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Oltre Prometeo: Stiegler, Anders e la variante di un’aberrazione classica
Full text linkThe article takes as its starting point the comparison between two influential figures in the thought of technology, rarely addressed together. Gunther Anders and Bernard Stiegler reflect on tech-nique starting from the need to rethink the very conditions of human experience from the tech-nical fact. Although their conclusions do not converge, for the two authors time as pure a priori intuition gives way to an a posteriori understanding of time. Both Anders and Stiegler offer ex-pansive and long-term theoretical frameworks that call for a reconsideration of human identity in a world increasingly influenced by machines. By comparing their works, the article highlights the tension between human existence and the accelerating pace of technological development, offering a critical reflection on the transformations that lie ahead for humanity in the face of its own creation
L’effettività della tutela per i dipendenti di imprese non solvibili: la necessità di introdurre una assicurazione obbligatoria a carico delle imprese per il risarcimento del danno civilistico
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D’architettura e di gesta elettroniche
No full textQuesto lavoro muove dall’ordine d’interrogativi nati naturalmente col trascorrere del tempo in un giovane architetto nel maneggiare teoria e prassi della progettazione dello spazio ovvero quali possano essere gli strumenti necessari per orientarsi ed operare in questa pluralità di dimensioni e procede delineando, tramite la lettura di un evento “zero” e attraversando altri ventuno episodi a questo successivi, possibili traiettorie per il progetto d’architettura. E’ il materiale raccolto in tre anni o poco più e non vuole essere una ricerca storica né filologica su un caso, non vuole essere neppure un approfondimento sui suoi autori, su cui molto è già stato scritto, come anche non intende costruire un catalogo esaustivo di oggetti bizzarri quanto fulgenti con la pretesa di ridurli a meri esiti formali ed estetici leggibili tramite gli strumenti della composizione architettonica. Di tutte queste esperienze si vuole piuttosto cogliere come immagine, suono, luce e tutte le altre forme in cui una tecnica più che mai pervasiva finisce per manifestarsi possono concorrere a definire modi di disegno e uso dello spazio — e, di converso, come pratiche spaziali possono suggerire forme d’impiego per questi “medium”, cogliendo così il reciproco oscillare sulle direttrici di tali «interazioni»
The Capitalist Form of Household Production: Subsidy, Anachronism, or Something Else?
Full text linkSome Marxists now take for granted the notion that household production represents a necessary subsidy to the capitalist class–and as a consequence, that the commodity labour-power is paid less than its value. This contradicts the position taken by Michael Heinrich in Die Wissenschaft vom Wert, that workers are paid for the commodity labour-power at its value. In his rebuttal of this “subsidy” claim present in much of Marxist Feminism, Heinrich takes a wrong turn when he calls household production “a pre-capitalist relic.” In this response, I show that the capitalist form of household production is not an anachronism because it must include not only domestic labour but also commodities purchased with the wage. This interpretation strengthens Heinrich’s stance that household production is not a subsidy and the purchase of the commodity labour-power by capitalists involves an exchange of equivalents
Reincantare il mondo con il cinema: una strategia popolare di arricchimento dell’esperienza?
Full text linkThe paper aims to reconsider the role of reflection on cinema within Bernard Stiegler's thought. It focuses on a number of fundamental passages: the concept of the ‘discrete image’, set out in Ecographies of Television; the reconsideration of the question of tertiary retention and hypomne-sis in the light of the confrontation with Kant in the third volume of Technique et le temps; the emergence, in particular in that volume, of the notion of the ‘retention device’ and its develop-ment, again in dialogue with Kant, in the Afterword to the complete edition of the work. Finally, the paper intends to show how, departing in part from the later concept of ‘symbolic misery’, cinema plays a dual role in Stiegler's thought: it is not only a ‘cultural industry’, but also emerges as a place for the elaboration of new forms of imagination of the real
Una visión antipositivista del derecho
No full textSilvia Niccolai's wide-ranging research develops a 'topical' conception of law based on the descriptive character of the rules, on equity as a norm of recognition, on the rejection of the purely instrumental character of law and on the reference to a logic of 'common sense', which also opposes the 'mythicisation' of expert knowledge. Despite some valid insights, the book, which opposes positivism (understood in the broadest sense) in the name of a so-called 'classical' realism, sacrifices too much the importance of the historicisation of the idea of law, as well as that of the constitutionalisation of rights, and the specificity of a post-positivist vision. The latter is capable of distinguishing between prescriptive and descriptive language, but also of recognising the bridges between these levels of discourse and between law and morality, and therefore of not reducing law to a norm. Although there is a profound grammar of law, it is unrealistic, and indeed contrary to the common sense of what is understood by law today, not to take into account the fact that it is for the most part derived from the decision of political authorities, and is therefore subject to change, and constitutes technical and expert knowledge
