Pablo Martínez

Faced to the coreography of a mass ordered by power, [the so called fascist mass] there is a libertarian crowd that is shaken by the bodies’ movement in the event. An anarchic mass, molecular and aesthetic machine, able to awake and activate the sensorium into a shared space and time: that of the occupied square. From the technical reproducibility of the image for a massive audience (cinema and illustrated magazines), to television, or, more recently, to social networks and the internet, image, body and technology have been closely related in the production of political subjectivity.

In my proposal for this Glossary of Common Knowledge I would like to analyse collectively the new meanings of modern and posmodern concepts such as “mass” and “multitude” and how the events post Arab Spring, Occupy movement and the waves of protest of people in the streets accross the world gave birth to a global crowd. In this sense, the role of images (thanks to their political and aesthetic mediation) has been crucial in the configuration of this crowd, which arise againts/in front of the precarization of the experience imposed by the neoliberal regime of precariousness and loneliness. From Allan Sekula’s “Waiting for Tear Gaz” to Rabih Mroue’s “The Pixelated Revolution”; Juan Carlos Mohr’s antieviction’s work to Werker Magazine 8 “The language of Revolution” we will discuss how thanks to images, the revolution can be shared and spread accross the world.