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Enrarecer el pasado : ciencia, poder y racismo en La telepatía nacional de Roque Larraquy
No full textLa obra de R. Larraquy hasta la fecha puede leerse como una trilogía cuyo común denominador sería el nudo inextricable entre ciencia y poder. Sin ser nunca didascálicas las narraciones de Larraquy transitan el espacio de “lo raro” para insertar el lector en mundos siniestros cuya finalidad, quizás, sea producir extrañamiento entramando elementos aparentemente disímiles que, gracias a ciertos anacronismos, permiten revisar la “historia nacional” de forma inusual, irónica, despiadada, sin quedarse atrapado, en tanto autor, en la obviedad de la re-escritura. En La telepatía nacional, quizás su novela más panorámica, se relata la historia del intento fallido de construcción de un parque temático de corte etnográfico y sus consecuencias: la Argentina blanca (representada por el señor Amado Dam) se roza con una comunidad de indígenas ‘incomunicados’ gracias a un contacto telepático que, en vez de producir cambios efectivos y profundos en las relaciones entre los dos mundos, termina fortaleciendo la epistemología hegemónica y canibalizando la cultura ‘otra’.Roque Larraquy's works can be read as a trilogy whose common denominator is the inextricable knot between science and power. Without ever being didactic, Larraquy's fictions navigate the realm of the "weird" to immerse the reader in sinister worlds whose purpose, perhaps, is to generate a sense of estrangement by weaving together seemingly dissimilar elements. Thanks to certain anachronisms, this approach allows for an unusual, ironic, and ruthless reexamination of "national history" without the author becoming trapped in the obviousness of mere rewriting. In La telepatía nacional, perhaps his most panoramic novel, the story revolves around the failed attempt to build an ethnographic-themed amusement park and its consequences: white Argentina (represented by Mr. Amado Dam) comes into contact with a community of ‘uncommunicated’ Indigenous people through telepathic connection. However, rather than leading to meaningful and profound changes in the relationship between these two worlds, this encounter ultimately reinforces hegemonic epistemology and cannibalizes the "other" culture
La política de la espada: la diplomacia en la saga del capitán Alatriste de Pérez-Reverte
No full textLa diplomacia es un elemento más del fresco del Siglo de Oro que se encuentra en la saga del capitán Alatriste de Pérez-Reverte, que se presenta in crescendo a través de los siete libros con diferencias de alcance, función y sentido: por eso, en este trabajo se exploran los ingredientes diplomáticos en la serie en relación con su valor político coetáneo (ceremonial, inmunidad, etc.) en cada caso y especialmente se analiza El puente de los asesinos como una novela de espías con mucha diplomacia.Diplomacy is another key element of the Golden Age fresco found in Pérez-Reverte’s Captain Alatriste saga, which is presented in crescendo throughout the seven books with differences in scope, function and meaning: this work explores the diplomatic ingredients in the series in relation to their contemporary political value (ceremonial, immunity, etc.) in each case and especially analyses The bridge of the assassins as a spy novel with a lot of diplomacy
Intellectual biography in film: Portraying Sophie Bọ́sẹ̀dé Olúwọlé
No full textThanks to Sophie Olúwọlé, the ancient Yorùbá philosopher Ọ̀rúnmìlà is lifted out of obscurity onto a pedestal next to Socrates with her 2014 publication Socrates and Ọ̀rúnmìlà (Olúwọlé 2014). We decided to make a film together, after meeting in 2017 during the book tour of its Dutch translation. Here I reflect on how I portrayed her thought and personality as part of an intellectual biography in a short film. This essay explores how film as an art-form can be an implicitly suitable means of depicting a philosopher, but also how it can act as a means of philosophy in and of itself. The importance of the inextricable role of personality in light of intellectual legacy is recognised here in reflection of Yorùbá traditional thought related to personhood. By providing a translation of my artistic process, while taking into account the ethical considerations related to documentary filmmaking, I demonstrate that the plural, complementary nature of filmmaking can lend itself particularly well to express African philosophy
Reinterpreting intercultural dialogue for sustainability in the Anthropocene era
No full textThis article explores the concept of intercultural dialogue in an era shaped by significant human impact on the planet, commonly framed as the ‘Anthropocene’. Addressing concerns that intercultural dialogue may be limited to human-centered interactions, the article argues that the Anthropocene narrative offers a critical and imaginative reassessment of intercultural dialogue, extending its scope beyond traditional anthropocentric perspectives. Furthermore, the article suggests that critically rethinking intercultural dialogue within the context of the Anthropocene can, in turn, lead to a more nuanced understanding of the Anthropocene narrative itself. Central to this argument is the need for a critical analysis within the Anthropocene discourse, highlighting how a small group of nations disproportionately contributes to climate change while the world’s most vulnerable communities bear the consequences. By situating intercultural dialogue within an ecological context, the article underscores its potential to challenge dominant narratives, amplify marginalized voices, and thus foster more just and sustainable ways of coexisting. Ultimately, the article calls for a deeper recognition of the interconnectedness of human and non-human life, ensuring that environmental awareness becomes a central component of intercultural communication and collaboration
