objectiu no quedava només allí, no era per a res exterior. L'objectiu esotèric era i continua sent el viatge mateix de la recerca i de la trobada, prosseguir i ampliar la conversa, i l'experimentació. Com deia Hölderlin: «La vida de l'esperit entre amics, el pensament que es forma en l'intercanvi de paraula per escrit i de viva veu són necessaris als que busquen. Fora d'això som per nosaltres mateixos sense pensament. Pensar pertany a la figura sagrada que junts figurem» (14).

— Paradoxalment la possibilitat dels encontres és més intensa com més desllorigat està el temps, com més gran és la interrupció i l'alteració del temps lineal homogeni. No obstant això, el viatge continua, els llaços segueixen aquí.

— Arxiu de les ruptures, no sols com a testimoniatge d'aixecaments radicals i comunitaris, sinó també de disrupcions de la percepció i la sensibilitat, de la presència ín