Victoria Mateos de Manuel
RESEARCH LINES: Ethosformel, Choreoteque, Easthetics
ORCID NUMBER 0000-0002-3483-7138
YOUTUBE CHANEL https://www.youtube.com/channel/UCzZoHqUaVHnhMpyLPnCLrzQ
VIMEO CHANEL https://vimeo.com/user13499475
UCM ARCHIVE UNTIL 2020 https://docta.ucm.es/search?query=victoria%20mateos%20de%20manuel&f.author=Mateos%20de%20Manuel,%20Victoria,equals&spc.page=1
CURRENT AFFAIRS. Since January 2020 I work as temporary secondary school teacher (profesorado interino) for Philosophy, Ethics and Psychology in La Rioja (Spain), and I continue my academic and artistic work as independent researcher. I was member of the Research Seminar UCM-CSIC on Dance History and Theory since its creation in March 2017 until its closure by the coordination in september 2022 (https://www.ucm.es/seminariohtdanza/) and member of the working team of the CSIC Research Project "Tras los pasos de la Sílfide. A History of Dance in Spain, 1836-1936" (https://investigacionendanzacsic.com/silfide/).
CV. Bachelor’s degree in Philosophy (Universidad Complutense Madrid, 2009, with a 3-year excellence scholarship from the autonomous community of Madrid), Master of Arts in Gender and Diversity Studies (Freie Universität Berlin, 2011), Master’s degree in Teacher’s Training (Universidad Complutense Madrid, 2018), Master's degree in Spanish as a Foreign Language (UNIR, 2022), and European PhD in Philosophy (Universidad Complutense Madrid, 2017), directed by Luis Posada Kubissa (Facultad de Filosofía, UCM) and José María González García (Instituto de Filosofía, CSIC), which was awarded with the University Award for Doctoral Research in Philosophy and was funded by a FPU Scholarship of the Spanish Ministry of Education at the Institute of Philosophy of the Spanish Scientific Research Council (CSIC, 2012-15). Associate lecturer (profesor asociado 4+4) at the Faculty of Philosophy of Complutense University Madrid (2018-20). Study and research stays at Philosophische Fakultät (Humboldt Universität zu Berlin, 2007-09), Institut für Theaterwissenschaft (Freie Universität Berlin, 2014), Département Danse (Université Paris 8-Saint Denis, 2014-15), and Institut für Philosophie, Literatur-, Wissenschafts- und Technikgeschichte (Technische Universität Berlin, 2019). Additional training on history of art and artistic practices through student vacancies and scholarships for specialization courses at Museo Nacional Centro de Arte Reina Sofía (Somateca by Paul Preciado, 2012) and Museo Nacional del Prado (2015-17, 2019). Work experience on Gender and Diversity through internships at RAA Berlin e. V. (2010), Handiclapped Kultur Barrierefrei Berlin e.V. (2010-18), Zentrale Frauenbeauftragte Freie Universität Berlin (2011), and Xochicuicatl Berlin e. V. Lateinamerikanischer Frauenverein (2010-11). I was doing scenic arts with the collective ensemble Teantropófagos in Berlin (2008-2012) and later writing cultural critique in La Grieta Platform (http://www.lagrietaonline.com/author/victoria-mateos-de-manuel/), texts which were also published in Infolibre and some translated in Political Critique, until its closure along 2019.
ORCID NUMBER 0000-0002-3483-7138
YOUTUBE CHANEL https://www.youtube.com/channel/UCzZoHqUaVHnhMpyLPnCLrzQ
VIMEO CHANEL https://vimeo.com/user13499475
UCM ARCHIVE UNTIL 2020 https://docta.ucm.es/search?query=victoria%20mateos%20de%20manuel&f.author=Mateos%20de%20Manuel,%20Victoria,equals&spc.page=1
CURRENT AFFAIRS. Since January 2020 I work as temporary secondary school teacher (profesorado interino) for Philosophy, Ethics and Psychology in La Rioja (Spain), and I continue my academic and artistic work as independent researcher. I was member of the Research Seminar UCM-CSIC on Dance History and Theory since its creation in March 2017 until its closure by the coordination in september 2022 (https://www.ucm.es/seminariohtdanza/) and member of the working team of the CSIC Research Project "Tras los pasos de la Sílfide. A History of Dance in Spain, 1836-1936" (https://investigacionendanzacsic.com/silfide/).
CV. Bachelor’s degree in Philosophy (Universidad Complutense Madrid, 2009, with a 3-year excellence scholarship from the autonomous community of Madrid), Master of Arts in Gender and Diversity Studies (Freie Universität Berlin, 2011), Master’s degree in Teacher’s Training (Universidad Complutense Madrid, 2018), Master's degree in Spanish as a Foreign Language (UNIR, 2022), and European PhD in Philosophy (Universidad Complutense Madrid, 2017), directed by Luis Posada Kubissa (Facultad de Filosofía, UCM) and José María González García (Instituto de Filosofía, CSIC), which was awarded with the University Award for Doctoral Research in Philosophy and was funded by a FPU Scholarship of the Spanish Ministry of Education at the Institute of Philosophy of the Spanish Scientific Research Council (CSIC, 2012-15). Associate lecturer (profesor asociado 4+4) at the Faculty of Philosophy of Complutense University Madrid (2018-20). Study and research stays at Philosophische Fakultät (Humboldt Universität zu Berlin, 2007-09), Institut für Theaterwissenschaft (Freie Universität Berlin, 2014), Département Danse (Université Paris 8-Saint Denis, 2014-15), and Institut für Philosophie, Literatur-, Wissenschafts- und Technikgeschichte (Technische Universität Berlin, 2019). Additional training on history of art and artistic practices through student vacancies and scholarships for specialization courses at Museo Nacional Centro de Arte Reina Sofía (Somateca by Paul Preciado, 2012) and Museo Nacional del Prado (2015-17, 2019). Work experience on Gender and Diversity through internships at RAA Berlin e. V. (2010), Handiclapped Kultur Barrierefrei Berlin e.V. (2010-18), Zentrale Frauenbeauftragte Freie Universität Berlin (2011), and Xochicuicatl Berlin e. V. Lateinamerikanischer Frauenverein (2010-11). I was doing scenic arts with the collective ensemble Teantropófagos in Berlin (2008-2012) and later writing cultural critique in La Grieta Platform (http://www.lagrietaonline.com/author/victoria-mateos-de-manuel/), texts which were also published in Infolibre and some translated in Political Critique, until its closure along 2019.
