Has Anyone Ordered A Mechadoll

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)

Gays Social Clubs In Alabama

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

What To Write Bachelorette Party

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.