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Sex Quartet, Hypothesis 1a

If, as Marazzi claims, financialization, counts language among the forces of production, the “communication” of percepts and affects also become productive in that period. Looking back from the 1970s, artistic forms of pervious periods appear as historical material and as expressions of material history. The conditions of late capitalism’s emergence transform Pasolini’s free indirect: it starts as a depiction of contemporaneous subjectification as class conflict and by the time of the Sex Quartet has become the genetic image of historical socia. These movies fade the 19th century aesthetic by presenting it’s objects as a historical series rather than as their own project.

The Sex Quartet, Hypothesis 1

Pier Paolo Pasolini’s Trilogy Of Life and Salo, released between 1971 and 1975, expresses the secular downturn, which begins in 1973 as a fading of aesthetics and the emergence of an analysis of the production of sexuality within historical/material life forms. That analysis prepares for the emergence financialization, an era when  “necessary cost of production becomes the life itself of the community” (citation adapted from Marazzi.)