Between the end of the 18th and the beginning of the 19th century, the cultural atmosphere in Italy was influenced by the Ideologists and still conditioned by the followers of the sensualistic tradition. The new philosophy encountered fierce opposition; philosophers refused to come to term with the fundamental texts of Criticism, which were beyond their reach also because of the language. But besides this theoretical opposition to Criticism, that was strongly influenced by the French negative interpretation of Kant, there were (...) also scholars who began to translate Kant’s writings. Interesting is that they were not philosophers but government officials with a good knowledge of the German language. (shrink)

This is the first complete, one-volume English translation of the ancient Chinese text Xunzi, one of the most extensive, sophisticated, and elegant works in the tradition of Confucian thought. Through essays, poetry, dialogues, and anecdotes, the Xunzi articulates a Confucian perspective on ethics, politics, warfare, language, psychology, human nature, ritual, and music, among other topics. Aimed at general readers and students of Chinese thought, Eric Hutton’s translation makes the full text of this important work more accessible in English than ever (...) before. Named for its purported author, the Xunzi has long been neglected compared to works such as the Analects of Confucius and the Mencius. Yet interest in the Xunzi has grown in recent decades, and the text presents a much more systematic vision of the Confucian ideal than the fragmented sayings of Confucius and Mencius. In one famous, explicit contrast to them, the Xunzi argues that human nature is bad. However, it also allows that people can become good through rituals and institutions established by earlier sages. Indeed, the main purpose of the Xunzi is to urge people to become as good as possible, both for their own sakes and for the sake of peace and order in the world. In this edition, key terms are consistently translated to aid understanding and line numbers are provided for easy reference. Other features include a concise introduction, a timeline of early Chinese history, a list of important names and terms, cross-references, brief explanatory notes, a bibliography, and an index. (shrink)

The paper is focused on the intedermination in compositive processes. In particular on John Cage. The art and the thought of Cage were a response to the growing complexity of the world through a practice and a reflection that focuses heavily on the concept of emptiness, understood as technical decentralization of: the author of the musical structure and the individual and of the same identification of sounds. This complexity results from a network of independent nodes, subjects, activities and institutions that (...) interact in no particular order. You can no longer assume the existence of an ultimate subject for whose wisdom assumes all sense. There is no longer any author. Events happen randomly. Relinquishing control is one of the main themes running through the compositional work of Cage. (shrink)

The object of this investigation is the connection between dance and modern philosophy. The body has been disciplined in modern era in a very peculiar way which is conveyed into governmental processes of optimization of the bodily potentiality. Dance has not only an aesthetic value but a political one. In this contribution I analyse the government of the body through disciplined movement and the research for the intensive variations in the contemporary sperimental 'contact improvisation'.

Legal apparatus looks like a set of norms which rely on a rational project of life, yet it is possible, following Deleuze but also Hume and Kafka, to recognise the irrational aspect of this system. Is the law a dream? In what relation is the law with the subject? If the legal subject acts in a dream, what are the results? This paper develops around such questions with the aim of critically reflecting on the foundations of subjectivity and its connections (...) with the legal normativity that requires obedience as the main form of respect and adherence. In this apparently free and creative present, which is unfolded on a digital codex of information, it seems relevant to be highly suspicious of the barriers that are going to be tightened more and more around thought and its potential creative evolutions. Can we think of – beyond the legal/illegal, obedient/disobedient dichotomy – a system of social relations that, instead of giving space to the permanent and repetitive features of subjects, discovers a wider margin of affective, innovative and creative connections in response to the behavioral exemplifications of diktats? (shrink)

The digital represents an oppressive apparatus of control or a new horizon for liberation? This article frames a post-deleuzian and post-guattarian line of though about the digital and the politics. Control and discontinuity of affections are the two poles for a reasoning about our involvment in the digital and our awareness of risks and opportunities. If we assume that the contemporary is characterized by the pulverization of the real, and that from the thanatology of the twentieth century could hardly be (...) born a 'providential' technology at the same time thanatology can’t stop the entropic being, which transcends all ambition of autonomy of matter. The machines were built in the frame of segmentation, but the ontological instability is able to give form to a different and new releases. However, a reflection on new technologies leads us to understand that the affectivity of matter, its discontinuities, while constituting a virtual source of potentiality with 'machinic heterogenesis', does not 'escape' the power, but urges the control to raise new challenges not in opposition but in affinity. In this mimetic interaction, then, should continue to reflect, remembering always the lure of Deleuze to irony and humour, on possible differential practices for limiting the disciplines in order to move the entropy in the logic of the database, under the sign of an aesthetics of affection, renewing the an-aestheticized subjectivity of contemporary. (shrink)

Confronting different contemporary sources from philosophy and poetry, this article provides a trace of the emerging reflections on the question of political identity as person/face/mask that can be recognized. The article is focused on authors from Eastern Europe, the post-communist one, where, in recent years, a psychoanalytic perspective on politics has put in place the topic of void, lack, absence as an ineludible tool for facing identity. In the case of the mask, one can see the face and both the (...) holes of the eyes, from which a person can see the world. If the face of the mask is immediately visible, what is behind the holes of the eyes is not. In a political perspective, this double of the mask is very disturbing, since it is the mark of a hidden presence, and not of the absence of the look. With this metaphor I would introduce the issue of absence which is strongly felt and claimed, by many contemporary authors, about the political intentionality. The absence is often the first level of the interpretation of phenomena, as in the case of the mask’s holes and may represent a danger for the legitimation and justification of masses manipulation. Also, the recurrent spatial metaphors linked to the lack/absence, with particular reference to the lack of a political subjectivity, may let possible a reflection on the possibility to react to neoliberal policies and other related forms of oppression rooted into the belief of passivity of subjects (holes apparently without a look). (shrink)

1. Sae sidae rŭl yŏrŏ gan saramdŭl -- 2. Ŏdum ŭi sidae.