Brazilian Transvetist

The weakness of the web (that few see)

Yes, but what happened to the infamous flu, terror of Italian families for months and months? A few weeks ago we talked of nothing else. TV news bulletins and newspapers should draw humiliating deaths suspected of pursuing a scientists from all over the world engaged in frantic searches, updates every two minutes the government's response, And then enlisted in the army of mice Gigi advertising-progress their utmost brilliant tips on the best prevention. Stuff like: blow your nose when you have snot, sneezing into disposable paper towel, wash hands frequently and check with your doctor in case of cough and fever.
Finally, platoons of experts crowded the television and the pages of national newspapers, from Unomattina the special health of Corriere della Sera, in a crescendo of genuine collective psychosis that recalled the great infection, the known novel by Charles Eric Maine universal pandemic.
course, the web was not less, in fact make matters worse, even on dark almanac compotti international as well as in hypothetical virus escaped from top-secret experimental laboratory, all this and more democratically supported in the forums or blogs by mothers worried about how to obtain the best kit for respiratory protection. Then nothing. All of a sudden, almost.
In fact nothing wrong with that. And 'what happened from ever happening again in media system, where the news is chained to the agenda, the so-called agenda setting, and that (long-distance time) the escalation information is possible only provided that there corresponds a real escalation of the facts. Otherwise, after a period shorter or longer, the news is not news anymore and you must clear move on, because in the vast world news hound.
All this provides material for reflection related to the news. The well-known recent events have in fact placed at the center of the discussion the "necessity", the 'opportunity "or" convenience "to curb intrusiveness of the media and in particular web of social networks. River views "pro" and "against" have from time to time high faceboock, Twitter, MySpace or at Netlog instigators of collective violence, or as champions of freedom. It is straparlato network "right" or "left" (as if the network, namely a scale-free network like the web, could produce a specific chirality, as if it could demonstrate its intrinsic political mirror!) and big words are flown by both sides. Too big.
Only a few - including Umberto Croppi, Department of Culture of the Municipality of Rome - have rightly said that those who think working on the network simply does not know the network. Very good. Perfect. But in what sense?
Well, the media lab that we experience day after day long show some peculiarities. The first is to dispel the idea that the web, and in particular inside the galaxy of social networks, is an engine of collective sentiments, if not impetuous waves of ideological able to subvert the political balance or even entire goversi. The web can no doubt be astounding and lightning vehicle of news and situations, and can also be a powerful medium in political elections, provided that you understand and successfully work towards the secrets of viral marketing , but since it tight Emotional strolling desperately behind the television and even newspapers. Possible? Possible!
In fact, the web - that's the point - does not have an aesthetic. It has perhaps ten thousand, then no. Exactly the opposite of the TV, which by its very nature can not help but play a character or event, even if sudden, unexpected, of a precise connotation sensory universally recognizable.
So what does the web? It corrects the TV, and to some extent even the newspapers. If certain people, certain events or specific rituals can be good or bad vibrate the strings of pubbici television, they will provoke an immediate response from the web and even exhausting. It was short in two opposing camps and mediaticametne antagonists. And most of the answers are various websites and on, plus the TV (but to varying degrees even the mainstream press) knows he has hit the mark. So too the social network, which confirm or contradict what is on the agenda, but more often do both, and together, in each case by adjusting the pull of television and the press.
however, are always the last two fields that give rhythm to the third field, the virtual world. As a daily exercise time and popular orality corrected inflexible constraints of writing, so today the web, leaving traperale the many and varied reactions of the more unique aesthetically correct communication of the TV, or the ideologically framed print. And that's why, once off the brief spotlight, but the topic on the agenda in the online community affects a fatal sleep eternal sleep.

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Pieces of stars.

Now that you are no longer here with Me,
you live and relive in my memory,

you think
and m ' t get drunk by and in dreams.

Like
you have
still here in my arms stretched out, helpless

from each face superimposed
clear.

Pensar t the
yet in those moments that
seen which has the neighbors, I
enough to socchiuder
eyes gently,

and riaver you still
transparency.

To Me
're still here.

You're still .

the only one away

are near,

until entering the wall Me
and more faded.

stay here, in
Me

I like to think

high.

there on a star
unknown.

But every time that cross looks

glitters and shines bright.

see you and I know that

protect me from splinters scattered

that life hurts me.

Lorenzo
23.12.2009

Apartment Rental Reconsideration Letter

I close the year.

C

Soon I will go, lock
in hand, forever

and shut the heavy gate of
thirty-nine
gone now.

close again in a box, and carry with me


as a treasure to be preserved and expand the joy in the joys

lived a good time,
and memories.


I bring back all the laughs and lighthearted moments,
and caress with the look,

less beautiful memories and the moments gone,

who taught me from that life is too.

Lorenzo December 4, 2009 ore22.52

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Moon at the cutting balloon

As a child
keeps wire
his balloon flying.

the moon is lying on that
tail
a bright star,
wonderful.

the little emotions
that give serenity to the heart,

like when I look in your eyes
smiling
quench the soul.

Lorenzo
(23. XI .2009
21.00)