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Papers by Victoria Mateos de Manuel
"The CIP record [of the complete book] is available in the computer catalog of the National and University Library in Zagreb under number 001230369." (Vuger, 2023)
https://www.recursosculturales.com/residencias-museo-gabarron/
I also post the two mails that I sent to the organisations involved in this stay-scholarship, without becoming any answer of arrival-confirmation, something that is not the first time that happens to me in the last years with the mail that I use, which is presenting sometimes problems too for sending mails to certain addresses. When you are a candidate for a scholarhip or a job you do not pretend to win it necessarily, but it is a condition of fair play that you are unless allowed to present your work and participate in the competition.
https://philevents.org/event/show/120738
https://www.recursosculturales.com/festival-womanjarres/
https://www.7rioja.tv/Programas/5D4F0D09-BC14-4422-DFF210A5B04EFE94/dl/x8v4gwi/20-03-2024 (20. March 2024 we were interviewed in this local TV-programm at 16 hours in order to present the project of the festival. The video has been browsed from the online archive of the channel.) The complete video presentation video of the project can be found in this youtube link:
https://www.youtube.com/watch?v=YpnfkwaCYAg
On April 10th 2024, and as main coordinator and organisator of the project Womanjarrés, I formally cancelled the festival in the name of Asociación Roblegordo Manjarrés. I communicated this issue per mail to the coordination (Teresa Cascudo) and direction (María José Castillo) of Instituto de Estudios Riojanos.
The festival-project, its development, and its fulfillment terms were firstly formally communicated on November 14th 2023, when we thought about presenting the project for finantial and institutional help to Universidad de La Rioja, an idea that was back then rejected by María José Castillo, who suggested to present the project for its institutional and finantial support to Instituto de Estudios Riojanos. The second and formally approved schema of the festival was presented to Instituto de Estudios Riojanos on January 16th 2024.
On April 9th 2024 there were already three speakers from standing cultural and academic institutions located in Spain who had already formally and kindly accepted our invitation to come to the festival. Their names were comunicated to Instituto de Estudios in writing in order to organise all logistic issues. From Instituto de Estudios Riojanos we became suddenly the duty of including Riojan topics in at least one of the conferences of the inivited speakers. This was an issue, that was not arranged in the initially approved project and that can go against freedom of speech and academic freedom, constitutional rights warrented by hand in this country. For this reason, the festival has been cancelled. In order to make things as clear and respectful as possible, I present the two written versions of the project. Womanjarrés has not given any right to third ones to copy the project and develop it by other means.
We want to give thanks to the four speakers who accepted our invitation, to those ones who have helped us with the international divulgation of this project, to those who have shown interest in taking part, and to the ones that have supported it. Unfortunately, we cannot give thanks to those who sent proposals to participate in Womanjarrés after internationally publishing the call of papers, because we did not become any proposition.
to three philosophical conceptual moments that donate specific characteristics to the spatial relation and emotional distance between audience and reality in relation to ecological issues . Firstly, and a fter bringing into discussion the audience reactions to Declare Emergency actions, I will intro duce and explain Ortega y Gasset’s (1929) notion
of Romanticism . It is undoubtedly a first opening philosophical lecture of Romanticism, whose novelty and foundational perspective br ought the contemporary ecological concept of sustainability as main and unavoidable distinguishing feature of the division nature culture . Furthermore, it allows the reader an emphatic critical vision on non ecologist subjects which would manage to develop better ecologist propaganda. Secondly, I will bring into philosophical discussion and theoretical development two theatrical historical moments proposed by Sourel (the Medieval simultaneous scene and the
Renaissance successive scene). Although they are pre modern and modern concepts, both are still useful to understand ecologist mainstream indifference in contemporary society.
Mateos de Manuel, Victoria (2024). Sensación y percepción. Categorías fenomenológicas para una historiografía de la danza, en Segura, Dulcinea/ Koss, María Natacha (ed.), Ecosistemas en danza. III Encuentro de prácticas somáticas. Universidad de Buenos Aires, Servicio de Publicaciones del Instituto de Artes del Espectáculo, s.p. ISBN en trámite. http://iae.institutos.filo.uba.ar/publicacion/ecosistemas-en-danza
RESUMEN: El objetivo de este texto es elaborar de manera escrita la ponencia inicial presentada en la III Jornada de Prácticas Somáticas (https://youtu.be/n51_5kmxuf4?feature=shared, mesa a partir de 1:16) Se trata de una línea de trabajo en estética filosófica desde las categorías fenomenológicas y psicológicas de sensación y percepción para la realización de una historiografía crítica de la danza. Para ello, aportaré los conceptos de danzas de sensación y danzas de percepción, de aproximación sensitiva a la danza y aproximación perceptiva a la danza, como nociones que pueden ser de utilidad para revisar la escisión histórica entre clasicismo y modernidad en la historia de la danza partiendo, principalmente y entre otras fuentes, de las aportaciones de Norbert Elias sobre las danzas cortesanas y las consideraciones sobre el contact improvisation de Steve Paxton. Defenderé una línea de trabajo decolonial en historiografía de la danza no basada en la introducción de nuevas categorías históricas para la clasificación de bailes (aportaciones al canon en forma de entradas enciclopédicas y de la visibilización académica de estilos otrora denostados por las élites estéticas), sino aquella que considere los modos fenomenológicos individuales de acceso por parte del sujeto al movimiento, la expresión y los gestos, más allá de la tipología concreta de danza que se esté aprendiendo. Esta posición de investigación sobre la danza revaloriza el lugar gnoseológico del estudiante de danza y el sujeto no profesionalizado (potencialidad epistemológica de la ignorancia y el amateurismo en danza), habiéndola podido desarrollar gracias a mi desconocimiento en tanto que bailarina y espectadora experta en ballet, así como gracias a mi inicio tardío a algunas técnicas de danza académica como alumna de nivel inicial-básico en danza española en clases regulares para menores entre 8 y 14 años con la maestra Nuria Truco Pinillos.
