All that once had a taste of vernacular earth was diluted in hyperculturization (the concept of the South Korean philosopher Byung-Chul Han) as a result of globalization. Gone are the original villages, with their rites, beliefs and customs, launching us into the arena of western neutrality (¿), where finally the image, the spectacle and the era of emptiness (concept of the French philosopher, Gilles Lipovetsky) placed us in the marked as one more commodity from the global village.
We have more relationships and more emotional contacts with people we do not know on Instagram, than with the residents of the building or with the residents of the block where we live. It is in Social Networks where we are going to slowly disappear, there we behave like another product that is exhibited, that seeks to look perfect, that turn us into retouched images to receive gratifications in the form of like.
We stop being Venezuelans because we are not part of the dominant cultures. It was an absolutely rich territory, now is nothing in the entertainment universe, because currently, the only thing that counts in the world is fun and image. We are just castaways, that perhaps we could be rescued by other individuals from the global village in the civilized world and go from being a boring 2D image, to something that has an ephemeral existence, for a time. The 15 minutes of fame, could be concentrated in a casual meme, within a totally infantilized society.
The United States sets the standard for global culture and tells us how to dress, how to think, what music to listen to, what movies to watch or what books to read. They do so through their enormous communication range and make us believe that we are choosing freely and that we have free will, when in reality we are being led, like anonymous lambs, to consume the only thing they produce.
They are also a regulator of how society should behave in a conservative and consumerist world. For example, the powerful Disney company, from its origins, promotes, in the most imperceptible way, homophobia in the children of its society and the world through "queer coding" where all the villains are mannered, obviously gay, unsuccessful and effeminate as in the case of: Captain Hook, Úrsula (from The Little Mermaid) was designed inspired by Divine, the famous drag star, Shere Khan, the evil tiger from The Jungle Book ( 1967); Robin Hood's Prince John (1973); Professor Ratigan, the devilish arch-enemy of Detective Basil in Basil, the superdetective mouse (1986); Jafar, by Aladdín (1992); Scar, from The Lion King (1994), Governor Ratcliffe, from Pocahontas (1995), or Hades of Hercules himself (1997).
The great American entertainment machinery, knows its role of world control well and exercises it. In Latin America, the only two societies that could preserve some features of their original culture would be Mexico and Brazil, the rest will be swallowed up by the society of emptiness and hyperculturality.
In the case of Colombia there is a geopolitical strategy. The cost of maintaining the North American military bases and allowing them to control such a vital area has made the industrialist of the void, invested millions to insert Colombian image products in the global society, which is very undemanding in quality. They turn a totally blonde Shakira with no banana identity into an exotic item within the parameters of the gringo market. Later would come other by-products such as Juanes, Sofía Vergara, Maluma, J Balvin, Catalina Sandino (nominated for an Oscar) that would be a form of political royalties and that has nothing to do with her nonexistent talents.
The same thing happened with South Korea, when they had an incident with their military bases and the restriction of North American films on Korean soil. Political agreements to ease the tensions between Hollywood and South Korea led to products of suspicious quality, to the Top of the world charts such as Gangnam Style K-pop, then they took some guys, they had cosmetic surgeries, they turned them blond and Western, and BTS emerged and finally they gave the Oscar for best film to "Parasites" making South Korea an influential nation within hyperculturality.
In the new world order, announced by the Liquid Modernity of Zygmunt Bauman, where Marxism is impossible to bear fruit because the proletariat no longer exists and the working classes disappeared in favor of self-exploitation, each individual in the cities, what they want now it is more work and more money to be able to consume and consume as the image and the virtual mannequin that it is already inevitably, within all that universe that inhabits your mobile phone.
Betting on the Marxist discourse or any form of the ethics of the radical left, is to plunge into the deepest failure within the global village, since they also have to deal with their own tumors created by progressive radicalisms that when losing the proletariat, They turned radical feminists, millionaire pro-abortion companies, gender ideologies, and created a useless monster like Greta Thunberg.
Venezuela simply does not exist, the former oil country does not even produce gasoline for domestic consumption, its young people do not have any identification with the Venezuelan, nor do they care. Their cultural and social models are handled by Hollywood, Broadway and the North American communication machinery, which even gives K-pop, which has nothing Asian, license to keep them trapped in images of global consumption.
The “maquila factories” of the series shows, dominate the taste of the world public and put into crisis even the very traditional theater. In all the billboards of the big cities they exhibit, with the same staging: Les Miserables, Frozen, Cats, Aladdin, Peter Pan, Cabaret, The Violinist on the Roof, Mamma mía, The Color Purple, Matilda, Tarzan, the Lion King ...
Neither China nor Russia play in the field of global entertainment, their repressive and repressed societies are incapable and useless of producing products for universal entertainment. Japan, due to its cultural resistance, begins to lag behind this new world order and Europe is self-feeding and is totally dominated and controlled by Disney and everything behind Disney.
This writing, in Social Networks will have my own destiny, to lose myself in an image forever.
Rubén Darío Gil