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Reminder

The first meeting-seminar-meeting of the drafting is fixed, as we all know, for Tuesday, March 7 at 15 at the Aula Forti, Via Zamboni 32.

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Raoul, Pasolini, news

Dear James
I reproduce below the mails exchanged with Louis Virgolin. I ask you please include them in the blog, so that everyone can be kept. From here I have not been able to figure out how to fully exploit the resources of the blog. What can you do ... German keyboard commands, German, German mac ... and above all ignorance Italian legislation. Thank you for computer support, see you soon


Dear Raoul Raoul,
setting that you are giving your seminar very much and I
curious, so I reiterate my support willingly.
I would say that the appointment of May is best for me, so close that we avoid the time
reserves surprises. However we keep in touch.
Hello and good job.

Louis


Research Center - Archive
Pier Paolo Pasolini
c / o
Library of the City of Bologna Cinematheque

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Raoul, Raoul

Dear James

I met last night at the Filmmuseum Virgolin Louis Monaco, a member of the fund PP Pasolini Bologna. I spoke briefly of our initiative, as well as interest from my / our study the appearance of the body in the universe PPP. So I asked him if any one of our meetings on the subject, if it felt to come and talk: the case of serious boy, young and cute, he obviously said yes. So count on it when the time comes, to make him come and to involve them in our discussion. You must know that for years has been involved in recovering "lost body" of the cinema of Pasolini, overseeing the restoration of films and the identification and cataloging of photographic materials collected in the Bible by Laura Betti number. Last night showed us a documentary about a lost episode of the Decameron, in poor shape (perhaps a little too small-scale), but rich in content. To introduce it, Louis has just mentioned the last Pasolini passion for documentation of bodies in danger, threatened by the expansion worldwide of a new consumption pattern: among them (and the argument seems surprisingly relevant to our seminar ) that the city and men linked to the old cultures of the people, to survive in certain parts of the world (eg. in East Africa) of architectural and urban traditions of such sacred, mystic. In short, it is reasonable to think that Pasolini was outlined in more quell'urgenza to describe and make bodies symbolically emphasize that attest to the end of a world and a set of values \u200b\u200bconsidered (humanities) thousands of years. Now unable to treat the body (human, urban, social) as part of a dialectic of rational mold and / or ideal, but also compelled by his present to see the collapse last few residues of archetypal humanity (in the rites of the people in folklore, etc..), Pasolini takes and develops his intellectual work as an aesthetic mission, the limits of mourning, that is not only a body of theorizing in danger (eg. one of the Trilogy of Life), but also a body accomplice the same ideology that threatens him (see the perpetrators and victims of Salò), and therefore rinpianto no more nor regrets. What seems significant to me in all this, is the waiver by a Marxist Pasolini as redemption of history: in him there is that sense of actuality which allows, as in Benjamin, to break with the use of images dialectic (again, studying the body and the signs of urban history) in the past, present, or so - on the same principle - to project a theologically time of redemption of the class struggle in the future. So, we are talking about a Marxist without faith, without a historical idols of history, without a Jungian archetypes. Such a position, paradoxical and apocalyptic, it is not (can not) existential or nihilistic. It occurs to me, rather, to those characters of the Bible, like Isaiah or Jeremiah, who build and use the word against the greatest power, denigrating themselves and those who would redeem them, that they are exposed, and for this they need a wilderness to be alone and to voice their complaint.
I hope to come back on this and other things, as soon as possible. See you soon

Raoul

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Pasolini says:

Dear James

time you offered are very close, especially since I have to meet certain deadlines related to my research stay: I am so hard to be ready to begin already next month. The proposal to place the Meeting in the second week of each month can andarmi well, keep in mind however that those of March and April are "hors limites" for me in March and hand over to produce not know how many documents to obtain funds, bags and purses, I must also place within the end of that month an old job, now pending for too many years, on RM Rilke's Sonnets to Orpheus. In April I will be 3-12 again in Germany, the archive of Marbach. The theme on which I wish to speak and discuss in the seminar, as you have been touched by my wife, would be the "body" in the universe critic, literary and cinematic PP Pasolini. To talk about it, I will illustrate the very particular way in which P. look every time to bring the sensual-sexual-physical phenomenon to an objective knowledge of mold, such as the semiological, sociological or deterministic, to which he entrusts himself with ardor and almost always surprising application (including malware, in the past, some people have spoken P. even a "neo-positivist"). The technology (and as a voice of our program here is indicative only pair I have linked to a paradigm of the human sciences of the period: structuralism in particular), fall is my intent as "controaltare" both thematically and theoretically a "body" that P. wants at all costs as enhance residual traces of a mythical past and irrecoverable, in those years, in short, in Italy where the author deals with the historic transition from a production system to a paleo-neo-capitalism. You fall in its own right collections of articles written between 1963 and 1975 (from Letters to Empiricism heretical Lutheran) and those films where the stronger the attention of P. bodies (of things, but mainly men) alienated, isolated and destroyed, according to him, by a new ideology of power (Theorem, Salo). This is what I discuss with you, text in hand, in good time, and my previous proposals (city-car and new-materials technologies) may not be available until some kind of date. A title for my contribution Pasolini still do not have it, I hope that these few indications you can take out a provisional. But "title" or not, it may still be an intervention "posthumously" for inclusion in the month of May or beyond. I know this may create problems, since the intention to start right from the "bodies". I refer, as dictated by custom, to the editor, convinced that a solution is still possible. Abrraccio you and I look forward to hearing from you

Raoul

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titles so far

Forgive me, I did a simple copy and paste, but I needed to figure out where we stand.

N. Barilla
"The move Expressionism to Neue Sachlichkeit: the technique of denial and apology."
S. Picciaiola:
(Men-machines): "(...) some passages in the century, relative to the dis-humanizing figures (puppets, automata, homme-cible) in the Chants de la mi-mort Alberto Savino, aka Andrea De Chirico. "
I. Tchehoff:
Critics of the technological society in the literature of the sixties
(Men, bodies, tools, machinery). I am interested in the critique of technological society in the work of Volponi, who has points in common with the thought of the Frankfurt School.
E. Brill:
1-Mapping the New World. The virtual geographies
The 2-machine civilization dada
3-Angels-machines Blade Runner.
(P. Bertetti, C. Scolari "The look of the angels around and over Blade Runner")
4-Blow-up: the mechanical eye.
(Alinovi F., C. Marra "The fotografia.Illusione or revelation?" Bologna. Il Mulino 1981)
R. Melotto:
1. the impact of the city (also understood as a body tech and auto) on letters of Jahrhundertwende;
2. some definitions of the problem - so the concept of - (see our "body machine") from the new technological materials (digital, nano, etc.).
G. Mannironi:
Represent and Punish: the technologies of social control in the literature.
(instruments - men - bodies)
S. Panazza:
(men and machines): title, albeit provisional, "Mechanical Metamorphosis: Towards an anthropology of the artificial "
analysis Focus on the moment of metamorphosis, the transition from the human realm to that technology. Anthropological aspects of metamorphosis.
Analysis of the mode of transition from animal to mechanical metamorphosis: a hypothesis on the historical and social reasons that inversone .
M. Azzano (tools-men): Project: Investigating the development of disciplines
statistics (moral or sociology) from the 700 to date in relation to their impact on the collective imagination, the idea of \u200b\u200bscience "ethics" or social doctrine of necessity, until the revolution of indeterministic 900, from casual to Balzac's phrenology 's dispute with "antistatistico" Auguste Comte, to the current misunderstanding of the relationship between art and science (and misunderstood-profile cases of scientific inspiration, Picasso, Dali, ... Pynchon).
If the interpretation of communication as a mere means of transport given by the Frankfurt has been very limited statistics (which is a constitutive element of modern social communications) as may be considered? If the computation of our habits and communication strategy is in itself, because this is not provided an adequate representation? The statistic is a gift / rite within the meaning given by Marcel Mauss in his "Essay on the gift?".


I see points of contact until from now. And you?
to Monday,


James

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Hello,

I propose a reflection on control technologies, and in particular on the Panopticon / prison. They are forms that have been influential in the imagination. According to the chronology of Foucault's classical division between prison "old" and "modern", it is possible to detect (through literature) a technologizing surveillance. This leads to different paths. Or the company's Panopticon "inverted" (that of 1984, but the examples are hundreds), in which everyone, not just the deviant, are monitored and tracked continuously, or fear - always present - Insulation and brutality (Blindness, 1997 Escape from New York), or the subtle technique of folding / non controlled by coercive means (think Fahrenheit 451).

would also be interesting to work on "tools" are less stringent, but always intended to stabilize and normalize the individual and the masses. I think the use of population statistics, to phrenology, the techniques of IQ (which, as already reflected in an old mail, with instruments at the base of scientific knowledge applied to human purposes).