Revenge, Plasticity and Imagination
No full textThis paper investigates revenge through the interplay of plasticity and imagination. Drawing on C. Malabou’s theory, plasticity encapsulates the capacity to receive and bestow form, emphasizing the dual forces of creation and destruction in transformation. This suggests that revenge, often seen as a fixation on the past, can be countered by Nietzsche’s concept of active forgetting as a strategy to break cycles of repetition. As a result, Malabou’s plasticity aligns with G. Simondon’s idea of imagination’s transitional potential, challenging postmodern skepticism about facts by viewing their ontology through imagination’s transformative work. To explore these considerations, I juxtapose John Wojtowicz’s bank robbery and its cinematic adaptation, Dog Day Afternoon, with Vladimir Putin’s historical manipulations, framing both as efforts to reconstitute true events. This study examines how cultural industries and historical manipulations trap narratives in cycles of schematism. Additionally, I propose my sound work, blending historiography and autobiography to uncover overlooked aspects of history, such as the role of women. Finally, the investigation of revenge through plasticity and imagination, along with the exemplary studies, suggests that imagination can serve as a tool for justice, moving beyond revenge toward creative transformation.This paper investigates revenge through the interplay of plasticity and imagination. Drawing on C. Malabou’s theory, plasticity encapsulates the capacity to receive and bestow form, emphasizing the dual forces of creation and destruction in transformation. This suggests that revenge, often seen as a fixation on the past, can be countered by Nietzsche’s concept of active forgetting as a strategy to break cycles of repetition. As a result, Malabou’s plasticity aligns with G. Simondon’s idea of imagination’s transitional potential, challenging postmodern skepticism about facts by viewing their ontology through imagination’s transformative work. To explore these considerations, I juxtapose John Wojtowicz’s bank robbery and its cinematic adaptation, Dog Day Afternoon, with Vladimir Putin’s historical manipulations, framing both as efforts to reconstitute true events. This study examines how cultural industries and historical manipulations trap narratives in cycles of schematism. Additionally, I propose my sound work, blending historiography and autobiography to uncover overlooked aspects of history, such as the role of women. Finally, the investigation of revenge through plasticity and imagination, along with the exemplary studies, suggests that imagination can serve as a tool for justice, moving beyond revenge toward creative transformation.This paper investigates revenge through the interplay of plasticity and imagination. Drawing on C. Malabou’s theory, plasticity encapsulates the capacity to receive and bestow form, emphasizing the dual forces of creation and destruction in transformation. This suggests that revenge, often seen as a fixation on the past, can be countered by Nietzsche’s concept of active forgetting as a strategy to break cycles of repetition. As a result, Malabou’s plasticity aligns with G. Simondon’s idea of imagination’s transitional potential, challenging postmodern skepticism about facts by viewing their ontology through imagination’s transformative work. To explore these considerations, I juxtapose John Wojtowicz’s bank robbery and its cinematic adaptation, Dog Day Afternoon, with Vladimir Putin’s historical manipulations, framing both as efforts to reconstitute true events. This study examines how cultural industries and historical manipulations trap narratives in cycles of schematism. Additionally, I propose my sound work, blending historiography and autobiography to uncover overlooked aspects of history, such as the role of women. Finally, the investigation of revenge through plasticity and imagination, along with the exemplary studies, suggests that imagination can serve as a tool for justice, moving beyond revenge toward creative transformation
Monetization as a right: a new-legal economic paradigm under FRAND principles
No full textData is vital to the modern worldwide economy functioning. Data is produced by people and by machines owned by people. Data gets collected and processed, hence used (exploited and monetized) by the industry in a proportion of 100% and above as data is an infinite resource which can be used and reused indefinitely. This property creates a disproportionate advantage for those which are equipped with advanced, integrated powerful processing capabilities, storage space and efficient algorithms to extract information from large dataset. Against this background, this contribution explores the role that FRAND principle can play to address the information asymmetry arising between businesses and individuals in the gathering of data
