_Bringing Out the Dead_ Directed by Martin Scorsese (Paramount Pictures Corporation and Touchstone Pictures, 1999).

This book offers an original and detailed reading of Plato's _Republic_, one of the most influential philosophical works in the emergence of Western philosophy. The author discusses the _Republic_ in terms of discursive events and political acts. Plato's act is placed in the context of a politico-discursive crisis in Athens at the end of the fifth and the beginning of the fourth century B.C that gave rise to the dialogue's primary question, that of justice. The originality of Dr. Ophir lies (...) in the way he reconstructs the _Republic's_ different spatial settings - utopian, mythical, dramatic and discursive - using them as the main thread of his interpretation. Against the background of Plato's critique of the organisation of civic-space in the Greek _polis_, the author relates the spatial settings in the Plato text to each other. This provides a basis for a re-examination of the relationship between philosophy and politics, which Plato's work advocates, and which it actually enacted. (shrink)

Machine generated contents note: 1.Lost Spaces -- Sandy Island -- Leningrad -- Arne -- Old Mecca -- New Moore -- Time Landscape -- The Aralqum Desert -- 2.Hidden Geographies -- The Labyrinth -- Zheleznogorsk -- The Underground Cities of Cappadocia -- Fox Den -- North Cemetery, Manila -- North Sentinel Island -- 3.No Man's Lands -- Between Border Posts (Guinea and Senegal) -- Bir Tawil -- Nahuaterique -- Twayil Abu Jarwal -- Traffic Island -- 4.Dead Cities -- Wittenoom (...) -- Kangbashi -- Kijong-dong -- Aghdam -- Pripyat -- The Archaeological Park of Sicilian Incompletion -- 5.Spaces of Exception -- Camp Zeist -- Geneva Freeport -- Bright Light, 4 Mures Street, Bucharest -- International Airspace -- Gutterspace -- Bountiful -- Mount Athos -- Ranch of Sprouts: Brotas Quilombo -- FARC-controlled Colombia -- Hobyo -- 6.Enclaves and Breakaway Nations -- Baarle-Nassau and Baarle-Hertog -- Chitmahals -- Sealand -- United Kingdom of Lunda Tchokwe -- Gagauzia -- 7.Floating Islands --. (shrink)

Ce texte a déjà paru sur le site Fugitive Philosophy. Fleeing the Disciplines fear of a wet planet (rhythm I) Drexciya (descending AfroMer) We should linger here for a long while on rhythm : it is nothing other than the time of time, the vibration of time itself in the stroke of a present that presents it by separating it from itself, freeing it from its simple stanza to make it into scansion (rise, raising of the foot that beats) and (...) cadence (fall, passage into the pause). Thus, rhythm (...) - Philosophie – Nouvel article. (shrink)

