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have our system, and it's still happening in Argentina. They will say that, even today, some things imported are probably better than any Argentinian thing. And I also want to refer to a previous comment about the globalization of the culture, and I think that's very important. In the last decade we were witnesses to this change, especially in the United States and in the developing countries in Europe, the political correctness, and the political correctness is trying to be inclusive to all this work done by artists in the emerging countries, including Latin America. But these works done by artists in the emerging countries, they become folklore, and this is one of the major problems I feel about this whole globalization of the culture. And I think someone also mentioned this about Iran and about Afghanistan and about the countries in the Middle East, that industrialized countries need this so called folklore as part of the globalization of culture. And this, I guess, would be a subject for another discussion.

Audience: Excuse me. I think I have to comment, as well. You are saying that that history between Iran and Afghanistan is folklore?

JD: No, no, no. What I'm saying is that the developing countries [[strikethrough]] like [[/strikethrough]] are treating they culture as a novelty or part of

Audience: Perhaps myths, but not folklore, yes? Perhaps myths, like Iran, is a myth?

JD: I guess that's the misunderstanding. I'm not talking about that. What I'm talking about is the developing countries, countries that are like a corporation, that they have control of the media, they control the theater, the computer, the culture that we are dealing with... When you go to a university, you see the wealth of information. You see what kind of labs they have, the kind of rooms they have and all that. They need to have these other cultures because of the political correctness. That doesn't mean that these cultures are folklore. These countries become folklore because of the

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