Waiting to see us on the 6th, I embrace you warmly

James

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project idea project

Hello everyone!

Critics of the technological society in the literature Sixties
(Men, bodies, tools, machinery)

I'm interested in the critique of technological society in the work of Volponi, who has points in common with the thought of the Frankfurt School (Horkheimer and Adorno's Dialectic of Enlightenment, for A summary of Carla Fabiani see http://www.ilgiardinodeipensieri.com/storiafil/fabiani3.htm ).

technological society has produced, alongside economic development, Holocaust and the atomic bomb. According to Elsa Morante, "our bomb is the flower, which is the natural expression of our contemporary society" and the same reasoning can be found in Volponi. For Adorno and Horkheimer, the scientific process at the base of the Enlightenment itself contains a destructive element. The reason that manifests itself in the sciences is instrumental, and precisely because of his alleged 'neutrality' can also be applied to that which contradicts the morals and values \u200b\u200bgained from Enlightenment reason. A and H do not see any way out of this situation, but we find a solution Volponi "symbolic" that is to re-evaluate the other terms of our title: men and bodies (and the materiality of life in general is opposed to reason "abstract"), then see a conflict between men and machines, and even to speak of the humiliation of staff in the eighties.

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How provisionally I would choose this:
"The move Expressionism to Neue Sachlichkeit: the technique of denial and apology."

The milieu is over-excited in the Weimar Republic, where the lively debate between technology and culture is a bitter point of contention: one is one of the world's most powerful production apparatus, the other a population imbued with an irrepressible sense Community. It is observed that the generation of artists after World War I pass from a first moment of rejection of the "machine" as dehumanizing and destructive of social bonds, a second time to enthusiastic acceptance of "data objective "(including the box itself).

(I would like to reserve for future expansion of this theme in other areas: the oscillation between Luddites and technological triumphalism can be found in much American fiction after World War II - more often with apocalyptic veins etc ... However depends on the time and size that will take our project).

Best wishes to all, Nicola

White Pimples That Dont Pop On Lip

Dear all,

I try to lend a hand to James in the management of doubts and creative instincts born and raised in recent days. I am confident that he did not take.

First problem, the definition of a working method and the restriction of the research field through a proper definition of the meanings of four key words (and concepts cross). In the first instance, I can not help but ask everyone to submit their respective views on the possible dichotomies, possible limits on the morphologies of the four uncertain terms that they are, remember: people, tools, bodies, machines. Chased in order to avoid unnecessary debate between those who have access to the media through more or less rapid, and who addresses the question verbally, I would suggest to anyone who wants to send four beautiful (and short) definitions, possibly documented by bibliography (always nice and short). Napoleon's armies moved with tissue paper of no more than one line, we can make a magazine with little additional card. This will perhaps catch up alongside the resolution of epistemological uncertainty in the drafting of the first elements of the charges levied by James on January 19 for the coming week.

What matters is that the work is put at the intersection of two key terms in order to create a minimum short-circuit reference and help give a more or less dense mass in the making. To help visualization, I imagine a simple two-dimensional grid created by the same four words put on the ordinate on the abscissa. The definition of the respective research themes and meanings of key terms will give a depth to this structure. Depth varied and, when viewed from different angles, changing, which is a leap, but so effective, I think, to describe what we do. According

rock (and pragmatic corollaries): James has started a blog to help manage the increasing traffic of email. I know there are technical and ideological resistance to the use of product marketing for large companies to storage media. But I suggest to everyone to attend and to pass there, first of all their contributions. This avoids forcing James to worry every time that everyone has received the latest e-mail Tom or Dick, and you can easily trace the evolution of the discussion on a particular theme. Mean, In short, the blog as a container in which each piece of paper magically deposited is stored and easily retrievable. You must then retrieve the email invitation sent to the blog by James and follow the instructions. After registering to use the blog will be easier for the management of their email.

Third point: the limit of ten minutes for the submission of their progress to the rest of the group and, hopefully many, he asked, from my point of view, a very high professional and ethical value. The idea, as noted by James, was to use the short distance to give this a fully functional version of their work to their research, directing small presentation to the identification of possible synergies useful to others than to ourselves. This would, in short, to say a few words to those around us that, compared to the previous month, have made discoveries that may be useful or that other than by reference to a subject they know that they are dealing. Supply, absolutely free, a suggestion: I do not know what your academic experience, but I happened to observe a similar method only once. Rather far from Bologna, however. The ten minutes are also a very useful exercise in short, human damage ...