Intervista con Florent Yann Lardic, direttore della rete francese del cibo Terres en Ville
No full textIntervista effettuata il 13 novembre 2024, a cura di Egidio Dansero (Università di Torino) e Joel Solé Lamich (Università di Cordoba)
Semiotica e scuola: Itinerari sul senso in musica per conoscersi dando senso alla musica
No full textTeaching is an art of design. Setting learning environments aimed to develop students' use and comprehension of one or more linguistic aspects in a specific piece of music leads teacher and students' sign production toward that particolar aspect. Learning environment itself, and structured activities along, becomes an interpretant in the sense discussed by C.S.Peirce and explained by M. Bonfantini in his introduction to Peirce' essays first italian translation. A couple of examples, dealing with two different music pieces, develop this idea in the perspective of a semiotically inspired music education.L'insegnamento è un'arte del design. Allestire ambienti d'apprendimento perché gli studenti siano in grado di comprendere e usare uno o più elementi caratteristici di uno specifico brano musicale equivale a orientare la focalizzazione percettiva e la produzione segnica, propria e degli alunni, verso l'uno o l'altro di quegli elementi. Lo stesso ambiente d'apprendimento, e la sequenza di attività in esso costruita, diventa un interpretante di quel brano musicale, nel senso descritto da C.S.Peirce e illustrato da M. Bonfantini nella sua introduzione alla prima traduzione italiana dei saggi semiotici dell'autore americano. Un paio di esempi, con due diversi brani musicali, articolano questa prospettiva in vista di una didattica della musica semioticamente ispirata
Shamanism and the Culture of Defeat
No full textThe fact that shamanism, as described by Mircea Eliade or Carlos Castaneda, is an “invention of tradition” is considered a commonplace today. But to understand its historical location we need to follow the entanglements of science, art and politics. This essay argues that the concept of shamanism reveals itself as a response to a defeat that affected not so much the scattered communities of Siberia or the Himalayas, but above all their later interpreters. It describes shamanism as a figure of thought in which the defeated of the WWII attempted to act as advocates of indigenous communities in order to overcome their own involvement in fascism and war. Looking at and with Ernesto de Martino and Joseph Beuys, it shows how Shamanism turned fragility into strength.The fact that shamanism, as described by Mircea Eliade or Carlos Castaneda, is an “invention of tradition” is considered a commonplace today. But to understand its historical location we need to follow the entanglements of science, art and politics. This essay argues that the concept of shamanism reveals itself as a response to a defeat that affected not so much the scattered communities of Siberia or the Himalayas, but above all their later interpreters. It describes shamanism as a figure of thought in which the defeated of the WWII attempted to act as advocates of indigenous communities in order to overcome their own involvement in fascism and war. Looking at and with Ernesto de Martino and Joseph Beuys, it shows how Shamanism turned fragility into strength
La difficile mediazione. Cicerone, le idee platoniche e Fidia, tra Antioco e Filone
No full textIn this article, I aim primarily to analyse two Ciceronian passages concerning the Platonic theory of Ideas. The first, taken from the Cato Maior, offers an example of the distinctive theoretical constellation in which the doctrine of Ideas forms an integral part of Cicero’s reworking. The second, drawn from the Orator, allows for a closer examination of another application of the same Platonic theory within Cicero’s thought: the “eidetic” interpretation of artistic creation. In this context, it will be proposed that Cicero attempts a reconciliation between Philo of Larissa’s emphasis on rhetoric and Antiochus of Ascalon’s reception of the theory of IdeasDans cet article, sont analysés deux passages cicéroniens concernant la théorie platonicienne des Idées. Le premier, tiré du Cato Maior, offre un exemple de la constellation théorique distinctive dans laquelle la doctrine des Idées fait partie intégrante de la refonte opérée par Cicéron. Le second, tiré de l’Orator, permet d’examiner de plus près une autre application de la même théorie platonicienne dans la pensée de Cicéron : l’interprétation « eidétique » de la création artistique. Dans ce contexte, il apparaît que Cicéron tente une réconciliation entre l’accent mis par Philon de Larissa sur la rhétorique et la réception de la théorie des Idées par Antiochus d’Ascalon.In questo articolo mi propongo principalmente di analizzare due passaggi ciceroniani riguardanti la teoria platonica delle Idee. Il primo, tratto dal Cato Maior, offre un esempio della peculiare costellazione teorica in cui la dottrina delle Idee costituisce parte integrante della rielaborazione di Cicerone. Il secondo, tratto dall’Orator, consente un esame più approfondito di un’altra applicazione della stessa teoria platonica nel pensiero di Cicerone: l’interpretazione “eidetica” della creazione artistica. In questo contesto, si proporrà che Cicerone tenti una riconciliazione tra l’enfasi di Filone di Larissa sulla retorica e la ricezione della teoria delle Idee da parte di Antioco di Ascalon