Back Pain And Green Stool

The medium-robot

robotic imagery is a mass phenomenon pervasive and elusive, but some time it is now also the main code for the recognition of so-called cyborgian society. This new social group, characterized by a global reach and a complex relational dynamic, based on the prevalence of weak ties, has selected the image of the robot as its natural projective representation. However, when the image is transformed into a symbol, when it does not suggest more than just automatic reactions, such as terror, attraction, of wonder, as do the tribal masks, but instead becomes the key to a metaphorical process without limits We are certainly in the presence of a whole cultural universe in the making.
is not the first time this has happened, but it is the first in which the transit of a mimetic reproduction phenomenon is the development of the symbol, and icon, able to summarize a collective psychic projection takes place by means of something that simply does not exist in nature: a prohibendi imago.
Yet, this same image has little to do with the technology of robots. In fact, the robot is certainly much better known really known. It creates expectations and anxiety, often completely unrelated to the innovations introduced fact.
We are in the presence of a collective phenomenon of contagion, and a summary of the review although its origins may perhaps guide us in an area not easy to estimate.
We actually used in the demonstrations collective contagion. We suffer daily rations every time we come into contact with the universe of goods. But instinctively, we know that the symbols and referents of this enormous set of expectations and desires contagious and most often led by highly diversified global systems, structure and organization: precisely high -oriented, for example, fashion, ' Art System, the video game industry, automobiles or the cinema. These worlds, which they erect their fortunes on the manipulation of the imagination, but using, primarily, a community based on one-many relation.
Here the first difference: the imaginary robot is in fact mainly self-oriented as an extreme form is held by a conceptualization of human faculties. The increasing attention to the robotics course also derives from its striking practical consequences, but in terms of training of the imagination this is not conclusive. Running the query "robotic" on Google, it reported more than eleven million sites. How many scientific? YouTube videos about robots are among the most popular. Why?
Even the mainstream press suffers infection. In recent years, articles, books and periodicals devoted to the subject are remarkably increased, even in Italy (eg the baby two months 'IF'). Not to mention the cinema, which offers products as diverse, from Wall.E of the new Disney Terminator, Transformers of the series, which beyond the banal script is perhaps the best visual metaphor for the new symbiosis between men and machines. And then decades of Japanese industry anime and manga exports thousands of robotic characters. Rock and pop music star, adored by cyborgian generation, ride the tiger robotics. For example, Björk, or Tokio Hotel, who called their last album Humanoid , offering a profusion of robots in the video. This powerful
proliferation indicates that the communication system behaves as a kind of psychic seismograph that records (and amplifying) a real change of state: the acquisition of a new condition of experience. For her, not the man but the machine becomes the model, the archetype, the habitat, humus and nourishment. This transit was preceded by at least three phases, recognizable in the works of writers and artists, but much less in the inventions and scientific theories.
It is believed that the stunning series of androids or zoomorphic mechanisms are lost in the mists of time and there is an author who does not feel obliged to reconnect to the more contemporary imagery remote antiquity. But things is not the case. Only starting with readily identifiable era begins ideally to 'humanize', and to the end, that is artificial. In fact, before then, both in myth and in literature the theme of man (or animal) involved the artificial deception: coup de théâtre is always the revelation of the truth, in this case the truth of a desolate barren mechanism.
Even a philosophical one recognizes a shift in perspective in the historical period that we are taking as an ideal watershed. Moshe Idel, in his monumental essay on the Golem (1990), showed that debate on the possibility of creating artificial life can be documented by at least seventeen hundred years, meaning 'artificial life' only a semblance of free dynamic 'soul': Cartesian distinction that precedes Descartes in esoteric circles. Similarly, he notes that these discussions will end with the approach of the modern age. Thus, the transition from technical to the first real technology (speeches, arguments, rigorous methods that affect the technique) modified the ideal boundary between artifice and nature, opening new self-representations of man. This encouraged the conceptualization progressive 'artificialisation' of human, and the gradual humanization of the artifacts.
also played a role in evolution. 'Evolution' at the bottom means impermanence. If the living emerged under a huge process of transformation and co-evolution, then man must consider himself as a species in progress, and intelligence in progress, due to the cerebralization. But if the faculty so-called 'superior' derived from the selection, why not export this principle to 'species' technology, even assuming an evolution of Lamark mold?
is that writers of various talents were seduced by this new concept. Artificial fantastic characters and artifacts began ontologically uncertain to populate the pages. During the nineteenth century were born of slave machines Samuel Butler, the robots rebel Fitz James O'Brien, the ETA Hoffmann's Olympia, the mechanical dancer Jerome K. Jerome, locomotives and cars humanized by Joris-Karl Huysmans, the Pinocchio of Collodi, the metal and electrical supermale of Alfred Jarry's ineffable Hadaly Villiers de L'Isle-Adam: andreide - the latter - just infinitely disturbing Because of its perfection. Hadaly Why is the 'mother' of the nineteenth century all subsequent progeny of sensitive and intelligent robots.
This projection is still in the balance between the territories of magic and those of science. The authors in the nineteenth century that is engaged with these new entities are parahumans finest writers, but little or privy in the hard sciences. Who washes the other hand, those who have any ideas, is content to describe mechanisms fabulous but not frightening, such as the odd elephant-engine-robot by Jules Verne. Nothing comparable in strength and depth to the rational nightmares, like Mary Shelley's Frankenstein, that robot is only partly because of lightning animated by electricity, while remaining a macabre assemblage of bodies of uncertain origin. Yet, it was the first even bizarre image of what is between the living el'inanimato, awakened the inert technology: if not a Electro-articulated, at least something similar, because it was built in the laboratory.
This is actually the other great tradition of ' imagerie robotics, which matures with the robot, Josef and Karel Čapek, and then grow and multiply, for example, assuming the appearance of humans in robotic machines Anxiety Ruggero Vasari, Surrogates by Philip K. Dick, of the neoroidi Shinzoningen Casshern Hiroshi Susagawa.
However, since the early twentieth century opens the second phase of the iconography robotics. Of course, electronic computers are still to come, but the logical and mathematical foundations have made great strides. And then the electricity goes with the mail that gets results. Engineers and Scientists dream robot that prefigure the current and you notice that psychologists think fast, for example, cognitive Edward C. Tolman, who investigate the way in which high-level factors such as motivation, knowledge and intentions are embedded and sensory responses to stimuli, arrived at a model that actually predated the current robotic architectures that try to play intelligent behaviors.
The new climate is reflected in the literature of science fiction, and this in turn make assumptions and pitfalls, not least because the literary inventions not need to show trials. There is however a fact revolutionary scientists, engineers and technology experts are beginning to practice in the areas of science fiction first-person. For example, Hugo Gernsback, electronics expert, was also the first major publisher like that. But the most famous is Isaac Asimov, the robot who devoted more than half of his vast production. One peculiarity - that of the scientist-writers - that is perpetuated in the post-war think astrophysics Fred Hoyle, co-author of A for Andromeda , whose protagonist is a gineide genetically human but a computer built by alien origin, so it is protoplasmic a robot. Quoting the Italians think of Roberto Vacca engineer and author of novels about robots, or Primo Levi, chief writer, but also chemical and author of several stories about androids, less known but no less interesting than the rest of his production.
In this second phase, recognizing the critical exercise science. The new breed of robot is no longer just a projection visionary, and is not static. Instead, the writers often useful practice thought experiments, which require non-trivial notions of reverse engineering. Probably a 'positronic brain' will never be invented, but reading it is clear that Asimov was already thinking about neural networks. We sense that intelligent machines could emerge and interacting although by different evolutionary strategies converge. Robots and humans get to share (in science fiction, but also in reality) the same Umwelt, not without conflicts. Indeed, one can say that the mother of all roboethics been gained in this intellectual climate. Not be explained otherwise asimoviane three laws of robotics, the more the fourth (the universal law zero), if they had not been assessed in a nutshell legal issues, and ethics, as to the limits, prohibitions and concessions resulting from the interactions between men robots.
Similarly, since the '20s is projected catastrophes embodied in new monsters, but not created by the sleep of reason, but by same reason. The robot killers Čapek is the brainchild of Dr. Rossum (or, in Czech, Dr. 'Reason'). We are witnessing the birth of a nightmare with open eyes that captivate the crowds. We talk about the frightening vision of the man-eating robot, the robot cannibal: the humanoid to the Terminator, who not only want to destroy its creator, but that goes beyond the threshold of the extreme taboo, physically engulfing the human race. This is what happens in the celebrated (wrongly) of The Matrix trilogy, which sacked a vast existing literature.
tremor, fear, ecstasy and even unheard of, they resort to these extreme productions of the collective unconscious, but it should be added that the great fortune of the robotic iconography hides the fact that it does not progress for years more. Why? Meanwhile
a consideration: there is a close relation between the imaginary and the modern robotic connectivity. This is clear in the contemporary literature on the phenomena of social contagion. For example, psychologist Susan Blackmore, in his famous book dealing with the theme of 'memetics' (the discipline that studies the replication of 'memes', that is, the memory unit), of course goes to the areas of connectivity Internet users, but stops before the bewildered robotics. In fact, the robot is an unsolvable enigma 'memetic'. If it is true that any system of communication requires some form of connection, it is also true that in the future robots could break free from any human connection and launched a radical discontinuity. I imagine more than half a century ago, John von Neumann. Why do we not?
In fact, the last chapter of the tale robotics insists on its radical discontinuity. For example, IA Spielberg speaks of unbridgeable differences and temporal finis. So Eden Iroko Endo, or even Blame! and Noise by Tsutomu NIHE. What happened? The Web has in some sense 'removing the word' scientist-writers. Not that the former can not speak, but the fact is that under conditions of equality, ie starting from the same battery type informational, in this case provided by connecting the voice of the few end up being overwhelmed by a great many of. In fact, the immediacy, the pervasiveness and the ubiquity of online communication known cause resonance.
However, something must be said of the medium itself. In fact, the interface changes and to some extent 'plasma' is the message that the issuer or the receiver of the message. Yet the image of the robot well sums up the kind of apperception in a dominant global civilization connected, since the general medium in this case is ultimately reducible to the union between electricity Boolean algebra. In short, the condition is a connective 'robot-world', and is therefore a medium-robot. How surprising, then, the emergence of a subject-object that integrates into a single image of a gigantic process psychodynamic identification?

(collective work published in the book for the event "... and create the robot in both image and likeness", in progress at the Science City of Naples)

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2012, or the end of the world Emmerich

