Postado originalmente por @bolaearte em http://bolaearte.wordpress.com/2013/02/19/entenda-o-circuito-dentro-fora-do-eixo-por-passa-palavra/
Originally posted by @bolaearte at http://bolaearte.wordpress.com/2013/02/19/entenda-o-circuito-dentro-fora-do-eixo-por-passa-palavra/
This is how the $20 thousand reais are invested in advance in Existe Amor em SP, to magically get in touch with the commitment almost free of tens or hundreds of hands and brains, they will turn into $500 thousand. (this sentence may not be exactly correct. Please message me with corrections and I will update this section)
There, on the other hand, working together with other partners, to whom Fora do Eixo joins as special interests, and that are usually other companies in the business culture. In the case of the organization of events and #AmorSIMRussomanoNÃO and #ExisteAmoremSP, on the eve of the municipal elections, participated in small, medium and large enterprises facing public consumption habits alternative (not sure how to translate the last 5 words appropriately), like Studio SP, Voodoohop Feast, Feast of Santo Forte / Studio Emme, aMatilha Cultural, Leda and The Trip magazine.
According to Youssef's statement, what was advertised during the organization as a result of collective efforts, common, appears here as a marketing ploy conceived by a small group of privileged: business and professional agents of cultural alternative.
Os interesses de classe ficam mais claros ao sabermos que, logo após os eventos na Praça Rossevelt, Youssef tenha mandado pintar a porta de sua casa noturna com a cor rosa, de forma a atrair parte do público que se aglomerou na Praça, mas agora na condição de meros consumidores de um ambiente cool que eles mesmos ajudaram a conceber. Ou seja, o fruto de uma ação coletiva, ou alheia, é apropriado privadamente por um pequeno núcleo de empresários da cultura alternativa. Afinal, quem acompanha alguns movimentos sociais em São Paulo, principalmente no que diz respeito à resistência às formas de repressão estatal, sabe que a simbologia do rosa não foi criada neste espaço.
Originally posted by @bolaearte at http://bolaearte.wordpress.com/2013/02/19/entenda-o-circuito-dentro-fora-do-eixo-por-passa-palavra/
Por Passa Palavra:
By Passa Palavra:
São Paulo: Diferentemente da antiga indústria cultural, ao vincular a sua imagem a elementos simbólicos produzidos colaborativamente, o novo empresariado da cultura aproveita-se dessa riqueza enquanto capital simbólico coletivo, que ao final do processo haverá de ser revertido em dinheiro. Por Passa Palavra
Sao Paulo: Unlike the old cultural industry, the link to your image symbolic elements produced collaboratively, the new entrepreneurial culture takes advantage of this wealth while collective symbolic capital, which at the end of the process will be reversed in cash. By Passa Palavra
By Passa Palavra:
São Paulo: Diferentemente da antiga indústria cultural, ao vincular a sua imagem a elementos simbólicos produzidos colaborativamente, o novo empresariado da cultura aproveita-se dessa riqueza enquanto capital simbólico coletivo, que ao final do processo haverá de ser revertido em dinheiro. Por Passa Palavra
Sao Paulo: Unlike the old cultural industry, the link to your image symbolic elements produced collaboratively, the new entrepreneurial culture takes advantage of this wealth while collective symbolic capital, which at the end of the process will be reversed in cash. By Passa Palavra
A cultura no centro da luta de classes em São Paulo / The culture at the center of the class struggle in Sao Paulo
Um olhar panorâmico sobre o atual cenário da cidade de São Paulo, e talvez do Brasil, indica-nos que cada vez o tema da cultura ganha espaço e importância nas dinâmicas dos movimentos sociais. Muito do que hoje faz parte do campo político, digamos, progressista da cidade é constituído por grupos, coletivos e outras iniciativas que, de alguma maneira, privilegiam a matéria arte-cultura. Sem dúvida, esta impressão geral se deve, em grande medida, ao florescimento de um sem-número de saraus em diversas periferias da cidade, dando origem ao que se consagrou chamar cultura periférica. Mas é também resultado de uma longa jornada encampada por fazedores de hip-hop, samba, teatro, produtores e distribuidores de vídeo, música, comunicadores e mantenedores de espaços alternativos, que animam uma cena bastante diversa e mais ou menos ligada aos interesses populares.
A panoramic look at the current scenae of the city of São Paulo, and perhaps Brazil, shows us that the topic of culture is gaining ground and importance in the dynamics of social movements. Much of what is now part of the political field, progressive city consists of groups, collectives and other initiatives state, that somehow, that art-culture matters. Undoubtedly, this general impression is due in large part to the flourishing of a countless soirees in various neighborhoods of the city, giving rise to what is called a consecrated peripheral culture. But it is also the result of a long journey embraced by makers of hip-hop, samba, theater, producers and distributors of video, music, communicators and supporters of alternative spaces that enliven a scene in quite a different manner. This is more or less linked to popular interests.
A panoramic look at the current scenae of the city of São Paulo, and perhaps Brazil, shows us that the topic of culture is gaining ground and importance in the dynamics of social movements. Much of what is now part of the political field, progressive city consists of groups, collectives and other initiatives state, that somehow, that art-culture matters. Undoubtedly, this general impression is due in large part to the flourishing of a countless soirees in various neighborhoods of the city, giving rise to what is called a consecrated peripheral culture. But it is also the result of a long journey embraced by makers of hip-hop, samba, theater, producers and distributors of video, music, communicators and supporters of alternative spaces that enliven a scene in quite a different manner. This is more or less linked to popular interests.
