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Mobilizing Affect – Affective Mobilization
Full text linkThe conference Mobilizing Affect – Affective Mobilization explores the powerful role of affect and emotion in driving social and political mobilization. It examines the dynamics of affect in prompting (political) action, shaping activist practices, and sustaining social movements. In the context of global crises, disputes over inequalities, identities, and rights are intensifying, while affects and emotions are increasingly becoming subjects of negotiation and social conflict. At the same time, affect is not only a driving force for progressive activism but also plays a crucial role in the rise of authoritarian and right-wing movements. Featuring contributions from academics, activists, and artists, the conference aims to deepen the understanding of the role of affect in mobilizing social transformation – across the political spectrum
La morte al futuro
No full textSul rapporto di Pasolini con Barthes — fondamentale, negli anni Sessanta, entro il laboratorio teorico di Empirismo eretico — si è scritto molto; meno forse del reciproco di Barthes, che scrive un pezzo in chiaroscuro all’uscita di Salò ma poco tempo dopo introduce la figura di Pasolini, «sentinella che se ne sta al crocevia», «in posizione triviale rispetto alla purezza delle dottrine», nel testo della famigerata Lezione inaugurale del suo corso al Collège de France (per poi tornarvi nel fondamentale corso sul Neutro). In entrambi gli autori, in tempi e in modi diversi, si riscontra un’attenzione turbata per i paradossi temporali instaurati dalla fotografia, e in particolare per l’intreccio di vita e morte che vi si configura
Prophetic Models and Structures in an Undivine Comedy
No full textThe cantos devoted to the Terrestrial Paradise in Dante’s Comedy are crucial in the process of self-representation of the poet’s prophetic identity. To establish such a prophetic authority, he explicitly alludes to many scriptural prophets and visionaries. Starting from a reading of Chapter 7 of The Undivine ‘Comedy’, the article reflects on the ways in which such ‘theological’ claims and allusions could be interpreted in a ‘detheologized’ approach to Dante’s poem
The Role of the Reader in Actualizing the Commedia
No full textChapter 8 of Barolini’s Undivine Comedy examines Dante’s concrete, poetic representation of his immaterial nonlinguistic paradise. Exploring Paradiso’s content and making, its author’s fashioning of self and poem within its audience, I argue that the way Dante projects the Commedia into its readers echoes this reconciliation of opposites. Mary Jo Bang’s translations exemplify the Commedia’s self-perpetuation in new generations of readers, making us soundboxes in which it resonates and persists
Translating The Undivine Comedy
No full textSince a scholarly work is a kind of translation, translating it can be harder than literature. It requires interdisciplinary knowledge, aesthetic sensitivity, and the ability to hear the author’s voice. While translating The Undivine Comedy, I felt I was reliving my student days in the eighties, listening to Barolini at NYU. Revisiting my work now, I focus on Geryon — the ver ch’ha faccia di menzogna — to reflect on the complex, possibly menzognero process from which a new text emerges from the original
Notes for a Séance:Towards a Technology of the Spirit
Full text linkThe practice of séances — attempts to make contact with voices and worlds on different scales beyond the living, through the agency of a medium — flourished during the social transformations of the early modernist period. This was symptomatic of an explosion of popular interest in Spiritualism, the occult, mysticism, and syncretic religion as emotional and imaginative alternatives to the stress and alienation of an increasingly mechanistic, regimented, and rationalist industrial society. These practices and ideas would come to influence the work of myriad vanguard artists. Over the course of the intervening century, formats as varied as cinema screenings, psychoanalytic sessions, and experimental theatre came to be referred to as séances (the word might literally be translated as ‘sittings’). Now — in a comparably traumatic period, characterized by the same disorientation, anxiety, and insecurity — it is not surprising that many artists are looking to make connections with other worlds. In doing so, they seek emancipation from the structures — capitalism, imperialism, patriarchy, racism — that shape lived realities. Their practices are not obscurantist or reactionary; they do not dismiss scientific inquiry out of hand so much as trouble the marriage of technology and anti-rationalism. If they are united by anything, it is their rejection of the exploitative logics of industrial capitalism, in favour of a technology of the spirit. Along these lines, biennale artistic directors Anton Vidokle, Hallie Ayres, and Lukas Brasiskis will discuss their ongoing research for The 13th Seoul Mediacity Biennale. Elena Vogman will introduce the media experiments practiced by the reform and resistance movement of institutional psychotherapy. Angela Melitopoulos will present a cine-somatic excursus with excerpts from her Cine(so)matrix exhibition related to animism.Anton Vidokle, Hallie Ayres, and Lukas Brasiskis are the biennale artistic directors of The 13th Seoul Mediacity Biennale (2025). In 2023, they co-curated the 14th Shanghai Biennale: Cosmos Cinema at the Power Station of Art. Elena Vogman is a scholar of comparative literature and media. She is principal investigator of the research project ‘Madness, Media, Milieus: Reconfiguring the Humanities in Postwar Europe’ at Bauhaus University Weimar and a visiting fellow at ICI Berlin. Angela Melitopoulos is an artist and researcher in the time-based arts, including experimental single-channel tapes, video installations, video essays, documentaries, and sound pieces. In her practice she explores the production of subjectivity and collective memory in the context of mobility, migration, and geography. Jane Jin Kaisen Wreckage (2024, 12 min) Wreckage is about war, its memory, and its afterlife. Underwater footage shows the ravenous sea superimposed with a propaganda film produced by the US Army. Filmed in Jeju in October 1945, it depicts soldiers loading massive piles of weapons and artillery left by the Japanese onto a large ship and dumping them into the sea. A few years later, the Jeju 4.3 Massacre unraveled under the authority of the United States Army Military Government in Korea. During the massacre, unknown numbers of civilians were killed and thrown into the sea, while others tried to flee the island by boat. Such a fate is recalled in a lament by late shaman Koh Sunahn, a survivor of the massacre whose shamanic practice Kaisen documented for a decade until her passing. The lament takes the form of a chant where Koh Sunahn interchangeably assumes the voice of a mother and her deceased son, whose body was never recovered from the sea. Yin-Ju Chen ‘Somewhere Beyond Right and Wrong, there is a Garden. I Will Meet You There’ (2023, 16 min) Drawing on a poem by the thirteenth-century Persian poet Rumi, this film is an account of a healing process and a meditation on human suffering, reflecting on the passing of the artist’s mother. Combining found footage, documentation from the artist’s own travels, and animations of the mythological centaur Chiron (renowned as a healer and prophet), Somewhere Beyond Right and Wrong… asks how spiritual practice can help us to move beyond individual subjectivity to perceive life and death from a cosmic perspective. Shana Moulton Whispering Pines 9 (2009, 10 min) In her Whispering Pines series Shana Moulton explores the nuances of the contemporary psyche, delving into the intricacies of self-help culture, the quest for spiritual meaning, and the often comedic absurdity of personal wellness rituals. Through the experiences of her alter ego, Cynthia, she writes a narrative that is both personal and universally resonant, probing the boundaries between the mundane and the mystical in the time of global digital capitalism.00:00 Introduction by Elena Vogman03:34 Presentation by Anton Vidokle23:44 Presentation by Lukas Brasiskis41:29 Presentation by Hallie Ayres1:05:18 Presentation by Elena Vogman1:18:56 Artist talk by Angela Melitopoulo
Versos, Reversos, Pensamentos e Algo Mais… / Verses, Reverses, Thoughts, and More…
No full textEste texto consiste em transcrições editadas de gravações de Stella do Patrocínio feitas pela então estagiária em psicologia Mônica Ribeiro de Souza entre 1990 e 1991 na Colônia Juliano Moreira. Elas foram entregues à instituição no final de seu estágio. This text consists of edited transcriptions from recordings of Stella do Patrocínio made by then psychologist-in-training Mônica Ribeiro de Souza between 1990 and 1991 at Colônia Juliano Moreira. They were given to the institution at the end of her internship