The great anthropologist Claude Lévi Strauss in a rare interview a year ago said that people did not think at the end of the world, which harbors no interest in the arguments that this is apocalyptic and ultimately journalistic inventions, created on purpose to excite the minds of readers, perhaps to distract from matters most series. With all the reverence for this giant of thought, recently deceased, well, at least in this case we can say that he was wrong.
This proves, if nothing else, the catastrophic famine of epic in the public worldwide. A large appetite stimulating majors to bring cinematic disasters of all types and species, as happens at the end of the world made by German director Roland Emmerich in 2012 , in the best tradition jinx released simultaneously worldwide on 13 November. Surprisingly concise title for a film cost about two hundred million dollars, only four digits and nothing else, so essential to look like a mistake. But there is no individual in the world who do not immediately associate the string "two zero one two" the fateful prophecy contained in the Mayan calendar, according to which December 21, 2012 will end the current cosmic cycle, with the consequent destruction of the world . In short, a pre-Columbian Ragnarök, announced a few seconds by a solar storm that would change the structure of the magnetic poles, according to others by the arrival of Planet X, on a collision course with the Earth.
But if Sony Pictures has paid such a staggering figure to make a film from its high content does not mean that there is something more behind than the inspiration of captious journalists. In fact, Levi-Strauss probably had not considered the effect of resonance coming from the web, where the role of traditional communication, rational and logical-sequential, it is absolutely marginal, and where the contrary is a very strong emotional communication, imitation and generating of mutual fascination. But he understood the fly Emmerich, who has become accustomed to apocalyptic scenarios of Independence Day, The Day After Tomorrow of , remake The Day After the of 1984, as well as the beautiful remake of Godzilla. This time the director, in an interview shot in Italy by the newspaper, "has publicly admitted that the idea came to him listening to the collective voice of the internet, because for years the web has literally flooded with signs of all types and millenarian origin.
However, by definition, a film about such an argument would be no history: the disaster occurs, they all die. Fine. And too many scenes of destruction bored. Emmerich has circumvented the obstacle narrative inventing an international conspiracy, perpetrated by the elite during the G8 summit of the world, determined to save his skin by building secret hyper spaceships, flood-proof. The goal will be back on Earth after the disaster, to repopulate. Obviously the evil secret plan will be impeded by several heroes for the event, first of all Jack Curtis (John Cusack), determined to save his family.
actually nothing new, even the undeclared debt is infinite. More than a century ago, Herbert George Wells, in the best-selling In the days of the comet, described already (almost) end of the world caused by a meteor from outer space. The formidable oncoming celestial body as a sidereal nuncio to punish mankind, afflicted by war, poverty and exploitation. It was probably the first major revision in key science fiction myth of Noah's flood, in effect the first real disaster story becomes almost universal because it provides for regeneration. After Wells
are countless books and films related subjects. The imaginary wellsite fertilized in fact artists, writers, visionaries and even scientists, among them German and Nazi Hanns Hörbinger confident that the true history of the planet had been written by periodic catastrophes inflicted by the moons fall upon the earth.
But the biggest inspiration for Emmerich is the writer James Ballard, the absolute master of natural disasters. In Wind out of nowhere, published in 1961, Ballard described drafts that over one thousand kilometers per hour and sweep any human artifact. Nothing could resist. Here too the rulers decide to save his precious skin, though without success, building a hi-tech Superfortress. Then, in Desert Water , 1963, Ballard explained the slow but inexorable end of the world as a result of heavy rain and a sort of greenhouse, then reworked theme unabated to this day. Not only
. The most impressive scenes of 2012 show that sank gigantic tectonic plates, oceans flood the Himalayas, earthquakes splitting continents, cities that crumble in an instant. Exactly what we read in Degree XII, apocalyptic novel by Leonard Daventry published in 1972: almost a pre-established script. Yet it is not plagiarism, but something vaguely similar psychic economy that governs the epic. The director knows how to manipulate the clever literary traditions and icons common to all, as the bard Homer manipulated oral traditions.
And in a century has gone all right if the imagination has produced variants apocalyptic. With a difference, compared to 2012: almost all provide for the social actors, be they aliens (as in the recent remake of The Day the Earth ), higher intelligence and almost divine, from space, or perfidious powers foreign, or even scientists who do not control their experiments, artificial or even children of humanity itself, as in the Terminator saga, it seems destined to join us against our will for the next twenty years.
But if there are social actors, then the drama never really end, the cosmic eviction notice will come to some, perhaps most, yet not for everyone. Also, comes into play the issue of moral responsibility. It is filled with science fiction novels of the '50s and '60s. Even without the always quoted Philip K. Dick, who raised the issue in Man games with prizes in Deus Irae and other novels, where, however, a residual humanity struggle to avoid self-extinction, there is no doubt that the authors who have grappled with the genre have always connected the end of the world with the destructiveness of human reason.
Among the hundreds of examples of the scientist and writer Roshwald Mordecai, author of Level 7, 1959, and A Small Armageddon, 1962, both nuclear holocaust, and then Charles Eric Maine, among the first to describe The Darkest of Nights , 1962, concluding a pandemic, triggered by expressing bacteriological imprudent. Not to mention The Day of the Triffids, the 1951 masterpiece by John Wyndham, which combines a coming cataclysm from the sky (meteorites that blind anyone to observe) than that man obtains by his own hands, altering the genetic structure of plants.
However, these human representations of Armageddon do not bite like the one created by Emmerich, almost as a kind of addiction with the time he made acceptable, even "domestic". Because something has fundamentally changed the perception of divine punishment, which is traditionally associated with the destruction. It almost seems that the prospects chiliastic followers of Joachim of Fiore not terrorize anymore, and for centuries, to the point that the philosopher Immanuel Kant already raised the question of the end of the world in new terms. In
Das Ende aller Dinge , ie The end of all things , wise expressly dedicated to all apocalyptic thinking and published in 1794 in volume 23 of the journal Berlinische Monatsschrift, "as Kant argued, inter alia, it is known that the moral maturity and intellectual humanity excludes the very idea of \u200b\u200ba God who delivers exemplary punishments. Therefore, the Judgement would not be a projection, present in all people who use reason, but that still need to find a chief judge of good and evil. In contrast, the spread of a conscious and conscientious adult would lead mankind to respect their moral condition and choose good, also dissipating projections millenarian and the depths of terror that are wide open in front of the hypothesis of a global holocaust.
will be so? Is doubtful, partly because of quell'Aufklärung invoked by Kant, of that final clarification, in short, that lighting autogenous should prepare a better future, is that if they see that much around. On the contrary, common sense suggests that the runaway box office success of the disaster movie has probably other reasons. It may sound strange, but the end of the world illustrated by large productions such as the 2012 Emmerich is no fear, and can even be cathartic, just because the content promises an event without a way out. In fact, the panic ignited minds when it spots an escape route, albeit cramped. But if the doors are locked, if not there is no escape, then waits of the inevitable, even greeting him with a macabre final toast.

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Winter.

Out

street winter

wet and wind,

between raindrops

marks the silence.

begins the night

all is silent darkness reigns,

the peaceful,

if it's time.

And so on,

long minutes

succession to the past

between you and My thoughts

free scattered

like your hair

on the pillow

to keep you company.

Lorenzo

Night at Clairvaux

November 6, 2009 at 23:55

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Marrazzo's case and the strange rules of the television media. Or how to swear on TV to tell the whole truth and nothing but the truth