Igualmente, mesmo os movimentos sociais, pequenos ou grandes, originalmente surgidos para atuarem com temas e necessidades mais tradicionais, como habitação, saúde, transporte ou violência urbana, têm dispensado alguma atenção ao tema. Talvez isso não ocorra tanto porque tenham todos eles chegado à conclusão de que essa dimensão, simbólica, da luta social seja de fato tão importante quanto a luta pela melhoria das condições básicas de sobrevivência; infelizmente, no interior da esquerda há ainda quem pense arte e cultura como mero reflexo das condições materiais e, portanto, item secundário a ser trabalhado e desenvolvido. Mas é que, na falta de processos de luta mais avançados e efetivos, a cultura apareceria como boa opção de refúgio, um lugar para se manter unido até que a conjuntura passe, ou então como instrumento de abordagem, uma isca através da qual se procuraria seduzir o público-alvo e então despertá-lo para os assuntos, estes sim, realmente importantes.
Also, social movements, small or large, originally arose to work on themes and more traditional needs such as housing, health, transportation or urban violence, have dispensed some attention to the subject. Maybe this does not happen so much because they have all reached the conclusion that this dimension, symbolic, social struggle is actually as important as the struggle for improvement of basic living conditions, unfortunately, inside the left there are still those who think art and culture as a mere reflection of the material conditions and therefore secondary item to be worked on and developed. But is that in the absence of more advanced processes of struggle and effective, culture appears as a good option of refuge, a place to stay united until the situation passes, or as a means of approach, a bait through which to seek to seduce the audience and then wake it up to the issues, but these are really important.
Also, social movements, small or large, originally arose to work on themes and more traditional needs such as housing, health, transportation or urban violence, have dispensed some attention to the subject. Maybe this does not happen so much because they have all reached the conclusion that this dimension, symbolic, social struggle is actually as important as the struggle for improvement of basic living conditions, unfortunately, inside the left there are still those who think art and culture as a mere reflection of the material conditions and therefore secondary item to be worked on and developed. But is that in the absence of more advanced processes of struggle and effective, culture appears as a good option of refuge, a place to stay united until the situation passes, or as a means of approach, a bait through which to seek to seduce the audience and then wake it up to the issues, but these are really important.
De todo modo, seja por reconhecimento da urgência destas demandas reprimidas ou por mera imposição da conjuntura ou pela mistura das duas coisas, o fato é que a pauta da cultura tem se colocado na ordem do dia dos diversos segmentos de esquerda.
Anyway, either by recognizing the urgency of these demands or by suppressing and by mere the imposition of the situation or the mixture of two things, the fact is that the agenda of culture has been placed on the agenda of the various segments of the left.
Anyway, either by recognizing the urgency of these demands or by suppressing and by mere the imposition of the situation or the mixture of two things, the fact is that the agenda of culture has been placed on the agenda of the various segments of the left.
Por outro lado, é preciso dizer que este movimento para a cultura também acontece por exigência das recentes transformações do capitalismo. A etapa atingida pelo atual sistema produtivo, sem eliminar as antigas formas de exploração, tem requerido, cada vez mais, pessoas habilitadas para trabalharem com signos, linguagens, informação, processos criativos. Não é raro, por exemplo, que os departamentos de recursos humanos das empresas prefiram candidatos que tenham tido experiência com teatro e bandas de rock aos que apresentam currículos quadrados e pragmáticos. Daí que, junto a outras conveniências, tenham se expandido pela cidade espaços, núcleos, fundações, ONGs e políticas públicas especializadas em atividades com arte e cultura direcionadas principalmente para os jovens.
Moreover, it must be said that this move also happens to culture as required by the recent transformations of capitalism. The stage reached by the current production system, without deleting the old forms of exploitation, has required increasingly, persons qualified to work with signs, languages, information, creative processes. It is not uncommon, for example, that human resources departments of companies prefer candidates who have experience with theater and rock bands to feature curricula that are square and pragmatic. Hence they have, along with other conveniences, expanded/enriched the city spaces, nuclei, foundations, NGOs and public policy specialist swith art and culture activities targeted especially to the young.
Moreover, it must be said that this move also happens to culture as required by the recent transformations of capitalism. The stage reached by the current production system, without deleting the old forms of exploitation, has required increasingly, persons qualified to work with signs, languages, information, creative processes. It is not uncommon, for example, that human resources departments of companies prefer candidates who have experience with theater and rock bands to feature curricula that are square and pragmatic. Hence they have, along with other conveniences, expanded/enriched the city spaces, nuclei, foundations, NGOs and public policy specialist swith art and culture activities targeted especially to the young.
Outra dimensão deste processo ainda pode ser verificada pelas formas de que o capital se utiliza para ir fincando suas bandeiras na medida em que avança sobre o espaço urbano. Hoje, na cidade de São Paulo, talvez o caso mais emblemático disso seja o projeto Nova Luz, que se apresenta como uma possibilidade de consolidar na região uma grande área voltada para a “atividade cultural e entretenimento”, através da Escola de Música Tom Jobim, da Sala São Paulo, da instalação do Teatro da Dança e de outros complexos culturais. Revelador é saber que o grande articulador político deste projeto, Andrea Matarazzo, será sempre lembrado por ter investido, quando subprefeito, em medidas como a interrupção de programas de habitação popular no centro, paralisação de mutirões autogestionados, descentralização de albergues, construção de arranjos urbanísticos “antimendigos” e outras ações de agrado ao capital imobiliário.
Another dimension of this process can be further verified by the forms of capital that are used to plant their flags as it advances on the urban space. Today, in the city of São Paulo, perhaps the most emblematic case is the project titled Nova Luz, which presents itself as an opportunity to consolidate a large area in the region facing a "cultural activity and entertainment" through the School of Music Tom Jobim, the Sala São Paulo, the installation of the Dance Theatre and other cultural complexes. It is known that the great political operator of this project, Andrea Matarazzo, will always be remembered for having invested when subprefect, measures such as the interruption of programs for public housing in the center, paralysis of self-organized task forces, decentralization of hostels, construction of urban arrangements "antimendigos" and other actions of the real estate capital liking.