Mateos de Manuel, Victoria (2023). Sensación y percepción. Categorías fenomenológicas para una historiografía de la danza [texto de conferencia], III Jornadas de Prácticas Somáticas "Ecosistemas en Danza" (5 de octubre de 2023). https://youtu.be/n51_5kmxuf4?feature=shared
I had to go directly to the university office which focused on these burocratic issues to officialy leave that research group. Due to the libels experienced during these years and the direct and indirect pressures lived when I was working as a lectorer at the faculty and afterwards (in at least two times someone got into my car when parked in front of the Faculty of Philosophy and of the Faculty of Arts, and moved the front inside mirror to leave an advice that someone had been inside), I also post the reasons why I decided to leave the group. It has to do with the lack of academic independence, the lack of freedom of expression, the lack of academic autonomy, and the use of research groups in public universities for cultural political propaganda.
Due to these strange circumstances, I put this letter and all the official documents of my Master's degree online. They can be found in three languages: German (original official documents), English (translation) and Spanish (translation). I also add my Master's thesis (2011), the document of the academic seminar at the FU where I firstly presented it in an academic context after having publicly defended it (2012), and the publication of the Master's thesis in Eikasia Journal (September, 2022), where you can check if it is the same text as the original written one in 2011 and sent 2022 to that journal.
https://www.sfius.org/en/
I publish the initial draft writing that I developed for giving the online conference in the congress that took place on Decemeber 15th-16th 2022. It was written on raw English.
El poema "Llevo la guerra en mí" lo presenté por mail al concurso Aldea poética VII de la editorial Ópera Prima el 23 de julio de 2023 tanto con el nombre propio como el pseudónimo "Victoria Mateos de Manuel". El 31 de julio de 2023 se publica el fallo del jurado en facebook, con mi nombre completo. El 15 de noviembre de 2023 se publica en abierto el libro sin mi nombre como autora del poema y convertido el último verso, palabra correspondiente al grito dionisíaco, en pseudónimo de la autoría. El 16 de noviembre me pongo en contacto por mail con la editorial. Se adjunta la documentación asociada a esta publicación.
RESUMEN. El objetivo de este artículo es, tras un análisis de la estética feminista de las Guerrilla Girls como punto de partida para el debate, retomar una línea de trabajo y creación actualmente abandonada en la estética feminista ante la instrumentalización política de la crítica cultural: traer a palabra la posibilidad o imposibilidad de la experiencia metafísica en el arte más allá de la política en situaciones de indudable desventaja, impotencia o amenaza. Para ello, aludiendo a la expresión de John Berger (2017), se presentan dos modos de fotografiar presentes en retrospectivas llevadas a cabo en 2022: el estilo de primer plano de Letizia Battaglia, a través de la exposición Photography as a Life Choice en la Galería Jakopič (Liubliana); el estilo de fotografiar de rodillas de Herbert List, a través de las exposiciones en Hamburgo Herbert List. Das magische Auge (Bucerius Kunst Forum Hamburg) y Präuschers Panoptikum. Ein Bilderbuch von Herbert List (Hamburger Kunsthalle).
ABSTRACT. The goal of this article is to pick up and discuss a feminist research and creation line, which would be currently abandoned among feminist aesthetics because of the political instrumentalization of cultural critic. I am talking about the possibility or impossibility of having a metaphysical and not only a political experience of art in situations of oppression, helplessness, or intimidation. In order to develop this debate, the text starts with an analysis on the feminist perspective of Guerrilla Girls. Next, it explains two ways of making photography, which were shown in two 2022 exhibitions: Letizia Battaglia’s close-up through the exhibition Photography as a Life Choice (Jakopič Gallery in Liubliana), and Herbert List’s knelt perspective in two exhibitions from Hamburg: Herbert List. Das magische Auge (Bucerius Kunst Forum Hamburg) and Präuschers Panoptikum. Ein Bilderbuch von Herbert List (Hamburger Kunsthalle).
"The CIP record [of the complete book] is available in the computer catalog of the National and University Library in Zagreb under number 001230369." (Vuger, 2023)
https://www.recursosculturales.com/residencias-museo-gabarron/
I also post the two mails that I sent to the organisations involved in this stay-scholarship, without becoming any answer of arrival-confirmation, something that is not the first time that happens to me in the last years with the mail that I use, which is presenting sometimes problems too for sending mails to certain addresses. When you are a candidate for a scholarhip or a job you do not pretend to win it necessarily, but it is a condition of fair play that you are unless allowed to present your work and participate in the competition.
https://philevents.org/event/show/120738
https://www.recursosculturales.com/festival-womanjarres/
https://www.7rioja.tv/Programas/5D4F0D09-BC14-4422-DFF210A5B04EFE94/dl/x8v4gwi/20-03-2024 (20. March 2024 we were interviewed in this local TV-programm at 16 hours in order to present the project of the festival. The video has been browsed from the online archive of the channel.) The complete video presentation video of the project can be found in this youtube link:
https://www.youtube.com/watch?v=YpnfkwaCYAg
On April 10th 2024, and as main coordinator and organisator of the project Womanjarrés, I formally cancelled the festival in the name of Asociación Roblegordo Manjarrés. I communicated this issue per mail to the coordination (Teresa Cascudo) and direction (María José Castillo) of Instituto de Estudios Riojanos.