At the bottom of the pioneer party of sex and drugs was a member of the UDC Cosimo Mele, back in July 2007, but few remember it. Instead, the case Marrazzo may well stick to the bottom of collective memory, and staying there for long.
And this for a simple reason: none of the various characters in recent months have fueled the scandal machine has based his career on the popular show "Mi Manda Rai Tre-'champion of small and defenseless, like many of the rest, but unique because heir dell'antesignana" Mi manda Lubrano, "inextricably linked to the figure of a gentleman of yesteryear, prototype model citizen, polite but strict. Marrazzo had the good fortune and misfortune of inheriting the transmission, but if the cable, and so the first chance he could jump, successfully, on the bandwagon of politics.
But the legacy remained stuck on the skin because it is true that television is ephemeral, they are not the sentiments of the people to whom it feeds. To undermine the political credibility in a microsecond of Marrazzo were not incriminating recordings or videos, but it was the rupture of an unwritten agreement between the audience and what he intended to represent.
In fact, the real question is why the common sensibility still seems so interested in behavior that today should not shock any more? Certainly we are not heirs of the Victorian era. On the contrary, we come from decades of steady dismantling of taboos. In sexual matters, we are all more or less suffering from an incurable "semantic satiation" anesthetizing effect of mass produced by decades of media exposure.
In the beginning was the private TV, then the old Internet and finally the Web 2.0, which floods the world of images and words that finally disintegrated the concept of decency, and one connected to purity. Moreover, generations of comedians, writers, progressive intellectuals have consistently lowered the bar of the speakable and the displayable, with the declared goal to destroy the hypocrisy of 'reveal' the man in all its mundane humanity. If this pincer
strangulation has had its effect, and had them, then nobody would turn up their noses in front all'escort duty or some transsexual in transit in the ways of politics.
Instead these "scandals" belong to an order of phenomena much more universal. It is for example the psycholinguist Steven Pinker, authorities in the field of cognitive processes. In events words, the last his last book, just published by Mondadori, among other things, Pinker examines in depth the language and sexual content all the more its effect on the media. The theme for the accuracy of the final part of the book is bad language: its functional matrix, its social significance, its relative universality of language and much more. But extending, you understand that the limit case of language 'color', voluntary and involuntary, is situated on a large substratum of knowledge common to the very concept of impurity, and inevitably related to the ignominy. So, beyond the theoretical problem of linguistic exquisite, the theme is expanded in the territory of associative behavior, the relevant provisions and penalties, and the inevitable political implications. More generally, the issue is not what you do between the sheets, but what is said about what you do, let alone what they say but you do not, then it denies. The sexual matters are ultimately performative acts of a very particular, but when cruising the magnifying power of the media they even become explosive. Merely private matter between consenting adults.
Pinker notes that the persistence of stereotypes regarding of sexual taboos contradicts many clichés, for example the idea that by ceasing to stigmatize sexuality eliminate shame and ignorance, and consequently reduce sexually transmitted diseases, unwanted pregnancies and other hazards of sex. History has instead shown the opposite: The more you spread the licentiousness and more illegitimate births have increased, infection, rapes, pedophilia, not to mention the consequences on the models that generate adolescent bullying and anorexia. Of course, finding an indisputable correlation between the two phenomena is impossible, but the point is another. Common sense does not care about the scientific graphs and relies instead on the "certainty" of analogies.
People instinctively know that the sphere of sexuality is the most fascinating but also the most risky that you can imagine. Hence the surveillance of various pipelines. But if the surveillance is de-legitimized by widespread practices, and discourses that take place around them, then emigrated to the supervision in other areas, and aims high.
happens in short, a sort of involuntary transfer highly semantic personal representative. And therein lies the trap. The sociologist Erving Goffman noted that the words we use and the staging that we use to guide our audience are meant to reassure social actors about the seriousness of our intentions, the fact that people are reliable, respectable, balanced and competent. Even more so if we are people endowed with great responsibility and if we won these positions taking advantage of the wind behind the TV audience.
So, if a politician married with children and defends the value of the indissoluble family, he only confirms his own social image. But if the same hotel in organizing a coca-party consistency of its communication is broken, and a sort of generalized semantic transfer in the public eye all his actions and all his words will automatically become dishonest. On the contrary, no one has ever crossed my mind to punish Ilona Staller, aka 'Cicciolina', although parliamentary simply because the public announcement coincided with his social image, so that the message was very clear in the final. According to the same semantic mechanism seemed clear therefore also its political action and only the obvious limitations of the cultural character for the failure to fully exercise the political sphere such a huge credit of trust. Cicciolina
The case has made school and was in fact understood by many and various characters as well equipped, that have ruled on the Italian political scene, and not only Italian, which, instead of hiding, have quietly performed the unnamable, using then a second and equally important mechanism media: mirroring. In fact, there is always a part of the public who want to reflect and identify with his representative.
Instead, the case Marrazzo has the same value of the Apple case, but cubed. The old champion of the weak and honest media has crumbled without wanting his image as a Robin Hood in a suit and tie, but in the public mind has replaced it with an image of a nameless darkness of a basement that spends vast sums pleasures in doubt. The mind races to the prototypes of Dr. Jekyll and Mr. Hyde, which have become stereotypes through the immense mass of popular culture that is layered over a century. And the stereotypes, especially if propagated by the power of the multiplier media, in general, the mind reacts as if they were so many switches. Also because, if so much time - supports the vox populi - then where is the limit? Sorry for him, but his sad example would perhaps be salutary in the future.

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never forget ... Ante

Life
is made especially
of beautiful emotions experienced
then turn,
crystallize, and become
precious memories,
like to browse the pages
of an old album of photographs


to relive them and then say,
"was wonderful! "

Lorenzo
30/10/2009
11:45 am

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Spheres and domes Stephen King in Peter Sloterdijk. From catastrophe of 'Under the Dome' to euthanasia spiritual 'Bubbles'

Stephen King, the absolute master of horror and fantasy literature, on his official website announced the plot of Under the Dome, that is "Under the dome," for release in November. This synthesis in the translation: on a given day Chester Mill, a charming town in Maine, is suddenly and inexplicably separated from the rest of the world from a force field. Airplanes crashing on the barrier and fall from the sky in flames, the hand of a gardener is a clean break when it appears the dome, shattered people wander aimlessly around, because they have been separated from their families. Nobody can tell what this curvilinear barrier, where it came from and when, and especially if it never disappears. Protagonists of the story is Barbara Dale, a veteran of the war in Iraq, Julia Shumway, owner of the local newspaper, three brave children (in the King's books are almost always strong boys), Big Jim Rennie, a policy that does not stop before nothing, not even after death, and several other characters must unravel the mystery of a technology incomprehensible alien certainly threatening. It must do it quickly, because time flies.
As always Stephen King surprised his audience not only for the planetarium proverbial ability to stimulate curiosity, to ensnare the thirst for suspense, but also for the unfathomable ability to sense the mood but hardly translatable into words. It does so by returning to the science fiction genre, though the anticipation Internet users also suggests some supernatural intervention. But back to the subject. What is the true protagonist of the novel? Obviously a pure geometric shape: the sphere, or rather a section of a sphere that contains something - in this case a city - separating permanently from the rest of the world.
The fictional King, divining trends hidden in the collective unconscious, always taken very seriously. So what is this dome? And why King used a vision so simple yet so powerful? From a technological point of view dome is a structure to other engineering would create a controlled environment. The unorthodox scientist Buckminster Fuller, inventor of the geodesic domes, imagine how you know you play with one of these plates the lower part of Manhattan, in order to produce a micro-climate controlled. The idea, similar in some respects to the tombs of space projects, was taken up years later with the combination of Synergia Ranch, near Santa Fe, New Mexico, and later in the experiment with large-scale Biosphere 2, Oracle, Arizona.
But this, to King, is merely the pretext of science. The unconscious response to the image of a mammoth dome energy is associated with the idea of \u200b\u200ba defensive structure, built of huge shield, which can isolate entire communities from the action of external agents of destruction, if not by the impact of a meteorite or of a nuclear warhead. Of course King, who is a formidable player, use plenty of material already tested.
In its infinite variety of literature almost always inside the dome stands a city, a symbol of the community human, but also the dependence on technology. The sci-fi version is perhaps more shocking A Crack in the Sky , 1976, Richard A. Lupoff, author of the hit series Buck Rogers in the twenty-fifth century . Lupoff imagination of the Earth is minimized pollution madman, so that waste mankind can only survive in thirty domes housing each thirty million inhabitants. But the end, a horrible end, it is at the door.
short, insulation technology and final catastrophe always go hand in hand. Yesterday and today. Jumping nearly a decade - we are in 1984 - we find the horrors of the city "cupolizzate" in another cult like this: The Peace War, Vernor Vinge. Here is a unique technology of "imbollamento" energy is used by a select committee to ensure world peace, of course, to the prohibitive cost of the arrest of any form of progress. And if we want to refer to the fantastic newly minted coins, no shortage of other examples, although it is necessary to change the continent and move to Japan, where the genius of Hiroki Endo does begin and end the saga of Eden in a structure that is an exact copy of Biosphere 2. Well, Eden, one of the most interesting manga generation, is precisely the description of a game cosmic and hyper, which is being fought between heaven and earth, where at stake is the destiny of humanity, unity between itself and the overcoming of the regression without remission.
around the corner of a civilization that has reached the maximum point of global expansion is in fact possible is always the risk of total destruction, and there are only two options. Or close, withdraw, isolate themselves, or expand, explore, disseminate. This is the formidable point of no return identified by King, who will publish his new book in the same year that marks the fourth decade of the landing on the moon.
We do not know how many have felt the strange aftertaste that accompanied like a shadow, the endless commemorations of the fourth decade of the landing. Still, that feeling bitter was the terminus here and there, despite all good intentions. Certainly something leaked, despite everything, graying at the sight of American astronauts intent to sign autographs with a lot of fare meter. Many children and young people, seeing these scenes almost pathetic on TV, then you will be requested if it is true that these old people there were really nice up there in the open firmament. And if you really have had the experience of a new world.
History teaches that man has left to move the ball land on the surface of a sphere entirely new. But history is not passionate about anybody. Can teach, of course, but can not speed up the blood. The question today is: we will be back? We will have to wait for the challenge of China to review remnants of the beautiful blue obstacle course of the Sixties between the U.S. and USSR? Or maybe the moon has become unattractive?
It then promises that the next will be landing on Mars, because it is more interesting, more like Earth. The magazine "Wired" cult publication of high-technology enthusiasts, has seized upon this dilemma, much deeper than it appears, opening his last number with ten good reasons to proceed immediately to conquer the red planet. Ten good reasons, all scientific. Plus one, the most important: the need to dream of somewhere else, to go further, to leave behind the old to chase the new, the unknown. In short, the need to set challenges that are physical and mental. The elsewhere is another first place, and unknown. It is the unreachable becomes reachable. Physical place, then, and denial of any "non-place", but because of this spiritual place par excellence.
It is also prudent philosophy, although in the wake of the imagination. Thus one can understand the ultimate meaning of a titanic undertaking theoretical
what is that addressed by Peter Sloterdijk, the famous philosopher of the media, Rector of the Hochschule für Gestaltung in Karlsruhe, and author of the trilogy balls, which appeared between 1998 and 2004. Finally a few months in the library is the translation of the first volume of the trilogy, titled Blasen or Bolle (Meltemi, 576 pages).
But this is not about to enter a text immensely complex, which speaks of membranes, shells, mirrors and symmetries, but rather requires you to remember that the establishment of a true "sferologia", seemingly so far from common sense , can in fact help to unravel the deep anxiety that with which they are enlightened interpreters writers like Stephen King. Indeed
Sloterdijk dwells at length on quell'involucro complex made up of cities, highways, and also made especially for communications networks. Offensive space absolutely monumental and semantics, which is only meant to avoid the gaze position on that universe now naked and unlawfully considered unwise, given wrong inaccessible. This replacement of the correlation between the highest and the horizontal plane of the 'earth' with a falsely reassuring and protective casing, which actually have a bubble insulation, is in many ways and is called by many names: the world market, global communication, Welfare State.
In another writing ( Im Weltinnenraum des Kapitals of 2005), Sloterdijk defines the same language from Armageddon 'ball end' the world of international financial speculation. It was light years away from the collapse of world markets and the global crisis. Yet it was a logical corollary to the theorem that similar protective domes are invariably all ephemeral, all intended to explode, or implode, as the phenomenal Dyson sphere described by Gordon Eklund in one of the best screenplays of the series Star Trek. In that case to be 'imbollato' is even an entire solar system, and with this trick the alien civilization encountered by the crew of the Enterprise thought it well to escape the eternal cycle of war, reconstruction and destruction. Condition ultimately very similar to ours. Unless
also recognize that the only solution is just to get rid of barriers, to break the sky, generally by means of space travel, in each case by means of the push to rise, to fly away.
do not want to admit it, but we almost lost the idea of \u200b\u200bthe voyage without return, we may finally sentenced to a state of perpetual 'cupolizzazione', averting his eyes from the wings of Icarus. Ali unnecessary, perhaps even fatal, but without which mankind renounce part of its sublime essence.