Another dimension of this process can be further verified by the forms of capital that are used to plant their flags as it advances on the urban space. Today, in the city of São Paulo, perhaps the most emblematic case is the project titled Nova Luz, which presents itself as an opportunity to consolidate a large area in the region facing a "cultural activity and entertainment" through the School of Music Tom Jobim, the Sala São Paulo, the installation of the Dance Theatre and other cultural complexes. It is known that the great political operator of this project, Andrea Matarazzo, will always be remembered for having invested when subprefect, measures such as the interruption of programs for public housing in the center, paralysis of self-organized task forces, decentralization of hostels, construction of urban arrangements "antimendigos" and other actions of the real estate capital liking.
Portanto, também pelo lado das classes dominantes, a cultura tem se apresentado como item indispensável de suas estratégias políticas e econômicas. Tudo isso permite o surgimento de noções vagas – como as de que “tudo é cultura”, culturalismo versus economicismo, ou de que a cultura em si carrega um valor positivo – que se não forem analisadas criticamente acabam mascarando projetos políticos inconciliáveis que se escondem por trás das várias iniciativas. E é aqui, no quadro desta onda culturalista que contamina a cidade de São Paulo hoje, que a questão do Fora do Eixo volta a ser objeto de preocupação por parte de movimentos, coletivos e pessoas que se põem ao lado das lutas sociais.
Also, for the ruling class, culture has emerged as an indispensable item for its political and economic strategies. All this allows the emergence of vague notions - like "everything is culture," culturalism versus economism, or that culture itself carries a positive value - which if not critically analyzed just masks irreconcilable political projects that lurk behind the various initiatives. And it is here, within this culturalist wave that the city of Sao Paulo is contaminated today, that the issue of the Fora do Eixo is again a matter of concern on the part of movements, collectives and individuals who put alongside social struggles.
Also, for the ruling class, culture has emerged as an indispensable item for its political and economic strategies. All this allows the emergence of vague notions - like "everything is culture," culturalism versus economism, or that culture itself carries a positive value - which if not critically analyzed just masks irreconcilable political projects that lurk behind the various initiatives. And it is here, within this culturalist wave that the city of Sao Paulo is contaminated today, that the issue of the Fora do Eixo is again a matter of concern on the part of movements, collectives and individuals who put alongside social struggles.
O novo empresariado cultural: ou a “velha roupa colorida” / The new cultural entrepreneurs: or "old colored clothes"
Quando o debate sobre a inserção do Fora do Eixo nos movimentos sociais em São Paulo veio à tona, em junho de 2011 (ver aqui), um dos problemas que se colocou foi o de definir com precisão o seu caráter institucional. É preciso esclarecer: apesar de todo o seu ar descolado e alternativo, o Fora do Eixo funciona com todos os preceitos de uma empresa capitalista, tendo por finalidade a obtenção de rendimentos, através da exploração de um esforço braçal e criativo dos diversos agentes culturais dispersos pela cidade e pelas redes digitais. Para o assunto que nos interessa, pouco importa saber se eles passeiam de iate ou preferem morar na mesma casa, dormirem em beliches e dividirem calçados.
When the debate over the inclusion of Fora do Eixo in social movements in São Paulo came to light in June 2011, one of the problems that arose was how to precisely define its institutional character. We must be clear: despite all the air cool and alternative, Fora do Eixo works with all their precepts of a capitalist enterprise, which aims to achieve income by operating a manual and creative effort of various cultural agents dispersed by city and by digital networks. For the subject that interests us, it matters little whether they live on a yacht or prefer to live in the same house, sleeping in bunks and are sharing shoes.
Quando o debate sobre a inserção do Fora do Eixo nos movimentos sociais em São Paulo veio à tona, em junho de 2011 (ver aqui), um dos problemas que se colocou foi o de definir com precisão o seu caráter institucional. É preciso esclarecer: apesar de todo o seu ar descolado e alternativo, o Fora do Eixo funciona com todos os preceitos de uma empresa capitalista, tendo por finalidade a obtenção de rendimentos, através da exploração de um esforço braçal e criativo dos diversos agentes culturais dispersos pela cidade e pelas redes digitais. Para o assunto que nos interessa, pouco importa saber se eles passeiam de iate ou preferem morar na mesma casa, dormirem em beliches e dividirem calçados.
When the debate over the inclusion of Fora do Eixo in social movements in São Paulo came to light in June 2011, one of the problems that arose was how to precisely define its institutional character. We must be clear: despite all the air cool and alternative, Fora do Eixo works with all their precepts of a capitalist enterprise, which aims to achieve income by operating a manual and creative effort of various cultural agents dispersed by city and by digital networks. For the subject that interests us, it matters little whether they live on a yacht or prefer to live in the same house, sleeping in bunks and are sharing shoes.
Muito já foi dito sobre o processo pelo qual o capitalismo foi desenvolvendo formas de explorar a produção simbólica e transformar a cultura em mais um de seus ramos de negócio. Ao longo do século XX, não foram poucas as experiências artístico-culturais que, mesmo tendo brotado como espaços de resistência e negação das engrenagens políticas e econômicas, acabaram sendo submetidas às regras destas engrenagens. Grande exemplo disto foram os movimentos contraculturais nascidos nos EUA e na Europa na década de 60 e que ganharam força também no Brasil durante os anos 70. Apesar de ser impulsionado por sentimentos de recusa e anseios de transformação radical, mobilizando símbolos transgressores, o poder efetivo de crítica desta cena foi sendo neutralizado na medida em que era assimilado pelos princípios de funcionamento dos atravessadores da Indústria Cultural, até que chegasse à condição de ser apenas mais um produto, ainda que alternativo, do mercado de bens simbólicos.
