a partire dal 31 gennaio: ‘sopravvivenze’, laboratorio di ricerca sulla contemporaneità

Sopravvivenze
Forme e Saperi

Laboratorio di Ricerca 2026

Seminario I, 2026
Sopravvivenze è un laboratorio di ricerca ideato e diretto da Daniele Balicco, Maurizio Balsamo, Silvano Facioni, Gaetano Lettieri, Arturo Mazzarella. Il suo scopo è quello di provare a dipanare il groviglio di impulsi psichici, di poteri e di forze creative che, nei diversi ambiti della contemporaneità, costituisce il punctum di ogni forma di vita individuale e collettiva.

I. Maurizio Balsamo
La costruzione del passato: resti, tracce, sopravvivenze
Sabato 31 gennaio 2026, ore 11

II. Daniele Balicco, Gaetano Lettieri, Arturo Mazzarella
Potere e sopravvivenza. Due voci a confronto: Ernesto De Martino ed Elias Canetti
Sabato 21 febbraio 2026, ore 11

III. Silvano Facioni
Sopra-vivere: Blanchot e Derrida
Sabato 28 marzo 2026, ore 11

IV. Ilaria Bussoni
Vivere tra le rovine. Figure del paesaggio contemporaneo
Sabato 9 maggio 2026, ore 11

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Come, a chi e a cosa si sopravvive? La sopravvivenza è una forma di vita o una strategia di adattamento sociale? Un modo di essere – siamo tutti in qualche modo sopravviventi – o una postura etica, un imperativo morale?
Consapevoli di vivere in un’età estrema, compito di questo laboratorio di ricerca transidisciplinare sarà quello di discutere i saperi e le forme della sopravvivenza, organizzando ogni anno un ciclo di incontri di discussione pubblica su temi e autori che possano, sebbene in modo eterogeneo, aiutarci a ricostruire una genealogia. Con un auspicio pratico: che, nel suo piccolo, questo lavoro comune ci permetta quanto meno di addestraci a non perdere quella fragilissima presenza a noi stessi senza la quale non possiamo nemmeno essere testimoni del mondo che stiamo perdendo.

Tutti gli incontri sono liberi e aperti al pubblico. Iniziano alle ore 11 e si tengono nella sede di IUNO, Centro di ricerca sull’arte contemporanea, in via Ennio Quirino Visconti 55 a Roma. Per informazioni: info@iuno.it

#ArturoMazzarella #Blanchot #CentroDiRicercaSullArteContemporanea #DanieleBalicco #Derrida #EliasCanetti #ErnestoDeMartino #GaetanoLettieri #IlariaBussoni #IUNO #JacquesDerrida #MauriceBlanchot #MaurizioBalsamo #paesaggioContemporaneo #rovine #SilvanoFacioni

Para conhecer a obra Bernard Stiegler

Filósofo francês morto em 2022 debruçou-se sobre as transformações técnicas contemporâneas, relacionando-as com a crise do capital, a formação de novas subjetividades e a alienação. Livro de Anne Alombert, ainda inédito no Brasil, oferece pistas preciosas para compreendê-lo

https://outraspalavras.net/historia-e-memoria/para-conhecer-a-obra-bernard-stiegler/

der Parteiapparate, die daran gebunden waren, usw. innehatte. Wie groß auch immer seine persönliche Kompetenz sein mag, der Berufspolitiker alten Schlags tendiert heute dahin, strukturell inkompetent zu werden.« 4/4 #Derrida

Die Serie „Freaks & Geeks“ als Ausdruck der Postmoderne: Eine philosophische Annäherung

Die Fernsehserie „Freaks & Geeks“ (1999–2000) von Paul Feig und Judd Apatow gilt vielen als Kultwerk, das die Adoleszenz in all ihren Widersprüchen einfängt. Trotzdem sie nach einer Staffel abgesetzt wurde, gilt sie als Wegbereiter für eine komplexere, breiter aufgestellte Sichtweise auf das […]

https://blog.hamdorf.org/freaks-geeks/
Frei nach #Derrida: »Wenn ein Gott, der uns retten kann, ein souveräner Gott wäre, wovor uns Gott bewahren möge, so ließe er nach einer Revolution, von der wir noch keine Vorstellung haben, einen ganz anderen Sicherheitsrat entstehen und Trumputin & Co. von der Bildfläche verschwinden. 1/2
Para conhecer a obra Bernard Stiegler | Outras Palavras