The festival-project, its development, and its fulfillment terms were firstly formally communicated on November 14th 2023, when we thought about presenting the project for finantial and institutional help to Universidad de La Rioja, an idea that was back then rejected by María José Castillo, who suggested to present the project for its institutional and finantial support to Instituto de Estudios Riojanos. The second and formally approved schema of the festival was presented to Instituto de Estudios Riojanos on January 16th 2024.
On April 9th 2024 there were already three speakers from standing cultural and academic institutions located in Spain who had already formally and kindly accepted our invitation to come to the festival. Their names were comunicated to Instituto de Estudios in writing in order to organise all logistic issues. From Instituto de Estudios Riojanos we became suddenly the duty of including Riojan topics in at least one of the conferences of the inivited speakers. This was an issue, that was not arranged in the initially approved project and that can go against freedom of speech and academic freedom, constitutional rights warrented by hand in this country. For this reason, the festival has been cancelled. In order to make things as clear and respectful as possible, I present the two written versions of the project. Womanjarrés has not given any right to third ones to copy the project and develop it by other means.
We want to give thanks to the four speakers who accepted our invitation, to those ones who have helped us with the international divulgation of this project, to those who have shown interest in taking part, and to the ones that have supported it. Unfortunately, we cannot give thanks to those who sent proposals to participate in Womanjarrés after internationally publishing the call of papers, because we did not become any proposition.
to three philosophical conceptual moments that donate specific characteristics to the spatial relation and emotional distance between audience and reality in relation to ecological issues . Firstly, and a fter bringing into discussion the audience reactions to Declare Emergency actions, I will intro duce and explain Ortega y Gasset’s (1929) notion
of Romanticism . It is undoubtedly a first opening philosophical lecture of Romanticism, whose novelty and foundational perspective br ought the contemporary ecological concept of sustainability as main and unavoidable distinguishing feature of the division nature culture . Furthermore, it allows the reader an emphatic critical vision on non ecologist subjects which would manage to develop better ecologist propaganda. Secondly, I will bring into philosophical discussion and theoretical development two theatrical historical moments proposed by Sourel (the Medieval simultaneous scene and the
Renaissance successive scene). Although they are pre modern and modern concepts, both are still useful to understand ecologist mainstream indifference in contemporary society.
Mateos de Manuel, Victoria (2024). Sensación y percepción. Categorías fenomenológicas para una historiografía de la danza, en Segura, Dulcinea/ Koss, María Natacha (ed.), Ecosistemas en danza. III Encuentro de prácticas somáticas. Universidad de Buenos Aires, Servicio de Publicaciones del Instituto de Artes del Espectáculo, s.p. ISBN en trámite. http://iae.institutos.filo.uba.ar/publicacion/ecosistemas-en-danza
RESUMEN: El objetivo de este texto es elaborar de manera escrita la ponencia inicial presentada en la III Jornada de Prácticas Somáticas (https://youtu.be/n51_5kmxuf4?feature=shared, mesa a partir de 1:16) Se trata de una línea de trabajo en estética filosófica desde las categorías fenomenológicas y psicológicas de sensación y percepción para la realización de una historiografía crítica de la danza. Para ello, aportaré los conceptos de danzas de sensación y danzas de percepción, de aproximación sensitiva a la danza y aproximación perceptiva a la danza, como nociones que pueden ser de utilidad para revisar la escisión histórica entre clasicismo y modernidad en la historia de la danza partiendo, principalmente y entre otras fuentes, de las aportaciones de Norbert Elias sobre las danzas cortesanas y las consideraciones sobre el contact improvisation de Steve Paxton. Defenderé una línea de trabajo decolonial en historiografía de la danza no basada en la introducción de nuevas categorías históricas para la clasificación de bailes (aportaciones al canon en forma de entradas enciclopédicas y de la visibilización académica de estilos otrora denostados por las élites estéticas), sino aquella que considere los modos fenomenológicos individuales de acceso por parte del sujeto al movimiento, la expresión y los gestos, más allá de la tipología concreta de danza que se esté aprendiendo. Esta posición de investigación sobre la danza revaloriza el lugar gnoseológico del estudiante de danza y el sujeto no profesionalizado (potencialidad epistemológica de la ignorancia y el amateurismo en danza), habiéndola podido desarrollar gracias a mi desconocimiento en tanto que bailarina y espectadora experta en ballet, así como gracias a mi inicio tardío a algunas técnicas de danza académica como alumna de nivel inicial-básico en danza española en clases regulares para menores entre 8 y 14 años con la maestra Nuria Truco Pinillos.
Mateos de Manuel, Victoria (2023). Sensación y percepción. Categorías fenomenológicas para una historiografía de la danza [texto de conferencia], III Jornadas de Prácticas Somáticas "Ecosistemas en Danza" (5 de octubre de 2023). https://youtu.be/n51_5kmxuf4?feature=shared
I had to go directly to the university office which focused on these burocratic issues to officialy leave that research group. Due to the libels experienced during these years and the direct and indirect pressures lived when I was working as a lectorer at the faculty and afterwards (in at least two times someone got into my car when parked in front of the Faculty of Philosophy and of the Faculty of Arts, and moved the front inside mirror to leave an advice that someone had been inside), I also post the reasons why I decided to leave the group. It has to do with the lack of academic independence, the lack of freedom of expression, the lack of academic autonomy, and the use of research groups in public universities for cultural political propaganda.
Due to these strange circumstances, I put this letter and all the official documents of my Master's degree online. They can be found in three languages: German (original official documents), English (translation) and Spanish (translation). I also add my Master's thesis (2011), the document of the academic seminar at the FU where I firstly presented it in an academic context after having publicly defended it (2012), and the publication of the Master's thesis in Eikasia Journal (September, 2022), where you can check if it is the same text as the original written one in 2011 and sent 2022 to that journal.
https://www.sfius.org/en/
I publish the initial draft writing that I developed for giving the online conference in the congress that took place on Decemeber 15th-16th 2022. It was written on raw English.