Much has been said about the process by which capitalism was developing ways to explore the symbolic production and transform the culture in most of its business segments. Throughout the twentieth century, there were many artistic and cultural experiences that even having sprouted as spaces of resistance and denial of political and economic gears, became subject to the rules of those gears. A great example of this were the countercultural movements born in the U.S. and Europe in the 60s and also gained strength in Brazil during the 70s. Despite being driven by feelings of rejection and desire for radical change, mobilizing symbols offenders, the effective power of criticism of this scene was being neutralized as it was assimilated by middlemen operating principles of Cultural Industry, until they reached the condition be just another product, even if alternative market of symbolic goods.
Much has been said about the process by which capitalism was developing ways to explore the symbolic production and transform the culture in most of its business segments. Throughout the twentieth century, there were many artistic and cultural experiences that even having sprouted as spaces of resistance and denial of political and economic gears, became subject to the rules of those gears. A great example of this were the countercultural movements born in the U.S. and Europe in the 60s and also gained strength in Brazil during the 70s. Despite being driven by feelings of rejection and desire for radical change, mobilizing symbols offenders, the effective power of criticism of this scene was being neutralized as it was assimilated by middlemen operating principles of Cultural Industry, until they reached the condition be just another product, even if alternative market of symbolic goods.
Grosso modo, essa velha indústria cultural com que estamos acostumados estrutura-se em torno da proteção do direito autoral. Ou seja, a lucratividade dos agentes intermediários deste negócio – os famosos atravessadores – é assegurada pela vantagem exclusiva que as empresas do ramo (gravadoras, editoras, empresas radiodifusoras e televisivas) detêm sobre os meios de produção e exploração comercial de um dado produto artístico. Por isso, seus grupos de pressão no plano jurídico-político se orientam pela defesa intransigente das leis de proteção da propriedade intelectual, pela proibição da livre cópia, da pirataria etc.
Roughly speaking, this old cultural industry with which we are accustomed to is structured around the copyright protection. That is, the profitability of this business intermediaries - the middlemen famous - is ensured by unique advantage that companies in the industry (record labels, publishers, broadcasters and television) hold over the means of production and commercial exploitation of a given artistic product. So their lobbyists in the legal-political are guided by uncompromising defense of the laws of intellectual property protection, the prohibition of free copying, piracy etc.
Roughly speaking, this old cultural industry with which we are accustomed to is structured around the copyright protection. That is, the profitability of this business intermediaries - the middlemen famous - is ensured by unique advantage that companies in the industry (record labels, publishers, broadcasters and television) hold over the means of production and commercial exploitation of a given artistic product. So their lobbyists in the legal-political are guided by uncompromising defense of the laws of intellectual property protection, the prohibition of free copying, piracy etc.
Acontece que o desenvolvimento das novas tecnologias de informação e comunicação, em especial a internet, caminha para tornar estes mecanismos de lucratividade ultrapassados. Afinal, com a popularização deste novo aparato, o acesso aos meios de produção artístico-culturais se ampliou significativamente, diminuindo a dependência em que artistas e consumidores estavam relativamente aos grandes grupos econômicos do setor. Isso, por um lado, vai corroendo a base de existência desta velha indústria cultural, mas, por outro, dá origem ao surgimento de um novo empresariado da cultura, que desenvolve formas próprias de obter vantagens econômicas sobre a produção cultural independente e colaborativa. O Fora do Eixo, portanto, insere-se neste novo modelo.
It turns out that the development of new information and communication technologies, especially the internet, does much to make these mechanisms exceeded their profitability. After all, with the popularization of this new apparatus, access to the means of artistic and cultural production has expanded significantly, decreasing the dependence of artists and consumers were introduced for major economic groups in the industry. This, on the one hand, eroding the basis of existence of this ancient culture industry, but on the other, gives rise to the emergence of a new entrepreneurial culture that develops own ways of obtaining economic advantages over the independent and collaborative cultural production. Fora do Eixo therefore fits into this new model.
It turns out that the development of new information and communication technologies, especially the internet, does much to make these mechanisms exceeded their profitability. After all, with the popularization of this new apparatus, access to the means of artistic and cultural production has expanded significantly, decreasing the dependence of artists and consumers were introduced for major economic groups in the industry. This, on the one hand, eroding the basis of existence of this ancient culture industry, but on the other, gives rise to the emergence of a new entrepreneurial culture that develops own ways of obtaining economic advantages over the independent and collaborative cultural production. Fora do Eixo therefore fits into this new model.
O novo empresariado cultural é formado por uma constelação de agentes ajustados às novas condições de nosso tempo, empreendimentos que não precisam buscar sua fonte de lucro no direito exclusivo que tenham sobre a venda de um CD, um livro ou uma boa ideia qualquer. Neste novo modelo de indústria cultural, basta que as empresas “colem” a sua imagem ao processo de criação de outros grupos, coletivos, redes e pessoas; misturando, associando, embaralhando a sua marca à riqueza de saberes e símbolos que são produzidos por outros.
The new business culture is formed by a constellation of agents that are adjusted to the new conditions of our time, enterprises that do not need to seek their source of income that they have the exclusive right on the sale of a CD, a book or a good idea either. In this new model of cultural industries, companies simply "sticking" your image creation process to other groups, collectives, networks and individuals, mixing, combining, mixing their brand to the wealth of knowledge and symbols that are produced by other.