At this point the bored can retire with a clear conscience. From here on I will try to respond to the arguments of Raul and Nicola on the definition of technology on which we should leave. The distinction mentioned by Raul on January 19 and resumed on the book by Pierpaolo Antonello (Nicholas, 28 December), between techne and techneia to me is interesting but also very misleading with respect to our work. For two reasons. One, the most obvious, is that this kind of distinction is born and is resolved only within the so-called humanistic world. The mathematical and natural sciences have done instead of non-resolution of this dichotomy their strength, without theoretical proclamation - and probably without the appropriate application of critical thinking - making a continuous overlap of the two planes, a useful development of the other. Just remember, for example, the birth of experimental science as it is understood today was the experience of the verification of theoretical models (phase in which the quotient of craftsmanship is very high, the great scientists were especially great Renaissance and modern geeks) to suggest the emergence of a theory able to measure their effectiveness (theory) in order to prove their worth and move on to a further stage of conceptualization and verification of the model. Moreover, the theory of numbers has to provide an assessment of the error, both in the prediction and estimation results is that of actual measurement. It is true that only very few physicists, even among the most famous, can be called great great experimenters and theorists, but this distinction can be appreciated only within the narrow world of science, where the margins are well known and transient loads of equal weight: outside from this world they have no reason to exist and in fact few would know the distinction between Einstein and Fermi-purpose, the teoricissimi Heisenberg or Dirac and many lesser-known researchers who collaborated with ...

In this mix of technology and technology needed, however, enhanced the social and economic reasons that have led to major scientific discoveries (on which topic better not go into now) the humanistic knowledge seems not to have noticed. This seems to me, is just one aspect of that gap is still open between scientific knowledge and the humanities that continuously seeks to bridge using two different methods: the creation of a "metaphysical" progress of each discipline, operations such as Deleuze in "The fold" is trying to build castles necessary to the explanation of the unexplained technological progress starting from Leibniz or the treacherous and unilateral redefinition of the limits of scientific knowledge (or scientific knowledge), which is driven back by the edge created fictitious ad hoc based on archaic notions of knowledge itself. The problem, and here I come to talk to Raul, is that both methods, denying the possibility of confrontation and mingling between the two forms of learning, prevent the formation of a critical knowledge and informed about the world around us, so steeped in technology (and therefore technique), and the sedimentation of a common substratum of consciousness, then the ability to process it in a creative way, and then finally to provide the artistic creation elements "generative" that would allow

Read in this way, with many avant-gardes , beginning (in fact) from our future, is colossal blunders of interpretation, attempts generous and never fully resolved to seize the thread of a skein that unfolds while on your own.

I hope I did not give an idea of \u200b\u200bthe problem too progressive and consequential. Those "generative elements" worry me.

I sleep and go to bed.

Good night, Marco

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Samantha writes Mark wrote the first Mail_

Dear James and dear all, unfortunately

fate is against me and once again I "rate" the meeting set last week!

In short, I offer my duties against proposing "homework" tumbler in the email above. Since then a teacher, I can not help in any way from track to deliver all the obligations attached and connected to my participation, even if only the media, until now, the noble undertaking.
I come to the point: I would like to include in the dyad man-machine interface to analyze some passages, at the beginning of the century, relative to the dis-humanizing figures (puppets, automata, homme-cible) in the Chants de la mi-mort Alberto Savino, alias Andrea De Chirico. In this way I could bring water to my mill, or working on a text that I know pretty well, tracing the coordinates of a broader discussion, aimed between models and existential aesthetic avant-garde experimentation.

However, in general, setting, I share the concerns of those who raise questions of method and add that definition must be met and be theoretically shared by the group, so that those same may be "tested" by field surveys which then no longer have to ask scruples than a scattered proceed.
I mean the container, although flexible, must define a field of possible applications. But this operation does not follow logically precedes and investigations on the same field!
Otherwise the risk, to which myself and the first yield, is to return to the topic within its own field of research that had existed before and independently of the noble enterprise!
If the problem is that you have to start somewhere, but I share the doubt, radical, and that doing so will come out a framework and fascinating graziso the interests of each rather than a clear and defined (in its problematic ') area of \u200b\u200bresearch.

I refer you to the ball and wish everyone good job
soon