El poema "Llevo la guerra en mí" lo presenté por mail al concurso Aldea poética VII de la editorial Ópera Prima el 23 de julio de 2023 tanto con el nombre propio como el pseudónimo "Victoria Mateos de Manuel". El 31 de julio de 2023 se publica el fallo del jurado en facebook, con mi nombre completo. El 15 de noviembre de 2023 se publica en abierto el libro sin mi nombre como autora del poema y convertido el último verso, palabra correspondiente al grito dionisíaco, en pseudónimo de la autoría. El 16 de noviembre me pongo en contacto por mail con la editorial. Se adjunta la documentación asociada a esta publicación.
RESUMEN. El objetivo de este artículo es, tras un análisis de la estética feminista de las Guerrilla Girls como punto de partida para el debate, retomar una línea de trabajo y creación actualmente abandonada en la estética feminista ante la instrumentalización política de la crítica cultural: traer a palabra la posibilidad o imposibilidad de la experiencia metafísica en el arte más allá de la política en situaciones de indudable desventaja, impotencia o amenaza. Para ello, aludiendo a la expresión de John Berger (2017), se presentan dos modos de fotografiar presentes en retrospectivas llevadas a cabo en 2022: el estilo de primer plano de Letizia Battaglia, a través de la exposición Photography as a Life Choice en la Galería Jakopič (Liubliana); el estilo de fotografiar de rodillas de Herbert List, a través de las exposiciones en Hamburgo Herbert List. Das magische Auge (Bucerius Kunst Forum Hamburg) y Präuschers Panoptikum. Ein Bilderbuch von Herbert List (Hamburger Kunsthalle).
ABSTRACT. The goal of this article is to pick up and discuss a feminist research and creation line, which would be currently abandoned among feminist aesthetics because of the political instrumentalization of cultural critic. I am talking about the possibility or impossibility of having a metaphysical and not only a political experience of art in situations of oppression, helplessness, or intimidation. In order to develop this debate, the text starts with an analysis on the feminist perspective of Guerrilla Girls. Next, it explains two ways of making photography, which were shown in two 2022 exhibitions: Letizia Battaglia’s close-up through the exhibition Photography as a Life Choice (Jakopič Gallery in Liubliana), and Herbert List’s knelt perspective in two exhibitions from Hamburg: Herbert List. Das magische Auge (Bucerius Kunst Forum Hamburg) and Präuschers Panoptikum. Ein Bilderbuch von Herbert List (Hamburger Kunsthalle).
https://www.intermediae.es/agenda/un-paseo-bibliotecario-de-jane-revista-hablada-y-caminada
https://biblioteca.ucm.es/fsl/noticias/19724
One of the included texts is a conference that I presented at the IVR Congress 2022 in Bucharest ("My Life de Isadora Duncan: coreología del amor"). The organization of congress should have published the congress proceedings before the end of the year 2022. I wrote unsucessfully and several times to the organization of the IVR congress, also to the Spanish IVR commission, in order to ask for this unsolved issue, which was one the written agreements of the congress. The IVR has finally published the conference proceedings on March 25th 2024 (date of the mail sent to the contributors) https://www.amazon.com/Justice-Community-Freedom-Congress-Proceedings/dp/6205525917
On Juni 17th 2024 I adjunt the 4 different mails that the Spanish Government through its filial at the Ministry of Culture on the issue of the intellectual property in this country.
Esta tesis doctoral europea fue defendida el 17 de febrero de 2017 en el aula 217 de la Facultad de Filosofía de la Universidad Complutense de Madrid (https://dialnet.unirioja.es/servlet/tesis?codigo=134629). La tesis doctoral fue dada de alta en propiedad intelectual en el año 2016. Tras presentar una reclamación, la tesis doctoral recibió el Premio Extraordinario de Doctorado de la Facultad de Filosofía en 2018.
https://dialnet.unirioja.es/servlet/tesis?codigo=134629
Reseña de Idoia Murga Castro en Acotaciones. Investigación y Creación Teatral. Disponible en https://www.resad.com/Acotaciones.new/index.php/ACT/article/view/556
I also adjunt some mails that I sent on 2023 to Ediciones Complutense asking for the complete online free publishing of the book "Coreoteca. An Archive of Dance Philosophy", and explaining totally reasonable arguments for this petition, that supports international academic research done with transparency and democratic conditions, respect to intellectual property, and independency of political parties and propaganda interests at universities.
Reseña de Gloria Luque Moya en Estudios Nietzsche. Disponible en https://revistas.uma.es/index.php/estnie/article/view/12218
Reseña de Blanca Molina Olmos en Daimon. Revista Internacional de Filosofía. Disponible en https://uam.academia.edu/BlancaMolinaOlmos
RESUMEN. Esta tesis es una investigación en teoría estética de la danza y versa sobre la recuperación y el declive de la categoría estética de lo dionisiaco en la modernidad. Su objetivo es analizar los modos diferenciados en los que la danza se constituyó como expresión de lo dionisiaco en la modernidad entre el fenómeno decimonónico de la flânerie y las coreografías de masas del primer tercio del siglo XX. Esta investigación presenta seis lugares estéticos de emergencia que tuvieron lugar en tal acotación histórica y que constituyeron coreografías diferenciadas de lo dionisiaco, aportando cada uno de ellos un vocabulario propio y un tono diferenciado a esta categoría estética. En consecuencia, el concepto de lo dionisiaco presentado por Nietzsche se muestra no como una noción estética unívoca, sino como un complejo y polisémico lugar común constituido por matices específicos. Asimismo, lo dionisiaco se muestra como noción sexo-política, constituyéndose esta tesis tanto como una investigación en estética filosófica como en estudios feminista.