The new business culture is formed by a constellation of agents that are adjusted to the new conditions of our time, enterprises that do not need to seek their source of income that they have the exclusive right on the sale of a CD, a book or a good idea either. In this new model of cultural industries, companies simply "sticking" your image creation process to other groups, collectives, networks and individuals, mixing, combining, mixing their brand to the wealth of knowledge and symbols that are produced by other.
Mas como é que eles conseguem tirar vantagem econômica disso? / But how did they manage to take economic advantage of this?
Pablo Capilé, o grande articulador do Circuito Fora do Eixo, gosta de dizer que o que fazem se trata de uma “disputa narrativa”. De fato, o primeiro passo consiste em convencer os parceiros e voluntários envolvidos de que todos os esforços envidados no curso de um projeto não se caracterizam como trabalho, mas sim ativismo, militância, manifestação de desejos. O novo ativismo, para ele, deve trocar trabalho por vida. Mas o próprio Capilé explica que esta mudança é, na verdade, uma “ressignificação”.
Pablo Capilé, the great articulator of the Fora do Eixo circuit, likes to say thatwhat they do it is a "dispute narrative." In fact, the first step is to convince partners and volunteers involved that all efforts made in the course of a project does not qualify as work, but activism, militancy, as a manifestation of desires. The new activism, for him, must exchange labor for life. But the very Capilé explains that this change is actually a "reframing."
Pablo Capilé, the great articulator of the Fora do Eixo circuit, likes to say thatwhat they do it is a "dispute narrative." In fact, the first step is to convince partners and volunteers involved that all efforts made in the course of a project does not qualify as work, but activism, militancy, as a manifestation of desires. The new activism, for him, must exchange labor for life. But the very Capilé explains that this change is actually a "reframing."
Pois, se não fosse apenas uma ressignificação, como explicar que “A cada 1 real captado, esse movimento é capaz de transformar em 100” – como Capilé afirmou recentemente? “Para fazer o Existe Amor em SP, o movimento gastou R$ 20 mil. Se cada um fosse fazer por fora, um evento como esse custaria R$ 500 mil.” (ver aqui) Estaríamos diante de um passe de mágica?
For if it were not only a redefinition, how would it be possible to explain that "each one captured real, this movement is able to transform into 100" - as Capilé said recently? "To Love exists in the SP, the movement has spent $ 20 thousand. If everyone were to do outside, such an event would cost $ 500 000." We about to see a magic trick?
For if it were not only a redefinition, how would it be possible to explain that "each one captured real, this movement is able to transform into 100" - as Capilé said recently? "To Love exists in the SP, the movement has spent $ 20 thousand. If everyone were to do outside, such an event would cost $ 500 000." We about to see a magic trick?
Ora, nada mais providencial para demonstrar que a multiplicação dos pães neste caso só se torna possível porque existe uma enorme quantidade de trabalho não-pago envolvida. O que Capilé procura compensar elogiando o esforço da “militância”. Ao converter seu trabalho em vida, um grande número de agentes produziu e distribuiu flyers, divulgou na internet, carregou caixas e ofereceu os seus serviços solidariamente, inclusive os grandes músicos que abrilhantaram o espetáculo etc.
There is nothing more to prove providential that the multiplication of the loaves in this case is only possible because there is a huge amount of unpaid labor involved. What Capilé demand offset praising the effort of "militancy". By converting your work life, a large number of agents produced and distributed flyers, posted on the Internet, loaded boxes and offered their services jointly, including the great musicians that punctuated the show, etc.
There is nothing more to prove providential that the multiplication of the loaves in this case is only possible because there is a huge amount of unpaid labor involved. What Capilé demand offset praising the effort of "militancy". By converting your work life, a large number of agents produced and distributed flyers, posted on the Internet, loaded boxes and offered their services jointly, including the great musicians that punctuated the show, etc.
Uma objeção aqui poderia ser feita: “Ué, mas não pode estar havendo aí exploração, uma vez que o resultado desta soma de esforços não foi colocado à venda no mercado, de onde um ou outro grupo pudesse tirar vantagem, ninguém pagou para consumir o evento”. Pois é aqui que reside a novidade. Grupos como o Fora do Eixo vão buscar suas principais fontes de renda a partir de outros meios; elas não acontecem aí, no momento em que o público usufrui o dado produto cultural, mas posteriormente.
An objection could be made here: "Why, but there may be operating there since the sum result of this effort was not put on the market, where one or another group could take advantage, nobody paid to consume event. "For therein lies the novelty. Groups such as Fora do Eixo will get their main sources of income from other means, they do not happen there, the moment that the public enjoys the given cultural product, but later.
An objection could be made here: "Why, but there may be operating there since the sum result of this effort was not put on the market, where one or another group could take advantage, nobody paid to consume event. "For therein lies the novelty. Groups such as Fora do Eixo will get their main sources of income from other means, they do not happen there, the moment that the public enjoys the given cultural product, but later.
Uma das vias principais é certamente a dos editais. O Fora do Eixo é uma máquina de obtenção de editais, públicos e privados. Para tanto, a produção coletiva de grandes eventos ou as campanhas massivas pela internet, por qualquer tema que for, desempenham aqui um papel especial: elas são demonstrações da capacidade que o circuito tem de mobilizar, coordenar e direcionar esforços de produção criativa, os quais, por sua vez, são capazes de atrair olhares e novas plateias. O que o Fora do Eixo negocia e oferece a governos e empresas com quem estabelece convênios e parceiras não é exatamente um produto artístico, mas precisamente esta capacidade de articular e gerir trabalho criativo e organizar plateias. Tanto maior será a sua vantagem na obtenção de editais quanto maior for a demonstração de sua capacidade mobilizadora.