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Forty years after landing on the moon in the hell of the planet connected

The most reproduced photograph in the world is Whole Earth, taken from Apollo 17. You see, as everyone knows, a blue-white ball that floats in the darkness. It is our common home, but photographed from a distance of half a million kilometers inexplicably moving image, dream, which communicates the idea of \u200b\u200bfrailty. If this is the reaction
unconscious in front of an ordinary photo imagine what this scene must have been to live immersed in the experience of deep space. A test is shared by few: Twenty-four Americans in all. Twelve went down on the moon.
But what they tried and that is the deeper meaning of their company? If we exclude the media carousel. nobody never investigated these extraordinary lives. This is what occurred in 1999, British journalist Andrew Smith, while he was in a London hotel to interview the former astronaut Charlie Duke on behalf of the Sunday Times. The interview was abruptly interrupted by the announcement of the death of Pete Conrad, one of twelve moonwalkers , who had walked on the moon. For Smith it was like a revelation. It remained alive only nine. We had to hurry, it was necessary to collect the testimony of these courageous individuals who had inadvertently changed the perception of the relationship between humanity and the cosmos around it.
The result of five years of patient stalking was Powder Luna, left for Cairo Editore, close the edition English. An unusual book, because it recounts the experience of those who were marked by the encounter with the unknown. Starting with Neil Armstrong, perhaps less approachable man on the planet.
All the survivors have met Apollo unusual destination. Buzz Aldrin believes can be built first then the incredible 'Mars Cycler', the vehicle should slide around the sun, always hovering between Earth and Mars. Edgar D. Mitchell has become the new age guru of a group that campaigns for the global change of consciousness. Mike Collins provided is still immersed in the ineffable joy that overtook him when, turning around the far side of the satellite, experienced the Earth's total separation from the rest of humanity, due to the lunar mass interposed between the naviclla and radio stations. Alan Bean has instead become a painter, however, single-themed. He painted only landscapes of the moon. Jim Irwin left NASA and founded the High Flight Christian group, then embarking on the first major research expedition to the mysterious Ark of Noah. Charlie Duke also met God, after a hell of alcohol and overwork. Even the rational mind of Harrison Smith, the only scientist of the company, was enchanted by the magic of the silent planet. Today only repeats, unheard, that the border is a great catalyst for freedom, but the border is on the moon or Mars.
Not to mention John Yung, who is fighting to save humanity from disaster thanks to a futuristic project: the museum of life, of course on the moon, an idea endorsed by the physicist Stephen W. Hawking. Heaven, that melancholy!
seems impossible, but in reality the great era of exploration is over more than three decades. Where once there were big plans today, there are distributed networks. The dreams dissolve in the incessant flow of data. Our present seems alien epic, allergic to the values, full of reserve and criticism fades. So what really happened in 50s and 60s?
Perhaps in those years, in several senses, the imagination can we really went. Most of the competition with the Russians to give wings to the Apollo project was the driving force of the counterculture. It is the view of Smith, but for those who lived through those times is obvious equation. The hippie aesthetic, with its immense hinterland fed by movies, comics, science fiction and utopian literature, with its wild idea of \u200b\u200bovercoming any physical or mental chain, provided the necessary emotional wave abnormal, able to launch the Apollo 11, and its predecessors and successors in un'intrapresa not really had anything rational.
In any case, more than any other event, the epic moon issued a new sense of responsibility: the responsibility of the cosmos. No coincidence that the Gaia hypothesis, the 'Living Planet', was developed by NASA scientist James Lovelock shortly after the conclusion of the Apollo expeditions. The suggestions of the counterculture
penetrated deeply into the citadel of science, even beyond the Iron Curtain. If the project was launched in 1960 Ozma, the first radio telescope to hunt for extraterrestrial intelligence. Astrophysicist Fred Hoyle, the father of the theory of panspermia, disclosed in 1964 in the form of the famous novel A as Andromeda, -written with John Elliot, some of his non-trivial ideas on the real possibility of contacts between galactic civilizations. In '62 the Russian physicist Iosif Shklovskii published universe, life and mind , where he dreamed of galactic civilizations vastly more advanced than ours. The book was promptly translated and expanded by physicist Carl Sagan, who later captained the gigantic project SETI (Search for Extraterrestrial Intelligence). The exobiology, which is the study of life outside Earth, acquired credit. So a crowded universe supposedly catalyzed the expectations of the masses.
So, in the fateful 60 deep space filled the imagination more than any other news. Not by chance the reaction of the artists, fearing an undue encroachment of their territory, it was frosty to say the least. When asked his impressions of Picasso replied sull'allunaggio acid that did not care. Salvador Dali said that it was useless, so everything was already in his paintings. Only the exponents of Pop Art was in tune with the times. Andy Warhol immortalized a bright Buzz Aldrin, and Robert Rauschenberg designed the photomosaic Hot Shot around the size of the mighty Saturn V taking off.
But it was the soul of the popular comic and film the machine multiplied by the new sensibility. Schulz's unforgettable strip, which shows Snoopy with his helmet, one of the lunar craters: "I've done it - satisfied - I'm the first beagle on the Moon. I beat the Russians, I beat all ... I even beat that stupid cat of the neighbors. " Equally unforgettable is the enigmatic 2001: A Space Odyssey , Stanley Kubrick's masterpiece, produced by The Sentinel , story by Arthur C. Clarke.
However, in our time, the age of networks, is human spaceflight program on low orbits. Travel routine Space Shuttle are the backdrop to the new class of wealthy but dull space tourists, Dennis Tito founded by in 2001.
For the poor devils there is always the consolation of Google Earth and its future developments, software that allows you to traverse the virtual world on a flying saucer. Yet, among many voyages, in reality you perceive a world as being forced and almost suffocated nell'innaturale stillness of spirit.
Curiously, the figure that epitomizes this forced imprisonment technology was born with the Apollo program. The Silver Surfer, the comic-book hero created by Stan Lee and Jack Kirby for Marvel: The Silver Surfer of space, which flies at the speed of light, but has been confined to Earth from the terrible Galactus by an invisible barrier Energy, located at the same height of the orbit of the International Space Station. A prisoner ahead of its time horizon land, forced to deal with the eternal return of the same, while his gaze wandering to the ends of the universe unhappy.