ABSTRACT. This dissertation is a research on aesthetic theory on dance and it deals with the rebirth and the decline of the Dionysian in Modernity. In order to deal with this aesthetic issue, this research analyses the ways dance was understood, shaped, and written as an expression of the Dionysian in Modernity. This research covers the time period beginning with the nineteenth-century phenomenon of flânerie and ending with the
development of mass choreographies in the first third of the twentieth century. It presents six aesthetic emergence-spaces, which took place in that time period and shaped distinguished choreographies of the Dionysian. Therefore, this dissertation exposes six aesthetic dance-matters in Modernity, each of which wrote about the Dionysian in a different and specific way by providing to the Dionysian field respectively distinctive vocabularies and semantic features. Consequently, the Dionysian concept, which was theorized by Nietzsche, is not shown as a univocal aesthetic notion but as a complex and multivocal aesthetic structure constituted by various, different, and distinguishable aspects or hints. Moreover, the Dionysian field is shown as a gendered concept and, consequently, this dissertation is raised both as a philosophical and as a gender critical research.
ZUSAMMENFASSUNG. Diese Dissertation ist eine Forschung im Bereich der ästhetischen Tanztheorie und es handelt sich um die Wiederverwertung und Dämmerung der ästhetischen Kategorie des
Dionysischen in der Modernität. Ziel dieser Forschung ist es, die verschiedenen Weisen zu analysieren, in denen Tanz als einen dionysischen Ausdruck in der Modernität dargestellt wurde. Unter Modernität beachte ich den folgenden zu analysierenden Zeitraum: derjenige zwischen dem Phänomen der Flânerie aus dem 19. Jahrhundert und den Massen Choreographien des ersten Drittels des 20. Jahrhunderts. Diese Dissertation stellt sechs ästhetische Emergenz-Räume dar, die in diesem Zeitraum stattfanden. Jeder dieser Räume bildete eine differenzierte Choreographie des Dionysischen und brachte spezifisches Vokabular und eine eigene Tonart zu dieser ästhetischen Kategorie bei. Demzufolge ist der von Nietzsche dargestellte Begriff des
Dionysischen kein eindeutiges Konzept, sondern ein sehr komplexer und polysemer ästhetischer Raum, der aus spezifischen und differenzierten Abtönungen besteht. Genauso zeigt sich diese Kategorie als eine stark geschlechtsbedingte politische Kategorie; demgemäß ist diese Dissertation sowohl eine Forschung in der philosophischen Ästhetik als auch in den Gender Studies.
This is a book review in Spanish of the 2022 Spanish translation of Pollock's book "Differencing the Canon: Feminism and the Writing of Art's Histories", which was firstly published in 1999 and which is a contemporary classic for the debattes on feminist and decolonial theory on art history and curatorial practices of the English speaking aesthetic academic context.
Mateos de Manuel, V (2023). Esquirol, J. M./Arzoz, I./ Alonso, A. El desencanto del Progreso. Para una crítica luddita de la tecnología, Dykinson [reseña-ensayo], Journal of Posthumanism, Special Issue: Metahuman Futures, Vol. 3, Issue 2, 201-204. https://journals.tplondon.com/jp/issue/view/199
Mateos de Manuel, Victoria (2023). Dolores Romero López/ Jeffrey Zamostny. Towards the Digital Cultural History of the Other Silver Age. Peter Lang Verlag: Berlin, 2022 [reseña-ensayo], El Catoblepas. Revista crítica del presente, nº 203, 15. https://www.nodulo.org/ec/2023/n203p15.htm
https://ojs.ehu.eus/index.php/Ariadna/article/view/20484
I hang the power point presentation and the complete audio (38 minutes) of the paper that I wrote, because the format of the presentation should adjust to a 5 minutes speech.
This conference has two goals:
1) In the first part of the conference, I explain why and under which circumstances I left the job I had as associate lecturer at the university to start working as school teacher in 2020. I also use economics to make an emotional distance from politics, and develop a comparison of measurable values between the yearly academic productivity in economic and publishing terms that I had working as lecturer at the university in 2019 and working as school teacher in 2021.
2) Secondly, I develop a short introductory argumentation on the analogy between real-state market and academic market and the possibility of an academic bubble in comparison to a real-state bubble.
LINK TO THE AUDIO (Complete spoken presentation in marvelous English with great Spanish accent, deeply inspired by Zizek, of the conference "The concept of academic bubble"). In case that you find uncomfortable to hear a foreigner talking in a foreign language, I can still send you some subtitles in your mother tongue to make these pages more readable (Lesbarkeit): https://archive.org/details/the-academic-bubble-giessen-19.7.2024
https://www.facebook.com/SofiaUMSNH/videos/1947279559342467?locale=es_LA
https://youtu.be/aE3_rQ2ldOo?feature=shared
Sala B
https://youtu.be/n51_5kmxuf4?feature=shared
Mateos de Manuel, Victoria (5 octubre 2023). Sensación y percepción: categorías psicológicas para una historiografía de la danza, III Encuentro de Prácticas Somáticas. Ecosistemas en danza [congreso híbrido], Instituto de Artes del Espectáculo, Universidad de Buenos Aires.
Conferencia 1 sobre la noción de patriarcado: https://archive.org/details/conferencia-1.-que-es-el-patriarcado.-de-la-filosofia-moderna-a-la-contemporanea
Conferencia 2 sobre los verbos (patriarcales) del drama moderno (Ibsen, Strindberg, Eurípides): https://archive.org/details/conferencia-2.-los-verbos-patriarcales-del-drama-moderno.-danza-en-strindberg-ibsen-y-euripides
Conferencia 3 sobre hegemonía de la subjetividad romántica y nueva conciencia ecológica: https://archive.org/details/conferencia-3.-hegemonia-de-la-subjetividad-romantica-y-nueva-conciencia-ecologica
RESUMEN. En estas tres conferencias se presentará la danza como caso de estudio para comprender la compleja noción histórica de patriarcado. Para ello, se atenderá a tres momentos clave para una filosofía con perspectiva de género de los estudios sobre danza y escenografía. En primer lugar, el papel de la danza femenina en el drama moderno de Ibsen y Strindberg como modelo de interpretación sexo-político del declive de la tragedia y un formato social de danza patriarcal. En segundo lugar, acudiremos a la propuesta de Isadora Duncan como modelo de renovación moderna de la tragedia y propuesta de pedagogía crítica. En tercer lugar, se hará una incursión en el papel de la escenografía y la mentalidad romántica para comprender el desarrollo de la indiferencia ecologista contemporánea.