Filósofo francês morto em 2022 debruçou-se sobre as transformações técnicas contemporâneas, relacionando-as com a crise do capital, a formação de novas subjetividades e a alienação. Livro de Anne Alombert, ainda inédito no Brasil, oferece pistas preciosas para compreendê-lo

Outras Palavras

I am the ambulance that never comes, the antidote you spill

https://www.youtube.com/watch?v=8ZkBA_YwMx8

I will be the razor, baby, I will be the pill
I am the ambulance that never comes, the antidote you spill
And in the accident, I'll be the failure in your brakes
I am the truth you couldn't take, I am the mistake
Worst you ever made

The ancient Greek notion of the pharmakon refers to something which is both poison and remedy. It captures a sense that what can heal in the right amount and under the right circumstances might harm in the wrong amount and under the wrong circumstances. I understand Derrida’s interest in the concept to be a matter of the instability of categorisations of ‘good’ and ‘bad’ (‘healing’ or ‘harmful’) such that we can’t sustain a clear boundary between them. For a critical realist there’s a weaker version of the same point which stresses how much of the substance of these outcomes depends on the circumstances in which the object is drawn upon and what for what purpose.

When I first heard these lyrics I thought ‘pharmakon’. The person who resolves to be both razor and pill certainly has this status but the next lines refer to something quite different. These are about a failed promise, a thwarted rescue, an expected salvation interrupted at the last moment. There’s something of cruel optimism about this in the sense of an object that impedes or refuses exactly the hope underpinning the attachment. I don’t think this is quite right either, in the sense that I understand Berlant’s notion to pertain to a more diffuse sense of flourishing i.e. the thing that I hope will expand the parameters of my existence actually prevents that expansion. That’s more like a failure of Bollas’s transformational object. The point when we realise we have to let go of the thing we thought would make life better precisely because we still believe it can and should be better.

So what is the ambulance that never comes? The antidote you spill? It’s the moment of imagined rescue that fails to arrive at the last second. The sense that “all will be well, all manner of things will be will” thanks to this impending intervention. But then… it doesn’t arrive. Or you spill it. It fails. It’s not that it couldn’t do what you hoped it would do but that something about the circumstances or the timing meant that potential couldn’t be realised. It’s not that it was false, as much as that it was a truth that couldn’t be taken at that minute. This is far more tragic I think because it’s unrealised potential rather than misidentification or mislocation.

Tracy Chapman’s fast car is an object that once worked but now doesn’t whereas this is an object that could have worked but didn’t. The temporal structure of the experience is different because there’s nothing from the past to hold onto that can condense into the present. It’s more like smoke you tried too hard to hold, to use one of my favourite Brian Fallon lyrics. It’s harder to metabolise a counterfactual. It also means the declaration of that song is emphatically bleak: I will let you down in a profound, almost ontological, way. I will not be what you need me to be, even though I’m capable of it.

I wonder if we need a taxonomy of failed transformational objects. From the transformational object which no longer sustains transformation through to the conservative object misidentified as a transformational object (cruel optimism) and the missed transformational object which only exists in the future anterior.

#bollas #change #cruelOptimism #Derrida #music #pharmakon #transformationalObject

AM Taxi - The Mistake (Official Video)

YouTube
»Der kommenden Demokratie ein Gruß!« Jacques #Derrida
den (militärischen, ökonomischen, technisch-wissenschaftlichen usw.) Kräfteverhältnissen, mithin dem differentiellen Machtgefüge.« 2/2 #Derrida: Schurken
jenes Völkerrecht, in dessen Namen er spricht und in dessen Namen er gegen die sogenannten rogue States in den Krieg zieht, wann immer es sein Interesse gebietet. Nämlich die USA.« 2/2 Jacques #Derrida: Schurken (2006)