One of the main ways is certainly the tally sheets. Fora do Eixo is a machine obtaining bids, public and private. Therefore, the collective production of major events or campaigns massive internet for any topic that is, play a special role here: they are demonstrations of the ability of the circuit has to mobilize, coordinate and direct efforts of creative production, which in turn, are able to attract audiences and new looks. What Fora do Eixonegotiates and provides governments and companies with whom agreements and establishing partner is not exactly an artistic product, but precisely this ability to articulate and manage creative work and organize audiences. The greater your advantage in obtaining bids greater demonstration of its capacity to mobilize.
One of the main ways is certainly the tally sheets. Fora do Eixo is a machine obtaining bids, public and private. Therefore, the collective production of major events or campaigns massive internet for any topic that is, play a special role here: they are demonstrations of the ability of the circuit has to mobilize, coordinate and direct efforts of creative production, which in turn, are able to attract audiences and new looks. What Fora do Eixonegotiates and provides governments and companies with whom agreements and establishing partner is not exactly an artistic product, but precisely this ability to articulate and manage creative work and organize audiences. The greater your advantage in obtaining bids greater demonstration of its capacity to mobilize.
Capilé em encontro com a nova Ministra da Cultura, Marta Suplicy / Capilé in meeting with the new Minister for Culture, Marta Suplicy
É assim que os R$20 mil reais investidos antecipadamente no Existe Amor em SP, ao entrar em contato com a varinha mágica do empenho quase gratuito de dezenas ou centenas de mãos e cérebros, hão de se transformar em R$ 500 mil.
This is how the $20 thousand reais are invested in advance in Existe Amor em SP, to magically get in touch with the commitment almost free of tens or hundreds of hands and brains, they will turn into $500 thousand. (this sentence may not be exactly correct. Please message me with corrections and I will update this section)
Não é com uma venda de ingressos para o show na Praça Roosevelt, para ficarmos com esse exemplo, que o Fora do Eixo consegue esse montante estimado; até porque se fosse vendido, tal qual a lógica do mercado tradicional, o coletivo-empresa não alcançaria o público que pretende e seria ainda contraditório com o discurso que apresenta. Eles se utilizam de um trabalho não-pago de “ativistas”, que trabalham nas propostas do circuito e vendem essa capacidade de mobilização e articulação de grupos, redes e agentes culturais para os editais de financiamento que mantêm o funcionamento e a ampliação da sua estrutura.
Not with a sale of tickets for the show at Roosevelt Square, to stay with this example, Fora do Eixo manages this estimated amount, because even if sold, as is the logic of the traditional market, the company would not reach the collective-the audience you want and it would still contradict the discourse that presents. They use an unpaid labor of "activists" who work in the proposed circuit and sell that capacity for mobilization and coordination of groups, networks and cultural edicts funding for maintaining the operation and expansion of its structure.
Not with a sale of tickets for the show at Roosevelt Square, to stay with this example, Fora do Eixo manages this estimated amount, because even if sold, as is the logic of the traditional market, the company would not reach the collective-the audience you want and it would still contradict the discourse that presents. They use an unpaid labor of "activists" who work in the proposed circuit and sell that capacity for mobilization and coordination of groups, networks and cultural edicts funding for maintaining the operation and expansion of its structure.
Para se ter uma ideia, em 2012 o Fora do Eixo divulga (até a data desta publicação) ter se inscrito em 122 projetos culturais, solicitando um total de R$ 25.278.930,96. (ver aqui) Procuramos obter informações mais detalhadas a respeito, mas a página do site do coletivo-empresa parece estar em manutenção.
To get an idea, in 2012 Fora do Eixo releases (up to the date of this publication) have been used in 122 cultural projects requesting a total of R $25,278,930.96. More detailed information was sought, but the main site of the collective-company seems to be down for maintenance.
To get an idea, in 2012 Fora do Eixo releases (up to the date of this publication) have been used in 122 cultural projects requesting a total of R $25,278,930.96. More detailed information was sought, but the main site of the collective-company seems to be down for maintenance.
Fora do Eixo em reunião de parceria com a Fundação Vale / Fora do Eixo meeting in partnership with the Vale Foundation
Assim, diferentemente da antiga indústria cultural, que dependia de contratos e termos jurídicos bem ajustados, ao vincular a sua imagem, mesmo que informalmente, a elementos simbólicos que são produzidos colaborativamente por agentes, a princípio, independentes, o novo empresariado da cultura consegue aproveitar-se dessa riqueza enquanto uma espécie de capital simbólico coletivo, que ao final do processo haverá de ser revertido em ganhos em espécie, ou seja, dinheiro. Mais vantajosa é a relação quando se verifica que o agente intermediador, no caso o Fora do Eixo, pouco ou quase nada precisa intervir no processo, visto que, em se tratando de trabalho criativo, maior produtividade será obtida quanto maior for a liberdade e a autonomia dos seus produtores.
Thus, unlike the old cultural industry, which depended on contracts and legal well-adjusted terms, the link to your image, even if informally, the symbolic elements that are produced collaboratively by agents, the principle independent, the new entrepreneurial culture can enjoy it is this wealth as a kind of collective symbolic capital, which at the end of the process will be reversed into earnings in kind, ie money. More advantageous is the relationship where it appears that the agent intermediary, if Fora do Eixo, little or nothing needs to intervene in the case because, when it comes to creative work, increased productivity is gained greater freedom and autonomy their producers.
Thus, unlike the old cultural industry, which depended on contracts and legal well-adjusted terms, the link to your image, even if informally, the symbolic elements that are produced collaboratively by agents, the principle independent, the new entrepreneurial culture can enjoy it is this wealth as a kind of collective symbolic capital, which at the end of the process will be reversed into earnings in kind, ie money. More advantageous is the relationship where it appears that the agent intermediary, if Fora do Eixo, little or nothing needs to intervene in the case because, when it comes to creative work, increased productivity is gained greater freedom and autonomy their producers.