https://escueladeveranodeasturias.wordpress.com/programa/
ABSTRACT: Ortega y Gasset, in his book The Revolt of the Masses, introduced the concept of sustainability as a decisive differentiating criterion between nature and civilization. Nature would be self-sufficient, while civilization would be a living sphere in need of constant care. Therefore, human beings should make an effort for the preservation of culture, while nature could remain and survive by itself. Following Ortega, this is a main feature of Romanticism. This indifference to nature and its opposition to civilization has remained over the centuries and, in my opinion, it is one of the current hegemonic perspectives that hinders the development of a new ecological consciousness. Many human beings just do not understand the necessity of getting involved or attached to ecological issues. In this presentation, by taking into consideration the creation of a separated staging sphere in theater and
dance, I would make a genealogical review of some crucial meaning moments of this romantic un-ecological subjectivity.
https://drive.google.com/file/d/1MS28dMObXLkpBcWeG1x-9gwzb327KaXk/view?usp=drive_link
There were technological problems that avoided the live and direct zoom presentation of this talk. For this reason, a short 20 minutes talk of the first part of this draft paper was shown in différance hybrid format through a recorded reading that was sent in advance to the congress organizers.
https://www.ivoox.com/entrevista-sobre-danza-improvisacion-percepcion-audios-mp3_rf_106703358_1.html
https://iescosmegarcia.larioja.edu.es/radio/2682-entrevista-sobre-danza-improvisacion-y-percepcion
https://www.europapress.es/la-rioja/noticia-gota-inicia-programacion-nuevo-ano-talleres-danza-musica-exposiciones-20230111140810.html
https://www.facebook.com/lagotadeleche/posts/pfbid02tsrgkQPQbeFRWJuTLNon9zTztDRgxG4UtjKqc1KE8CMoHRgj8ZZJU6ECPqsNCFtql?__cft__[0]=AZXagkAAZQjdyMm8UsJlHkI0nFPis0QWVA5_IQ9EkyLcyRzqf8nvpHSogQ_w7f-2VBZQ3Fa96GpgVLRqcXktp7-h8bJflIs1WXd5DJ3a7dP7NIselZWB2iD2O5ny2GtiBWy5kk9Qb_WxJtyo0Y1gPXppQoZXKjDGJX475xVkIFwQ3wirkPzL7yWW7dPIUAVgULluzumIep2nMoV-uLgiM4rxdSo6HDC5hDGQNjh03Od4Qw&__tn__=%2CO%2CP-R
https://www.facebook.com/lagotadeleche/posts/pfbid0J2pJ34AKdDKGashnESPn2tEndWNeTvUGNER6wPmQko81gfKRnNZQqHUK8NkVnfSPl?__cft__[0]=AZXyaz2untPtAyXcUqH4tNgbdtRLsF4QyReeyJE54d7EpBDG4YhXeACCq7QlOLwl_Ui8b9VC9wOD7VjVJo6sqZQObFLbhJ8zo95e-__DRYsvThRh2AUsUhDQE4gXXi24rxMQcetONA3wVWIJqHIgppwrU_2yvUJkXF3_gfqRmsO2NiR67SQUNq4aGDguL1JNn6iTUo_3sqy0lnFPJa1hf4Sr&__tn__=%2CO%2CP-R
https://www.sfius.org/en/
RESUMEN. Entre los debates estéticos contemporáneos de mayor calado en la filosofía de la danza se encuentra la disputa historiográfica sobre la modernidad. Es un concepto manido, incluso un lugar común de confluencia teórica entre academias. No obstante, su delimitación es ambigua y ampliamente discutida desde al menos 1965, año en que Peter Drucker publica "Landmarks for Tomorrow" y abre el debate sobre la posmodernidad, existiendo diferentes y múltiples debates sobre los conceptos de lo moderno, el modernismo, la modernización, la crítica modernista, la modernidad o modernidades, y la posmodernidad (véase Mateos de Manuel 2017: 47-60).
En este ensayo introductorio hacia una hermenéutica de la danza desde el planteamiento de Hans-Georg Gadamer, se retornará al ámbito de definición planteado por la estética de Greenberg en 1961 para mostrar de qué manera el creador contemporáneo Jérôme Bel reinscribe a la bailarina Isadora Duncan en la danza moderna con su obra "Isadora Duncan", performada en el Deutsches Theater durante el Festival Tanz im August de 2019 en Berlín. Desde la lectura que aquí realizo, planteo que Jérôme Bel crea con esta propuesta escénica un género o categoría estética a sumar al debate sobre la modernidad que podría denominarse hipermodernidad o modernidad absoluta. Con ello, insertamos los conceptos gadamerianos de tradición de sentido y horizonte de sentido en una hermenéutica de la danza, con el fin de comenzar a delimitar algunas nociones fundamentales a partir de las cuales pensar esta disciplina filosófica como, por ejemplo, ya ha realizado la investigadora Herminia Pagola (2022) desde la filosofía de Eugenio Trías.
"DANCES WITH WOLVES
The Nordic Summer University was born in the 50s as one of the pioneering institutions on interdisciplinary scholarship, joining artistic expression, academic research and a cross-disciplinary profile. Its organizational structure, discussion style and proposals format are strongly influenced by Grundtvig, a 19th century Danish philosopher of pedagogy, who developed the concept of Folkhögskola.