This paper is positioned within broader scholarly debates about ritual‐religious and psychological elements underlying the phenomenon of altered states of mind in Egyptian Muslim contexts. This research examines the intricate relationships between ritual, consciousness, and the unseen/unknowable world reflected in the imagination and practices of urban and rural communities belonging administratively to the city of Tanta in Egypt. This comparative study proposes that the image of the embodied invisible Other, in both benevolent and malevolent forms, impacts the state of (...) consciousness of persons participating in two different rituals, the zikr (remembrance of God) and the zār (the exorcism of spirits). This inquiry concentrates on the transformation of the states of people's consciousness, namely the majzūb (those mystically attracted to God) and the malbūs (those possessed by spirits), through embodied engagement with the invisible Other that is made visible through participation in the ritual performances of the zikr and/or the zār. Rituals performed by Egyptians, particularly those who experience altered states of consciousness, display both a psychic (emotional) experience and an encounter with the invisible Other that may be depicted as divine or otherwise non‐divine. Each case of the zikr ritual and zār cult relates to its participants' perception of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Invisible ChildrenMaureen KelleyИсчезаю в весне,в толпе,в лужах,в синеве.И не ищите.Мне так хорошо...I fade into spring,or into a crowd,or into a puddle,sometimes into the blue.There's no sense in looking for me.I feel fine...—¾"Absentee" by Arvo Mets"You have to go through Lesha to get to Danil," Alexandra told me. Lesha was a small but unmoving dog with matted hair and a fierce growl. The dog was pressed against the (...) little boy, who looked no more than three or four years old. Alexandra later told me he was eight. Danil was wearing a Spider Man shirt that was four sizes too big and came down to his feet and mismatched sandals. He was huddled against his dog not only for security but warmth. His tiny arm circled Lesha's neck and he looked at me with a mix of curiosity and caution. I knelt and put my hand out for Lesha to smell me. Apparently I didn't pass the smell test. The dog didn't budge from his post. We stood like that for a long time, at the base of the steps to the shelter. I tried the few Russian words I had learned while visiting as a volunteer. The dog didn't understand my broken Russian, or pretended not to, but I managed to get a shy smile from Danil.Alexandra, a nurse volunteer at the shelter, eventually mediated the standoff by giving Lesha, the dog, a cookie. I introduced myself to the little boy. And just like that, he leaned up against me and put both arms around my legs. It didn't matter that I was a stranger, and a stranger who spoke terrible Russian. "Spidey" was an affectionate little guy. He gripped my hand while Alexandra led us up the steps and Lesha followed close behind. Inside was a small room, warm and full of color. One wall was covered in kids' drawings. Another had public health posters in Russian, some with instructions for condom use, others on literacy. There were about fifteen kids in the shelter that afternoon. The young ones were drawing pictures at a low table. Two teenage boys were hunched over a small TV playing a video game. There was only one teenage girl, Irina. She was cooing at the little kid's drawings, showing one girl how to draw a princess. Alexandra said quietly to me, "Most of the teenage girls are only here in the morning. The rest are back at work right now." I found out later "back at work" meant on the streets as sex workers. This city was frequented by businessmen and itinerant workers heading to the factories or lumber mills in the North. The best money for homeless girls was in prostitution. Danil unwrapped himself from me and ran over to the two older boys playing video games. One put his controller down long enough to pull Danil into his lap. The three boys stared intently as Super Mario hopped from mushroom to magic cloud, golden coins spinning above his cartoon head.To the right of the main room was a closet-sized office for the shelter director, Anya, a pediatrician who donated her time to running the shelter for homeless and orphaned youth living on the streets. Alexandra and I stood in the doorway waiting for Anya to finish a phone conversation. Her desk was covered in papers. Behind her were photos of the kids who had "graduated" from the streets. There were cards and letters pinned to a cork board. When [End Page E4] she finished, Anya greeted us with bear hugs and showed us to the clinic area. Next to her office was a small bathroom with a shower and tub. She explained that bath days were on Wednesdays. Around back, with a separate entrance was the small clinic space. The outside metal door had a sliding window that you see at some nightclubs. They ran a needle exchange program out of that door. It was funded for street youth, but from time to time they would get adult addicts. Anya was adamant that this side of the clinic remain separate from the central space for the children. In reality the distance... (shrink)

The City is a dynamic living narrative, an unfolding autobiography, a melding of countless invisible stories; unravelling not in words but in movement, fear, desire, need, coupling the daily of living. The city seen is a narrative; meaning definition is found not in the narrative but in the illegible depths of the unseen city. Art practices of every kind are one fragment of the ever-unfolding narrative. New technological possibilities have also revolutionized the way the narrative of the City can (...) be ‘told’ and ‘reproduced’. Narrative is transcribed into a new cultural code through technological advances. Many works of art tell stories; indeed, most of the humanities involve stories. This article is going to study a number of innovative projects in digital art: locative media and interactive media. They all reveal how City is seen by them through their ‘stories’ and narratives. It will explore further the role of story-telling processes. All projects are site specific, participatory and interactive. They also have the capacity to map hybrid city in a mobilized and digital world. How do we picture urban life and formulate our experience of it? How can this experience be reflected via new technologies? Do new ways of narrative and story telling emerge through new technologies? How does audience respond to these practices? Can these practices be a cinematic means of digitalized story telling? These are some of the questions that will be answered in this article. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Soldiers of the Invisible Front: How Ukrainian Therapists Are Fighting for the Mental Health of the Nation Under FireIrina Deyneka and Eva RegelIrina DeynekaWhen the Russian army attacked my country, I became a volunteer for a hotline offering psychological support to those in crisis; refugees, those who were under the shelling, those who were hiding in bomb shelters, and who were directly in the zone of fighting. People (...) were lost and disoriented by constant bombing, by the fact that their country was under attack. Once, I had a woman who lived in Mariupol on one of these calls. I was living then in another city, Odessa, but was experiencing the same horrors of war that my client was—the shelling, uncertainty, and despair. We were processing my client’s feelings of grief and anxiety when I heard the sirens on her end. I offered to stop our session so she could seek shelter. She told me she would not have time to find shelter and wanted to continue our meeting. And so, we continued... But soon, Odessa’s sirens broke the silence, and it was my turn to decide what to do; should I continue our session or try to find a bomb shelter for myself? I decided to stay because I thought that was the right thing to do morally, professionally, and personally.I eventually left Odessa, but only after a bomb destroyed a house next to mine, and I saw a family, my neighbors, perish in the destruction. I am now a member of one of Slovakia’s Non-Governmental Organizations (NGOs) and work in a mobile brigade providing medical and psychological support to refugees. I can remember every one of my clients. Children, adults... I can remember their stories, their traumas, their memories of the horrors of war and devastation. Sometimes I meet with them only once, and they move on to another refugee center or are on their way to a Western part of Ukraine, trying to escape the war. And frequently, I do not know how many sessions I will be able to have with clients. Sometimes it is only one time, and sometimes we can meet for many months. Initially, I thought, What can I do in one therapy session? Now, I know that I can do a lot. I can provide people who survived the most inhuman conditions and witnessed death and destruction around them with a space and time to talk through and process their experiences. I am their support, and they lean on me as they try to make sense of what has happened to them and their country. I always tell my clients that my goal as a psychotherapist is to help them withstand, survive, and hold on while still being able to continue to function in a country at war. All I can do is treat each of the therapy sessions as our last one and try to provide as many strategies and skills as possible to cope with anxiety and depression, to be able to function, and to live in the present.Every session is about installing hope, moving slowly forward, and away from traumatic events. One of my clients, a 14-year-old boy, was diagnosed with a neurological condition, involuntary facial muscle spasm, or tics. He was barely talking when I first saw him, and I decided to use art therapy as a trauma-processing tool during one of the therapy sessions. He was drawing an explosion, fire, and destruction of his neighbor’s house. He blacked out the horrors of his experience to preserve his strength. Yet, he began slowly remembering his experiences, re-creating the story of his trauma, and making memories. I was fortunate to work with [End Page E4] him for many months, carefully and thoughtfully helping him re-create the sorry of his trauma, helping to become its witness. Ultimately, it was great to see that he could control his memories and his emotional stress; he felt empowered and in control.Eva RegelThis is the story of Irina Deyneka, one of many Ukrainian psychotherapists working in Ukraine, providing mental health support to a nation ravaged by... (shrink)