Em resumo, o coletivo Fora do Eixo e outros similares, enquanto representantes desse novo empresariado da cultura, se apresentam como uma versão repaginada dos velhos exploradores da produção simbólica coletiva.
In summary, the Fora do Eixo collective and the like, as representatives of this new entrepreneurial culture, are presented as a revamped version of the old explorers of collective symbolic production.
In summary, the Fora do Eixo collective and the like, as representatives of this new entrepreneurial culture, are presented as a revamped version of the old explorers of collective symbolic production.
Quem são alguns desses novos atravessadores da cultura em São Paulo? / Who are some of these new cultural middlemen in São Paulo?
Como já dissemos, o que o Fora do Eixo faz é negociar com governos e empresas financiadoras a sua capacidade de mapear, articular e gerenciar redes, grupos, coletivos e pessoas. Sendo assim, seu poder de barganha tende a ser maior quanto maior for a demonstração de sua força articuladora. Isso é feito trazendo grupos e pessoas para dentro de suas estruturas, ou seja, colando a marca Fora do Eixo nas iniciativas — muitas vezes independentes — de seus chamados parceiros.
As we have said, what the Fora do Eixos collective does is negotiate with governments and companies funding their ability to map, coordinate and manage networks, groups, collectives and individuals. Thus, their bargaining power tends to be higher the larger the demonstration of its strength articulator. This is done by bringing people and groups into their structures, i.e. labeling Fora do Eixo initiatives - often unrelated - and calling them their partners.
As we have said, what the Fora do Eixos collective does is negotiate with governments and companies funding their ability to map, coordinate and manage networks, groups, collectives and individuals. Thus, their bargaining power tends to be higher the larger the demonstration of its strength articulator. This is done by bringing people and groups into their structures, i.e. labeling Fora do Eixo initiatives - often unrelated - and calling them their partners.
Uma vez que possui várias naturezas de registros oficiais e não oficiais (como ONG, OSCIP, fundação, movimento social, coletivo de cultura etc.), o Fora do Eixo goza de bastante flexibilidade para abordar diversos setores da sociedade e do Estado — sejam eles entidades mais capilarizadas, próximas a iniciativas de base, ou órgãos governamentais, ligados a corporações capitalistas — para aglutiná-los todos em seu guarda-chuva.
Since it has several kinds of official and unofficial records (such as NGOs, OSCIP, foundation, social movements, collective culture etc.), The Fora do Eixo collective enjoys considerable flexibility to address various sectors of society and the state - be they capilarizadas more entities, near-based initiatives, or government agencies, linked to capitalist corporations - to agglutinate them all in his umbrella.
Since it has several kinds of official and unofficial records (such as NGOs, OSCIP, foundation, social movements, collective culture etc.), The Fora do Eixo collective enjoys considerable flexibility to address various sectors of society and the state - be they capilarizadas more entities, near-based initiatives, or government agencies, linked to capitalist corporations - to agglutinate them all in his umbrella.
Como em grande parte das parcerias se trata de relações informais, é difícil medir com exatidão o tamanho do Circuito Fora do Eixo. Além disso, é preciso considerar que, para melhor venderem o seu peixe, os membros do Fora do Eixo — como bons manipuladores da linguagem publicitária — geralmente inflacionam as suas realizações de forma a passar a impressão de que tudo o que eles fazem está bombando o tempo todo. De todo modo, é possível diferenciar dois níveis de “parcerias” estabelecidas pelos novos expropriadores da cultura.
As in much of the partnerships it comes to informal relationships, it is difficult to accurately measure the size of the Fora do Eixo circuit Off-Axis. Furthermore, one must consider that to best sell your fish, members of Off-Axis - as good manipulators of language advertising - usually inflate their accomplishments in order to give the impression that everything they do is the pumping time. Anyway, it is possible to distinguish two levels of "partnerships" established by the new expropriators culture.
As in much of the partnerships it comes to informal relationships, it is difficult to accurately measure the size of the Fora do Eixo circuit Off-Axis. Furthermore, one must consider that to best sell your fish, members of Off-Axis - as good manipulators of language advertising - usually inflate their accomplishments in order to give the impression that everything they do is the pumping time. Anyway, it is possible to distinguish two levels of "partnerships" established by the new expropriators culture.
Por um lado, são chamados de parceiros todas aqueles grupos, coletivos ou pessoas que, direta ou indiretamente, contribuem para a estruturação e consolidação da organização, ou seja, grupos e pessoas que realmente produzem algum tipo de bem simbólico, cultural, artístico: músicos, poetas, técnicos, designers, ou mesmo manifestações espontâneas das redes sociais etc. O que pode acontecer de forma voluntária (gratuita) ou remunerada através de moedas alternativas (semigratuita) a serem utilizadas dentro do próprio circuito.
On the one hand, all those groups are called partners, collectives or individuals who directly or indirectly contribute to the structuring and consolidation of the organization, i.e., groups and individuals who actually produce something of symbolic, cultural, artistic worth: musicians, poets, technicians, designers, or even spontaneous manifestations of social networking. etc. What can happen voluntarily (free) or paid through alternative currencies (semigratuita) is to be used within the circuit.
On the one hand, all those groups are called partners, collectives or individuals who directly or indirectly contribute to the structuring and consolidation of the organization, i.e., groups and individuals who actually produce something of symbolic, cultural, artistic worth: musicians, poets, technicians, designers, or even spontaneous manifestations of social networking. etc. What can happen voluntarily (free) or paid through alternative currencies (semigratuita) is to be used within the circuit.