The researcher on Aesthetics, Dance Philosophy and Gender Studies Victoria Mateos de Manuel was hosting the session in order to introduce an interdisciplinary discussion and discourse analysis on the study case of the current fire in Sierra de la Culebra, a mountain range and natural hunting reserve in Zamora, one of the northwest provinces of the Spanish autonomous community Castile and Leon. The fire started on June 15th 2022 and it has already calcined around 60.000 hectares of this landscape where the few remaining Iberian wolfs, a protected species, live. In this natural reserve there are also centenary chestnut trees, beekeeping, mushrooms and a wild fauna of species such as roe deer, red deer, wild boar and griffon vulture. Moreover, this mountain range provides the main economic resources to the local rural population, which has been strongly decreasing and aging in the last decades. Last year, another fire consumed 22.000 hectares in Ávila, yet rural region of Castile and Leon. The participants in this session of the Nordic Summer University introduced the fire related contexts in their countries from sociological, philosophical, historical and aesthetical perspectives. Different topics were brought to a collective debate, which was very helpful for the planning and organization of further possible international meetings on this environmental research area. Which role does the political view of forests as resistance or dangerous dissident spaces play in the unconscious collective memory and social attachment to the preservation of this kind of landscape? How do the working conditions of firefighters and forest rangers affect the preservation of natural spaces? How important is the regional, autonomous, decentralized or centralized structure of a state in fire prevention and extinction? Are there any international collaboration programs and resources in fire extinction? How could fire prevention pedagogical materials and strategies be developed from a cognitive, emotional and behavioral perspective? How do voluntary work, community bottom-up root actions and the social prestige or discredit of these attitudes influence forest sustainability? Which role does the aesthetical perception of natural environments play in the ethics of forest care? Why does the population perceive fires as natural unavoidable catastrophes and not as cases of failed and deficient forest management with human responsibilities?
The session “Environments on fire” took place outdoors, where circle 7 “The Experiential in Artistic Practice and Research: Methods, Knowledges and Reflective Processes” was also developing a workshop entitled “Body as Performative Landscape: A Phenomenological Performance Workshop Investigating our Built Environments”, hosted by Anna Olkinuora, from HAMK Häme University of Applied Sciences. 1958-1960 the Spanish artist José Val del Omar directed the 18 minutes film Fire in Castile, where the Spanish flamenco dancer and writer Vicente Escudero, from Valladolid, another Spanish province of Castile and Leon, appears. For the simultaneous aesthetical bodily performative support in the debate, which managed to momentously sublimate the powerless experience of catastrophe, we share the following links to Val del Omar’s artwork and also some audiovisual reports on the fire in Sierra de la Culebra."
Mateos de Manuel, Victoria (2022). Environments on Fire [workshop], Nordic Summer University (July 30th), Oslo (Norway).
Salome’s Silence. Choreographic Essays on the Dionysian in Modernity
(CSIC/Plaza y Valdés, 2019). The chapter explains the six verbs or actions that summarize the gendered unecological dance relational ecosystem found in two theater plays of modern drama, Ibsen’s A Doll’s House (1879) and Strindberg’s Miss Julie (1888), and makes a comparison with the situation of women in Euripides’ tragedy Bacchae.
Mateos de Manuel, Victoria (2022). Dance Unsustainable Ecosystems. The Verbs of Modern Drama, Circle Nordic Environmental Ethics, Nordic Summer University (July 29th), Oslo (Norway).
https://www.nsuweb.org/
https://www.ivr2022.org/
Vídeo del seminario disponible en el siguiente link: https://www.youtube.com/watch?v=KzXQyLCfqkE&list=PLbugD9Zb6mnRI1Z1mdbT4qdvU5cz7k_hQ&index=18
Se adjunta el cartel y el programa del seminario, disponibles de manera online en el siguiente link: https://www.facebook.com/SeminariohtdanzaUCMCSIC/
Mateos de Manuel, Victoria (2022) "Notas para una genealogía del concepto danza española", Seminario UCM-CSIC de Investigación en Historia y Teoría de la Danza (30 abril), Museo Mariemma (Íscar).
Available audio of the conference at the following link: https://www.medialab-matadero.es/audios/sesion-inicial-seminario-internacional-de-jovenes-investigadores-siji-2019-convivir-en
Se adjunta programa y cartel del curso SIJI 2019, disponible de manera online en el siguiente link: http://cchs.csic.es/en/siji19
Se adjunta el programa del congreso y el libro de resúmenes, disponibles de manera online en el siguiente link: https://www.uni-kassel.de/fb05/fachgruppen-und-institute/soziologie/fachgebiete/soziologie-der-diversitaet/aktuelles-und-veranstaltungen-soziologie-der-diversitaet/decolonizing-gender-studies
Se adjunta el cartel del seminario, así como el enlace al video, disponible de manera online en el canal de youtube de la Universidad de La Rioja y el Seminario UCM-CSIC en Historia y Teoría de la Danza:
https://www.youtube.com/watch?v=Hvm4dRdC20Q&list=PLbugD9Zb6mnRI1Z1mdbT4qdvU5cz7k_hQ&index=3
https://www.youtube.com/playlist?list=PLbugD9Zb6mnRI1Z1mdbT4qdvU5cz7k_hQ
https://www.youtube.com/watch?v=KzXQyLCfqkE&list=PLskWAeos0NIoAQpQ06vVd2r7gQBzewX6E
Mateos de Manuel, Victoria (2021) "Bailar en hombre", Congreso Internacional "Una historia de la danza en España, 1836-1936" (1-3 diciembre), Museo Nacional del Romanticismo (Madrid).
Se adjunta el programa del congreso, disponible de manera online en el siguiente link: https://investigacionendanzacsic.com/dance-in-spain-conference/#schedule
Los vídeos de las conferencias se facilitarán en el siguiente canal de youtube: https://www.youtube.com/channel/UCfnaw297m3XlQVDAfoh4sQQ/videos
Se adjunta el programa del congreso, disponible de manera online en el siguiente link: https://dekolonial.univie.ac.at/
Se adjunta el programa del ciclo, disponible de manera online en el siguiente link: https://www.ateneoriojano.com/
Se adjunta el programa de las jornadas, disponible de manera online en el siguiente link: https://sociedadasturianadefilosofia.org/jornadas-de-filosofia/