Riccardo Night - article published in 2008 on the "Century"

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"Man, machine, the automaton" by Carlo Sini

Food Serving Robot is a robot chef presented last week at Foom Tokyo, the international exhibition of technologies for the restaurant. FSR manufactures pancakes all the same, looking for the truth unappetizing. Aero Blue is however a small android trembling take loving human beings, just like the Disney cartoon of the little robot Wall. (E) used for the nourishment of our hypothetical descendants, so obese as to be unable to move from their beds trucks. Seriously Aero Blue, or a derivative thereof, may be useful to people immobilized by illness or trauma.
But the novelty in the new complex machines are just too many that is hard to name them. For example, CW100, developed by Korean Microbot, cleans like a vacuum cleaner remotely controlled by a 3G phone. So far nothing special. But note CW100 all, hears everything, record everything. It's just a matter of time and then someone will think to connect the robot to occhiutissimo type WhosHere iPhone applications. So goodbye privacy. Pale stuff to do Big Brother. And
what about Saya? It is the prototype of the artificial teacher, a "gineide" header in the elementary school Kudan, Tokyo. There, children learn science and technology from the lips of plastic on the other hand the depth of the Rising Sun invariably smile. But if the Japanese government decided to replace the obsolete teachers? Smile again?
Far more surprising, however, are two systems of artificial intelligence, recently reported by the magazine The Sciences. " The first is Adam, created by researchers at Aberystwyth University and Cambridge University headed by Professor Ross King. Adam, to say the least evocative name, is a robot scientist can design and then conduct biological experiments, evaluating results and even result in deciding which other tests are appropriate. The prototype produced a simple but entirely new discovery on the genomics of the yeast Saccharomyces cerevisiae. After Adam - and expect - will Eve, which will be used to synthesize new drugs.
The second miracle is instead a program that is a virtual robot, developed by Hod Lipson and Michael Schmidt of Cornell University. Well, this software is even capable of "revealing" the laws of nature, without any previous programming simply "observing" phenomena, and deducing the regularity. So far, the wonderful mechanism logically concluded in a few hours, Isaac Newton's laws of motion. Soon it will be used to "study" the cosmological or biological systems. We therefore expect real breakthroughs. But the machines will make them, with or without human help.
What is most striking inventions that seem to change under a system of increasing proportion of human action is the lack of philosophical reflections on the consequences. Nietzsche called it the carefree lightness of engineers. It is also true that technologists do not have time and maybe even want to engage at the highest systems. Yet these innovations invest the entire human condition. Yes, but that How?
Try to fill the gap in the philosopher Carlo Sini Man, Machinery, automatic (Bollati Basic Books, 124 pp., 14 €) recently arrived in the library: a work that deals with an unusual perspective to the strange , indefinable automatic call screening (from autómatos, that moves by itself) that for millennia as the shadow follows the man. 'S automaton, or the Encyclopedists the android, perhaps forever renamed "robot" by the brothers Čapek, seems in itself stimulate metaphysical questions. The most famous is known as back to Descartes, who anxiously questioned toy car on the possible nature of human beings and animals. Sini on what short cuts. This is - according to him - a red herring, because at a glance all the products of technology (hence the robots that exhibit "conduct" more and more independent) are perfectly in tune with the salient feature of the human being: the ability to everted instruments, from language, the first and least obvious of all. The ultra-sophisticated robot such as hearing, technological extensions of the hands, senses and the brain?
is a view shared by many, for example by the theorists of the so-called "memetics." Sini peròinquadra the issue in a frame of reference neoevoluzionista, in line with Ratings by André Leroi-Gourhan and in keeping with a philosophy of practice individually blended to Peircean semiosis.
course, flatly deny the very idea of \u200b\u200bthe gap between man and his two artificial may perhaps be the only viable theoretical. So where does the fascination ambiguous vicarious humanity? If the varieties of artificial intelligence in construction are nothing but shapes constantly in transit, resulting from the ability of symbolic production, why fear them? And why do you ask for?
This is not the reassuring identity siniana between work and knowledge, according to the philosopher both real media Universal, in ever-expanding boundaries of which would fit well the epic of artificial intelligence, which has aroused the enthusiasm of scientists.
Just read John von Neumann, for example in the wide passages quoted in The world as a mathematical game, a wonderful biography of Giorgio Israel and Ana Millán Gasca (Bollati Basic Books), to note with dismay the extent to which this unreachable genius, a pioneer theorist of many contemporary inventions, came to believe in the hypothesis of radical discontinuity between man and his final self-replicating machines: the definitive Catholic as the pope described by writer Clifford D. Simak, however, is that a pope robot so humanly in search of a sense of himself and the universe. Machines outright, then, like the immortal robot in years without end, always Simak, once died out humanity, he tries to cultivate the intelligence of lower mammals. Perhaps to break the inescapable solitude of the perfect machine. There is a longing of man, also in AI by Steven Spielbeg. Giulio
Giorello, reviewing the Corriere della Sera "Sini's book, notes that a history of fantamatematica, with all its unspeakable projections, including supercomputers, has not yet been written. But it's like to acknowledge that the record should be writers, poets, visionaries and engineers. Who knows what position do the philosophers.
Perhaps because the writers do not have to prove, but only show. Isaac Asimov, the great visionary devices fantastic, as everyone knows was the father of a multitude of robots artists, poets, scientists, philosophers and even theologians. As the intelligent QT-1, in Reason, once assembled, it immediately begins to define itself in the usual Cartesian terms: I think, therefore I am, but then I owe my existence to a God who created me and to whom my substance must necessarily resemble. Certainly not the man, who is so inferior to me. Therefore God is eternal and perfect a mechanism, and QT-1 is his prophet.
Ineffable QT-1, mechanical Cartesian makes you smile and think. But not as much as another invention asimoviana: Stephen Byerley, the robot politician who even manages to be elected coordinator of the United States. A blessing for humanity, for three hypothetical Byerley must obey the laws of robotics, the so-called law and zero, which summarizes and generalizes, so that a robot must make the best decision for the good of political society. Too bad not yet been invented technologies to implement these qualities in us fallible human beings.

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Origins of Literary and psychodynamic Second Life

