€®O$ is a creative discourse about love, or more specifically, about the corporations that produce it, the images that announce it and the media that transmits it. Its setting is the Market of Affection. In this place, which belongs to us all, passions are no longer an expression of an interior life, but instead a negotiation with the digital, news and financial instruments that generate the current hyper-connected identity. Its perspective is the sociology of personal relations, but don’t be surprised to alsoencounter a veritable arsenal of satire, poems and songs and even a fictional story that, situated in 2040, imagines the glorious collapse of the Market and its consequences.
€®O$ is composed of ten teletexts that describe a moment of ignition: the place where sensibility collides with spectacle. The reality show becomes the space for fraternity. Chuck Palahniuk describes the tenderness of porn. The Adulterer has his Ministry on the Internet. Paris Hilton finds authentic friendship at a casting. The music industry plays the saddest ballad. The Cohen brothers invent the aesthetics of divorce. TheArs Amandiof today is sung by the Magnetic Fields. It isn’t strange that the energy and humour of these modern epiphanies also run through the veins of this book.
€®O$ is also the story of the fight for legitimacy of emotions. A theory of emotions within capitalism that incorporates an examination of power: that which is exercised through structures of feeling, rules of expressivity, transmission and re-transmissions of states of being, which modulate the subject to construct a recognizable emotional code.
Eloy Fernández Porta (1974) was born in Barcelona. He has a PhD in Humanities from the Universitat Pompeu Fabra. Anagrama has published his essays on cultural criticism: Afterpop, Homo Sampler, €RO$, Emociónese así (‘Get Excited Like That’) and the most recent En la confidencia (‘In Confidence’). He was awarded the Premio Anagrama de Ensayo (Anagrama Essay Award) and the Premi Ciutat de Barcelona (Barcelona City Award). His work has been translated into English, French and Portuguese. He is considered a “fine analyst but also a great writer” (Maxence Grugier, Première), a “top class essayist” (Santi Balmes, Rolling Stone), “brilliant, hilarious, and bizarrely accessible” (Céline Ngi, Fluctuat). Recognised as “one of the most decisive proponent of spoken word in Spain (Eduard Escoffet), acts with Agustín Fernández Mallo, in the Afterpop duo Fernández and Fernández. She leads a new generation of bookworms who look at pop culture with the rigour of university research (Carlos Sala, La Razón) and she has “invented a form of thinking that is impressive in its freedom and causticity” (Nils C Ahl, Le Monde).