Browsing by Author "Pedregal Villodres, Alejandro"

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  • Antropoceno: La urgencia en un término
    (2023-02-01) Pedregal Villodres, Alejandro
     Kirjan luku tai artikkeli muussa julkaisussa
  • "El barro de la revolución": Entrevista a Paloma Polo
    (2022-12) Errazu, Miguel; Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
  • Contemporary Radical Film Culture. Networks, Organisations and Activists: Steve Presence, Mike Wayne y Jack Newsinger (eds.)
    (2022-12-25) Pedregal Villodres, Alejandro
     Book/Film/Article review
    Book review of Contemporary Radical Film Culture. Networks, Organisations and Activists: Steve Presence, Mike Wayne y Jack Newsinger (eds.).
  • The Early Socio-ecological Dimensions of Tricontinental (1967–1971) : A Sovereign Social Metabolism for the Third World
    (2024-09) García Molinero, Alberto; Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    This article delves into the socio-ecological dimensions of OSPAAAL, the Cuban Third World solidarity institution, focusing particularly on the early years of its official organ: the magazine Tricontinental (1967–1971). Tricontinental’s articles and graphic works, even if not always in an explicit manner, addressed environmental concerns in a revolutionary way, anticipating debates that would later unfold on international institutional platforms. These concerns were primarily discussed in the context of the Third World’s quest for autonomous production, closely intertwined with the agrarian question and sovereign industrialization. Key aspects such as land access, distribution, and resource management were pivotal. The publication’s central emphasis on struggles for national liberation, especially within the guerrilla arena, played a crucial role in disseminating the anti-imperialist pursuit of a sovereign social metabolism across the Third World. Combining Cuban, Latin Americanist, and internationalist accents, Tricontinental also condemned the ecological impact of transnational corporations’ predatory resource extraction in the Third World, while exploring alternative and cooperative models. This article unveils the latent socio-environmental dimensions of its critique, illustrating how ecological concerns subtly underpinned its anti-imperialist and internationalist discourse.
  • For Forest, o el bosque que no deja ver el árbol
    (2020-12-17) Pedregal Villodres, Alejandro; Errazu, Miguel
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    On 8th September 2019, the “international freelance mediator of contemporary art" Klaus Littmann opened For Forest - The Unending Attraction of Nature in Klagenfurt (Austria), a monumental art installation of almost three hundred trees in the city's main stadium, the Wörthersee- Stadion, accompanied by a series of cultural events. This project, which took as its starting point a drawing from 1970-71 by Max Peintner, and which claimed to have ecological aims, took advantage of a wide range of institutional conditions and needs, as well as corporate links of dubious social commitment. The following text sets out these circumstances in detail, in order to contrast the central aspects of Littmann's work with a methodological framework of Marxist heterodoxy in relation to the forest, the land, dispossession and exploitation. By exploring the cultural and aesthetic imaginaries contained in For Forest, this article investigates how these characteristics can be instrumental to the prevailing universal and ahistorical idealism, as well as being useful for the hegemonic political- economic positions that help shape it.
  • Future Experiments from the Past: Third Cinema and Artistic Research from Below
    (2019) Errazu, Miguel; Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    This article examines possible articulations of artistic praxis and research in relation to social conflict and political struggle. Taking some of the guiding principles of Third Cinema, which we will consider here both a film strategy and an epistemic project “from below”, our aim is to provide elements for discussion to the current debates on art-as-research. Third Cinema, despite its specificities and differences with current times, provided a dialectical and dialogistic approach to artwork, which was conceived as an open realm for criticism, discussion, and struggle, inscribed within a radical political agenda. This article aims at recovering the importance of this critical movement in the arts and uses it as a source of inspiration to propose a series of insights on artistic research, in relation to contemporary interests in collaborative, long-term projects and the third wave of institutional critique. We seek to challenge commonsensical notions around four fundamental axes—experimentation; temporality; public sphere; and institutionalism—by confronting dominant views on these topics through what could be called a Third Cinema politics of artistic research from below—namely, from the perspective of those who embrace research as an intrinsic part of the creative and emancipatory potential of the arts.
  • Green New Dilemmas: Inercias autoritarias y límites de la democracia
    (2022-12) Bordera, Juan; Coronel, Alberto; Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    The article explores the three main dilemmas faced by the so-called Green New Deals: the biophysical dilemma posed by their energy and material costs, the political dilemma posed by their extractivist, colonial and authoritarian inertias, and, finally, the cultural dilemma linked to the social, electoral and discursive imaginaries that these proposals reinforce. In the center of the triangle formed by these Green New Dilemmas, the text states what it considers to be the greatest limitation of these proposals: the strategic and structural hesitation with respect to their relationship with the capitalist mode of production. As a way out of these dilemmas, the article defends a democratic and internationalist degrowth that does not foster political hope and technological optimism based on the creation and discursive abstraction of large «green sacrifice zones».