Second Life does not come from nothing and is only the ripe fruit of electronic communications. Rather, his seminal model emerged very early in the minds of visionaries and writers had postulated that the psychological need access to new territories. Prototypes fantastic and immersive virtual reality interactive debut came at a time when the authentic experiences exploration had become rare. While physical mobility increased dramatically, the mental is reduced. The journey of the soul could not dispel the feeling that the globe, almost suddenly, he became a small, insignificant, predictable. At this crucial watershed between the possibility el'inattuabilità began to creep into some kind of imaginary, which break new ground. Many sensed that over time the technology could violate the claustrophobia of that world now defined by providing material for new experiences.
A machine of this type have already appeared in "The Invention of Morel" by Adolfo Bioy Casares fantastic story, published in 1940, but usually is credited with founding the concept of simulated reality immersive telepresence to be shared, the science fiction writer William Gibson. In reality, the ideas were in the air for a very long time. Among the first to go as far figure Hugo Gernsback, and ingredients are more than evident in remote foundational works of Isaac Asimov, Frederik Pohl, Kurt Vonnegut, among others. In the 70s the concept array of information technology was already well delineated and had only to wait for the work of talented writers, by Bruce Sterling Roger Zelazny, to strike the attention of the general public. Simulations
electronic fun, engaging, even useful to mental health, were conjectured with great anticipation. In '69 Ben Bova, in "The Duelling Machine," described a psycho-electronic device that plays a sort of immersive virtual reality indistinguishable from real life. What is new is the recreational dimension of this apparent anticipation of Second Life. Users use the machine for engaging battles that allow you to download their aggressive instincts in the tele-interaction in a supervideogioco immersive. But the system turns out to be anything but harmless, but that's another story.
Some early estimates did not fail even in Italy. Primo Levi, in the story "Pensions" (in "Natural History", 1966) invents the Torec (Total Recorder) device that records the experiences directly from the brain, allowing them to share. It was the forerunner of the hypothetical technologies described in the movie "Brainstorm", directed by Douglas Trumbull in 1983, suggested again in "Until the End of the World" in 1991, directed by Wim Wenders and "Strange Days" in 1995, directed by Kathryn Bigelov and written by James Cameron. As always
imagination precedes technology, or at least traces its highways, and determine their plausibility. Today, the Trumbull scenarios may still seem distant, but is not so. Many cutting-edge research designed to interface the brain, and sooner or later you will succeed. But back to the present.
Second Life is the conceptual opposite of Google Earth, because he can follow only what the world is. Given the vastness of our planet, it may seem so, but very little. If the perceptual point of view the surface of a sphere is finite, the mind may even be an enclosed space. Instead, Second Life is by definition an open ultraluogo limited only by the fact that must be constructed, which could cancel the surprise. The unpredictability, however, is guaranteed by the sum of the projections of each. From this point of view, it is the opposite of Google Earth. Not explore representations of physical regions, but mental facilities.
How do you react to this new people in "real world" contributes to the construction of public opinion? Just read through the reports that appear periodically on the Italian and foreign press to understand that beyond the enthusiasm of the facade lurks almost always some suspicion. The mistrust stems from the fact that the actors of this new type of social representation is not constitute a public but a collective phenomenon that dodges the analysis and shows that even less manageable size of the now usual hypertext.
This is the point: Second Life is not a medium or a Ipermedium, but principally an artifact, man Worldmaker unexpected recovery. Possible to develop arrays conscious, intentional, but also to allow the emergence of the unconscious desires of each user, from all possible angles of perspective, environments like Second Life seem to avoid at least in part to pre-existing conditions are not written but in the Voluntary Sector, where physical participation is always decisive. This relative lack of corporeality escapes the logic of traditional political dimension, although not to the political dimension of all, and certainly no exception to the economic dimension, which instead favors. And here we encounter a second conflict, less obvious than the first, because they played entirely within the digital universe, the very heart of connective condition.
The preliminary application is as follows: a world structured on open systems, economies of scale and lattice snapshots communications still needs the consent? Apparently yes, but it is known that many authoritative observers say the opposite because the digitization of information has led to the tracking, a necessary condition of the control. Be careful - they say - because there is the Panopticon! But the panopticon in virtual worlds in a sense can not exist.
The files, archives, records have always been parts of a control system that follows the course of the city, through the perennial question of its relations with the administration. The administrative or judicial acts described, and then de-restrict the subject's identity. But this cage cards can not bind to the bottom of the full complexity of human beings. Private thoughts, ideals, feelings, likes, dislikes and interests are to some extent free from the control, and as such have always been monitored or censored by the authorities by absolute power, since it is difficult and almost impossible to bring them summarized, although recent projects such as the so-called date-meaning (software that will allow you to extract significant patterns from a huge mass of information) to go in that direction.
During the last century, the advent of television without notice dismantles the greyness of typographic control, taking on the public scene the immense diversity of those feelings, ideals, tastes and idiosyncrasies. In "Understanding Media Marshall McLuhan, of course, assumed that the counterculture, suddenly exploded almost prophetic in the '60s, was at least partly unconsciously tax subliminal effect of television. Twenty years later, Joshua Meyrowitz, using much more systematic research, supports this view. Even Harold A. Innis, a master of "media prophet", had thrown light on the relationship between the submerged economy of the press and the general system of thought control. The printing machine turns to the world, not private individuals or communities - Innis argued - but, he added. it mainly determines the endless fragmentation of reality, which takes on the appearance of a discontinuous geography, so digital, so schematized. Perfect tool of power.
The fluidity of electronic communications, neorivoluzione end of the millennium, it seems to have given the same disruptive effects on the consciences subliminal television was in its early days and perhaps one of the reasons lies in the characteristics of digital information, which leaves traces divisible. What happens if the technology begins to plot ways a secret time, or at least reserved, subjective human reality? If traceability is power, absolute traceability could turn into an absolute power, but power without representation, not traceable to a particular elite or a visible leader is a kind of power, perhaps never experienced until now.
In a recent but already filed past the "transparency Computer "most impassioned tecnofilosofi. Was at work a transnational movement of thought that did not allow objections to the confident version of the revolution taking place. The journalism almost uncritically endorsed the new liberal vision mediated by technology. For example, Douglas Rushkoff said that Cyberia, new paradise, natural selection would favor the best "memes", the informational equivalent of genes, Mark Dery was ecstatic to technopaganism, Timothy Leary was exciting similarities with the experiences of hallucinogenic Hakim Bey rephrased key Internet users in the ancestry of Situationist détournement.
The constant that unites these and other visions of future based on the obvious prediction that sooner or later the web would become completely immersive, lies in the hegemony of the visible. The transparency and accessibility of digital information - one can argue - will make this clear as water. Power of metonymy. Transparency seems a real quality, which in itself is opposed to the cloudy haze. The opposite of "transparency" is "impure," "dishonesty," "immorality," "darkness", "insincerity", "hypocrisy", "false", "ambiguity" and its synonyms by association of ideas are "evidence", "simplicity," "comprehensiveness," "righteousness", "honesty", "spontaneity", "sincerity" and therefore "honesty" or "morality."
Therefore, transparency information should inaugurate the kingdom of truth. Unacceptable behavior, misconceptions, or regarded as such should emerge from the shadows, because they would be comparable in itself, stigmatization and then delete them. The other a transparent substrate should encourage interactions, exchanges, shares. Is it really so? Read in hindsight, the ideas about the future development of telepresence made in those years and dogmatically supported today seem extremely limited, many of them were blatantly contradicted by the facts.
Let's go back a moment to projections of the writers and visionaries. Although not directly subordinated to the ideological constraints of the assessment that permeates certain environments, but the writers have been affected by a cultural climate of widespread and very homogeneous, pulling its consequences from a few simple assumptions, such as the digitization of information and the evolution of interfaces under the powerful thrust of miniaturization and reduction in costs, effects of the so-called "Moore's Law."
What strikes vary in so many disparate imagery is the very common, almost universal tendency to announce the existence virtualized versions pessimistic. Again there are plenty of precedents. In "The Veldt," published in 1951, Ray Bradbury describes a "house of happiness", the product of advanced information technologies, able to satisfy every desire. However, the owners discovered that their children can no longer be separated from their virtual room, have become dependent, as a drug. This results in terrible conflict between parents, the censors of parallel reality to them unknown, and the children, who can no longer accustomed to the banality of daily life.
Philip K. Dick, meanwhile, invented in '63 and then developed in several stories the world of Perky Pat, an immersive simulation, accessible with the help of synthetic drugs, a situation that affects today by the insistence on the models existing in it: wealthy environments, inviting, beautiful rocking, young stalwart and other ingredients that are among the most constant criticism in reality "real" Second Life. The model was inspired in 1999 Perky Pat "eXistenZ by David Cronenberg, one of the most enigmatic film about the possible psychological effects of immersive games.
In light of these and other precedents, the traditional cyberpunk genre falls as we said in the wake of an almost ancient tradition, with the possible exception of Neal Stephenson, in "Snow Crash", 1992, launched into a remarkable experiment univ ersalmente and now famous, inventing an array computer - the Metaverse - very close to what Second Life shows today, but with an additional element: the Metaverse is used to control the minds metavirus mediated by a computer that acts on neuro-linguistic structures, bringing those affected to a primordial state, archaic, presumably the mental ostat typical of an era in which there were individuals, but only kept the masses in a constant state semi-hypnotic, and command-driven by symbols inscribed in the deep structures of the brain. They are concepts borrowed from the theories of neuroscientist Julian Jaynes and linguist Noam Chomsky.
Similarly, in the recent Matrix trilogy by the Wachowski brothers, the meta-digital world, assumes the same contours of the real world, then it wraps and submits it to a set of meta-rules that no human knows, because they are set by machines. In both cases, the forms of control are nothing more than the metaphor of the technology support of occult powers, and is financed by large factions of meta-policies.
As can be seen in much of mainstream production is multiplied up to the general paranoia, borrowed from a kind of unique setting ideological, that the virtual dimension is a derived form of total control. But behind this apparent contradiction evidence lies a license. Powers, which are based on control and that determine it, anxious above all to decide what is the reality, because it is derived from these decisions determine what should have prevalence, and for whom. It makes no difference if the reality in question is simulated. And that is why the economy of psychic worlds like Second Life at the bottom so irritating. In them is revealed the fact that reality is a universal fact, but subject to very different and individual aspirations and desires of the economy. In any case, the precognition of the forms of life are often a vicar thing in common: the idea that the foundation of a parallel world to unleash the unconscious desires of humankind, removing regulations that keep the size within limits considered acceptable.

