Afectos transfílmicoshacer y sentir en torno a la proyección audiovisual

Laburpena

In my doctoral research, titled Aesthetics of the audiovisual screening. Assembly, fiction and right to the city in Poble Sec, Barcelona, I explored the aesthetic and pedagogical practice of two collectives arosed from the 15M Movement: the Occupy Poble Sec Cinema Forum and the Fiction Workshop. Both of them used the screening of images as the main method in their activies, employing in addition a fluid mobile apparatus to move across several points of a same neighbourhood. Member and co-founder of the two groups, the ethnographic tracking I carried out of their corresponding trajectories, from 2012 to 2014, sought to clarify the assemblage of human and non-human entitities that supported their mode of existence in common and the socio-material politics which shaped it. However, at the end of the dissertation writing I started to realize that the role of affects had been crucial during the development and maintenance of those assemblages, while my research had also disregarded that issue. This paper aims to restore tentatively this lack through authors such as Anna Hickey-Moody (2019) or Elizabeth de Freitas (2018). In particular, De Freitas defines “transindividual sympathy” as “the process of becoming other that does not erase the other” (p. 6). But how could it be recognized in ethnographic and political terms? What are its traces and evidences, its intensities and modes of appearance, its openings and limits?