Há, por outro lado, a atuação conjunta com outros tipos de parceiros, aos quais o Fora do Eixo se associa conforme interesses específicos, e que normalmente são outras empresas do ramo cultural. No caso da organização dos eventos #AmorSIMRussomanoNÃO e #ExisteAmoremSP, à véspera das eleições municipais, participaram pequenos, médios e grandes empreendimentos voltados para o público de hábitos de consumo alternativos, como o Studio SP, a Festa Voodoohop, Festa do Santo Forte/Estúdio Emme, a Matilha Cultural, A Leda e a revista Trip.
There, on the other hand, working together with other partners, to whom Fora do Eixo joins as special interests, and that are usually other companies in the business culture. In the case of the organization of events and #AmorSIMRussomanoNÃO and #ExisteAmoremSP, on the eve of the municipal elections, participated in small, medium and large enterprises facing public consumption habits alternative (not sure how to translate the last 5 words appropriately), like Studio SP, Voodoohop Feast, Feast of Santo Forte / Studio Emme, aMatilha Cultural, Leda and The Trip magazine.
Na declaração de um dos sócios da casa de shows Studio SP, Alê Youssef, feita à própria revista Trip após o sucesso dos eventos, fica evidente a forma pela qual os processos coletivos e espontâneos de criação simbólica, tornados possíveis pelas parcerias com os de baixo, podem ser canalizados em benefício de uma parte:
In the statement of one of the partners of the venue Studio SP, Youssef Ale, the venue, Trip magazine itself made the success of the events. It is evident in the way in which collective processes and spontaneous symbolic creation, made possible by partnerships with low-, can be channeled for the benefit of a party:
In the statement of one of the partners of the venue Studio SP, Youssef Ale, the venue, Trip magazine itself made the success of the events. It is evident in the way in which collective processes and spontaneous symbolic creation, made possible by partnerships with low-, can be channeled for the benefit of a party:
“Para tentar fazer algo a respeito, me reuni com os alguns amigos jornalistas com a turma ativista do Fora do Eixo. Fomos todos para a Praça Roosevelt, onde encontramos produtores, artistas e frequentadores da região. Em poucas horas de cervejas e confabulações, bolamos o slogan #AmorSIMRussomanoNÃO e pensamos na cor rosa como símbolo da alegria, diversidade e transgressão que tanto amamos em São Paulo e que não queríamos perder de jeito nenhum, como que sem esses elementos, ficasse insuportável de vez sobreviver ao cinza da nossa megalópole.”
Segundo a afirmação de Youssef, aquilo que durante a organização era propagandeado como resultado de esforços coletivos, comuns, aparece aqui como jogada de marketing concebida por um reduzido grupo de privilegiados: empresas e agentes profissionais da cultural alternativa."To try to do something about it, I met with some journalist friends with the Off-Axis collective. We all went to the Roosevelt Square, where we found producers, artists and patrons of the region. Within hours of beers and confabulations, we came up with the slogan #AmorSIMRussomanoNÃO and we chose pink as a symbol of joy, diversity and transgression we love so much in São Paulo and do not want to lose at all, as without these elements, it would be unbearable to survive the ash of our megalopolis. "
According to Youssef's statement, what was advertised during the organization as a result of collective efforts, common, appears here as a marketing ploy conceived by a small group of privileged: business and professional agents of cultural alternative.
Os interesses de classe ficam mais claros ao sabermos que, logo após os eventos na Praça Rossevelt, Youssef tenha mandado pintar a porta de sua casa noturna com a cor rosa, de forma a atrair parte do público que se aglomerou na Praça, mas agora na condição de meros consumidores de um ambiente cool que eles mesmos ajudaram a conceber. Ou seja, o fruto de uma ação coletiva, ou alheia, é apropriado privadamente por um pequeno núcleo de empresários da cultura alternativa. Afinal, quem acompanha alguns movimentos sociais em São Paulo, principalmente no que diz respeito à resistência às formas de repressão estatal, sabe que a simbologia do rosa não foi criada neste espaço.
The class interests become clearer when we learn that, shortly after the events in Roosevelt Square, Youssef has had paint the door of his nightclub with pink, so as to attract the public who gathered on the square, but now in status of mere consumers of a cool environment that they themselves helped to design. That is, the fruit of a collective action, or others, is privately appropriated by a small group of entrepreneurs of alternative culture. After all, who accompanies some social movements in São Paulo, especially with regard to resistance to forms of state repression, knows the symbolism of the rose was not created in this space.
Sob este aspecto, a “disputa narrativa” defendida por Capilé se coloca, na verdade, como uma disputa por um mercado particular, de olho nos temas em voga no largo campo da cultura alternativa. Retórica multicuralista e modas estéticas avançadas são articuladas com o objetivo de conquistar um mercado em expansão e mais apoios financeiros a seus projetos, uma vez que, segundo o principal articulador do Fora do Eixo, “o jovem brasileiro está tão animado que está gastando o que não tem”. (assista aqui - [19'30'' a 20'20])
In this regard, a "dispute narrative" advocated by Capilé arises, in fact, as a dispute over a particular market, eyeing the themes in vogue in the broad field of alternative culture. Rhetoric multicuralista and advanced aesthetic fashions are articulated with the goal of gaining a growing market and more financial support for their projects, since, according to the main coordinator of Fora do Eixo, "the young Brazilian is so excited that they are spending does not have. "
In this regard, a "dispute narrative" advocated by Capilé arises, in fact, as a dispute over a particular market, eyeing the themes in vogue in the broad field of alternative culture. Rhetoric multicuralista and advanced aesthetic fashions are articulated with the goal of gaining a growing market and more financial support for their projects, since, according to the main coordinator of Fora do Eixo, "the young Brazilian is so excited that they are spending does not have. "
Continua… / Continued...
The 2nd part of this article will be published on Sunday (24/02)A 2ª parte deste artigo será publicada no domingo (24/02)