Brazilian Transvestites Images

LIGHTS OVER THE HORIZON (text for the volume of the presentation of the Department of New Technologies for Art Academy of Brera)

frames from "Regeneration" (Igor Night, 2008)

It is only the beginning. Common sense perceives a long time, transforming the collective insight into very specific projections. They are the latter, the matrix of fantasy literature.
So, that's just the beginning of exponential growth. It is difficult to imagine where this will lead. The boldest routes, drawn from the imagination of artists and poets, there might be less than a century timid groping in the dark.
Prepare launchers for intergalactic spaceships, vehicles dive ever undertaken in the depths of the psyche, intelligent tools that colonize the infinitely small and artificial announce Alter Ego, which multiply the very idea of \u200b\u200bthe difference. Then he broke the legendary Pillars of Hercules of the starry sky above us and the moral truths within us. Maybe this will be beyond the current average lifespan. But the harbingers of time they participate.
is in effect a radical change of all kinds, authentic metabasis eis the genos, absolute systematic transgression, and of gigantic proportions. No doubt this is also a macro-phenomena that scares intimidating. What's more, in some cases this register undefined boundaries of reality but always critical, results in the rejection, the rejection of an established immune system of the psyche. Why deny it? Of the reactions of resistance or regressive attachment to tradition derives from the opening of horizons which can be observed and recorded live, for many decades. Because only a few decades, the eye of the observer perceives the state transition when it occurs, almost without psychological decompression chambers.
Still, the rejection could be part of the project. If this is the systolic pressure that pushes the making, it is necessary that it is expressed together with an equally powerful diastole, identified in the rest of the consonants and different expressions. "Conservation," "defense", "sustainability", "protection", "protection" are part of this lexicon of the immune response to the expansion of all boundaries. In relatively recent times has combined the magic word "decline". Similarly, the upper floors of thought and action, decompression and relaxation are used to recall intervention of universal entity. Ancient mystical and metaphysical merge with modern sensibilities, and they mingle, mingle. But none of this can change a single grain of the Squaderno of the event, which we are all active spectators.
Moreover, processes of decentralization and concentration follow any form of technological innovation, the dawn of time. Both movements are both present, consistent and coherent. Decentralization can also define a fragmentation that precedes the 'expansion. The centralization is also a condensation process that precedes the fall.
However, the emphasis should be placed in that logical product, which means the truth value of the function. In the logical product, as is known, both terms must be true or logical atoms. Therefore, there is no contradiction in the simultaneous presence on logical principles that govern the expansion and contraction. Just as it never existed. The history of technology, perhaps even more than the chronicle of memorable events, exhibits the antithesis continuously converging, in turn intuitively based on a generalized sort of asymmetry, which continually redefines the state of equilibrium of the system.
For example, consider the city-states of ancient Mesopotamia, with their mighty architecture (itself a techno-political). Even in forms of these entities represented its centralized administration, in turn based on the invention and perfection of writing. Which, in those remote reality, sprang from the changing needs of accounting. Archaeology accredit this hypothesis, in the eyes of contemporary counter-intuitive, because we are viscerally tied to a narrative conception of the first external system modeling. Indeed difficult to accept the idea that abstraction precedes and even assuming representation. Yet, over time, it was that the writing, which originated from a military and administrative efficiency basically centralized, has generated in spite of an indomitable centrifugal force, a massive systolic blood pressure, and almost complete absence of vessels that contained it.
Dissemination and reproductive (memory, knowledge, imagination) represent the characteristic features dominant. Affrancatasi by calculating optimal and enunciation of the law, the writing is surprisingly open to all conceivable flight of the soul, and after several millennia, even those inconceivable, forcing its own statutes. It is a process that exceeds all testing and that is never finished. Other times
other complexities, and new modes of contraction and expansion. A similar phenomenon occurs with the invention of printing (the first true industrial revolution and technological) culture emerged from the scriptorium and the growing political and commercial reorganization of the Middle Ages. However, from the innovative thinking in words and forms derived in the space of less than a century it is also known as the first star map.
The universe for the first time it opened, expanded, multiplied by the cumulative effects never before experienced. The role of humans in the cosmos also faltered. Here is a very special three-dimensional centrifugal motion, which disintegrated in its age-old myths and capillary passage established beliefs, but only to lay the groundwork for other myths, for new beliefs.
Yet, the technology of printing performed simultaneously and with equal force an indomitable centripetal energy. It is embodied in the bureaucratic administration of the nascent nation-states, east and standardized ideas, stabilized procedures of all kinds, sacred and profane, as shown in his magisterial study Elizabeth Eisenstein.
systole and diastole, then. Concentration and expansion. Pressure inwards and outward pressure.
And what about the radical transformation started in the Belle Epoque? There was not only the space to be invested, but also time. The Kern - you know - it dealt with unsurpassed depth and lightness. Telephone, telegraph and then several applications of the discovery of the microwave Squaderno never before imaginable potential of the almost instantaneous transfer of thoughts, words and actions. Will then be the era of mass transfer in the works: that is the reality we live in real time. Still to come the transfer of bodies. But give it some time. This press
the contrary in this brief note is to draw attention to new forms of concentration / dispersion, internal pressure and pressure forever.
For a few moments through the eyes of the mind suppose to go to enjoy a romantic cityscape fin de siècle, crowded with horses and carriages, including coat, tube and pince-nez. Everything runs rather slowly, after all. Yet you feel - accredited news is - almost by magic it is now possible to manipulate space and time together. They say that we can talk at a distance, it seems that even those old electrical signals traveling on the wire can now abandon that annoying cord, lying in piles on the lazy, for miles and miles. While in space, with a snap of his fingers, something so clean, so ethereal.
the illusion is born, soon belied by the facts, you can even control the effects of new processes of thought and action. Whatever the practical use of new inventions, what matters most is the psychodynamic effect that they introduce various levels. If you can generate a feeling of almost ubiquitous and almost instantly, then it is also possible to conceive of time in a flexible way, and redefining the age-old principles of causation.
Even the physical point of view was the beginning of a process of expansion unparalleled for speed and depth. The first radio signals were also the first space travel, in all respects in the vanguard of mankind in the cosmos. We are still here, waiting to build the technologies necessary and sufficient to put us at a profit after them. Even in this case is only a matter of time. In the meantime we can only note that those ancient inventions, as primitive, had reversed the route. Until then the man had merely "receive" that which came from heaven, from meteorites to the light rays from that moment on we met the star, first with the signals, then the products of an increasingly sophisticated engineering. Systole unprecedented, dramatic increase in centrifugal energy. And his
diastole? It is the planet itself, which for the first time is perceived in desperate finiteness of its ironclad geometric constraints. The common house, yes, but also the common prison. From here, the bright reflections of Peter Sloterdijk, who plays the construction of a hyper sphere in the name of compensation necessary but not sufficient, for the loss of the heavenly dimension Archaic. Cities, highways and expanding electronic networks, but as mere extensions of our progressive wander through the maze of non-Euclidean geometry. All this just to avoid the gaze position on that universe now naked, foolish and unattainable for now, replacing the correlation with the housing elsewhere falsely reassuring and protective of a land multiply.
So we landed in today's mixed reality, half real and half virtual. We live immersed in the illusion that the signs are especially significant narrative elements of a common experience. The intersection between media, aided by digital technology and satellite, it seems nowadays structuring an intricate web of relations between the immediate object, which falls under our senses, and the mediated, in almost infinite variety of the symbolic manipulation techniques. Groped to emerge to the surface of this reality "imbollata," or even to touch the bottom of this ocean of vibrating emotions, it is a difficult task, if not impossible.
While it is true the opposite, namely that the greater the technological complexity, more narrative elements - call them value-reference systems - serve as epiphenomena of a computational substrate that supports them, just as the cork Horace memory, which if he goes somewhere, rocked with no apparent direction from which it is immersed in the ocean currents.
However, the sum of these two forces in play can not be zero. Apply the principle of the exploration of the "adjacent possible", introduced by Stuart Kauffman mathematically to justify the indefinite growth of complexity in a universe not ergodic. In
maximum integrated systems of our present, which include physical spaces, virtual spaces, and then (especially) totally abstract spaces, numeric, you play the challenges of new complexities, we reveal the unexpected creativity of all the "adjacent possible" contained in the inherent limitations of these structures moving. Again systole and diastole are in mutual convergence. Where these new advances will lead us in the space of possibilities is impossible to say. But nobody, nobody, can stand on the balcony, quietly observing the movement flowing down there in the street.

Milan, May 2009