  • Imperialism, Ecological Imperialism, and Green Imperialism: An Overview
    (2024-03-13) Pedregal Villodres, Alejandro; Lukić, Nemanja
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    This article aims to explore the relationship between imperialism and political ecology, the identifying characteristics of the historical development of ecological imperialism, and the ecosocial implications of its cosmetic adaptation—namely, green imperialism—in a context of growing threat and biophysical concern. We first provide a succinct updated definition of imperialism based on world-systems analysis, which serves to understand imperialism as the system of economic domination of global capitalism, placing countries at the core of the system at one pole of extraction of labor, energy, and material resources, and those at the periphery at the opposite pole of supply. This hierarchization helps to understand ecological imperialism as a series of externalizations that the core tends to implement globally, transforming the periphery into a drain for these externalizations. As part of it, green imperialism appears as a new mode of accumulation aimed at preserving the imperial mode of living in the core legitimized by supposedly environmentally beneficial policies and discourses. We conclude by addressing the need for a fruitful dialogue between the critiques of ecologically unequal exchange and the radical positions of contemporary degrowth in order to reduce the most harmful productive sectors and favor a socially just transition and development in the Global South.
  • Praxis cultural y ecología política: Mediaciones entre sociedad y naturaleza
    (2022-12)
    D6 Toimitettu ammatillinen kokoomateos
    Special issue for Kamchatka: Revista de análisis cultural
  • Presentación del monográfico 'Praxis cultural y ecología política: mediaciones entre sociedad y naturaleza'
    (2022-12) Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
  • Rodolfo Walsh and Cuba: Commitment and Militancy in the Shared Origins of Latin American Testimonio and Third Cinema
    (2022) Pedregal Villodres, Alejandro
     A3 Kirjan tai muun kokoomateoksen osa
    The Argentine writer, journalist and militant Rodolfo Walsh wrote Operación masacre (Operation Massacre) in 1957, a work of investigative journalism about the massacre of José León Suárez by the Buenos Aires police. The events had been part of the repression against the Peronist insurrection of June 1956 – repression deployed by the military dictatorship of the self-proclaimed Revolución Libertadora, which had ruled Argentina since September 1955, after having overthrown Juan Domingo Perón in a coup d’état and outlawing his political movement. 1 However, Walsh, who still identified himself as anti-Peronist, did not intend at the time to create with Operación masacre a new literary genre, of the kind that would later be labelled testimonio. And, as Victoria García has pointed out, although the origin of Argentine testimonio is located in this work, this origin is paradoxically anachronistic (2015, 20). In fact, invited by the communication theorist Aníbal Ford to the University of Buenos Aires in 1973, after Peronism had regained its formal political power, Walsh sarcastically stated that he simply did that work because he “wanted to be famous … win the Pulitzer … have money” (Ford 2000, 11). But instead, while writing Operación masacre, he had to get a false ID and go underground in order to survive, as he would be persecuted by the coercive forces of the de facto government then led by General Pedro Eugenio Aramburu. For its part, the recognition of testimonio as a Latin American literary genre would take several more years.
  • …Y no se ha de ver más que la luz.: Rodolfo Walsh y Cuba en los orígenes compartidos del testimonio latinoamericano y el Tercer Cine.
    (2020-12) Pedregal Villodres, Alejandro
     A1 Alkuperäisartikkeli tieteellisessä aikakauslehdessä
    This article explores, through a comparative analysis of cultural practices and discourses, part of the literary and militant activities of Rodolfo Walsh, in relation to some of the most significant aspects in the shared emergence between Latin American testimonio and Third Cinema. For that purpose, the text investigates the role played by Cuban revolutionary institutions and publications (Casa de las Américas and ICAIC; and magazines Casa de las Américas, Cine Cubano and Tricontinental) in legitimizing and disseminating these proposals in literature and cinema. This cultural policy was part of a very particular type of confluence between culture and politics, which was inscribed within a Latin American and Third World revolutionary project. The Cuban position problematized the question of the revolutionary potential of the arts among writers, intellectuals and artists, something that would reach a critical moment with the perception of the exhaustion of certain forms of expression and the tragic death of Che Guevara in 1967. Ultimately, this context led to strong controversies and radical proposals that would give rise to the appearance of testimonio and Third Cinema. Walsh, in different degrees, went through this experience, materializing both in his work and in his militancy, the particularities of an entire cultural era —a time of such significance for Latin America and the Third World that it would end up impacting the First World as well.