This philosophical narrative delves into deepening crises afflicting modern democracies, when extreme inequality and its resultant alienation grips not just adults but, even more anguishingly, children. These children and often their parents come in far under the social radar, so out-of-touch that even census takers overlook them. In this milieu, weapons and narcotics are as much an unquestioned part of life as breathing. The world beyond this invisible cage entirely escapes them, nor does the larger society miss them or (...) know about them. This documentary narrative follows a thirteen-year-old who forces himself to escape his oblivious father, not out of hope, but for sheer escape from the execrable situation, without even the will to be himself, whatever that is. He also must navigate through his nightmare existemce, relying on an illicit business, the only thing he knows as well as breathing. If the individuals in this milieu--which cut across racial boundaries--ever even hear of voting, they are drawn to strong-arm politicians, who appeal to these scattered inhabitants, as examples of strength, no-nonsense, even hatred. The ethics of such circumstances' mere existence--further extreme than even those in Les Miserable--in our societies poses a formidable challenge to the ethics of social and political philosophy and are hardly touched upon in the academic literature. The central philosophical question is whether it is possible for a political system to preempt such conditions, particularly when these individuals, especially the children, are veritably invisible. The metaphilosophical issue is why philosophy does not focus more concern about this ignored human morass. To say an indictment of soiciopolitical philosophy is not justified here, that the persons encountered here are merely messed-up self-indulgent people, only adds cause to the charge. (shrink)

Italo Calvino’s Invisible Cities presents a wide array of possible cities—cities whose composition turns on a productive ambiguity of their being described or invented by Marco Polo in his conversations with Kublai Khan. Implicit in this book is also a theory about how all possible cities are composed. The method turns on decomposing a city down to its basic elements and recomposing it in different ways through the imagination. I argue that there is a close (...) affinity between Calvino’s theory of fictional cities and Leibniz’s theory of possible worlds. The main similarity is that both theo­ries are combinatorial—they suppose that possibilities are produced by combination and variation of basic elements. The paper presents Leibniz’s theory of possibility in its metaphysical context and explores the similarity with Calvino’s cities in their literary context. I suggest that there is a rather strong relation between the theory of literary fiction implicit in Invisible Cities and Leibniz’s theory of possibility, in that both define the possible in terms of the conceivable. Indeed, Leibniz often refers to literary examples to substantiate his position, and I argue that this reveals an essential feature of his theory. (shrink)

Literary renditions of cities have always gravitated towards the spatial imagination and its ethical counterpart outside the textual space. This paper explores the multicultural geography of the North Indian city Allahabad observed through Neelum Saran Gour’s postcolonial narratives Allahabad Aria and Invisible Ink, projecting the narrative alignment of spatial aesthetics and cultural ethics. Interrogating the spatial dimensions of a “narrative world” within narrative theory and its interdisciplinary crossover with cultural geography, the article seeks to examine Gour’s literary city (...) not simply as an objective homogeneous representation, but as a “kshetra” of spatio-cultural cosmos of lived traditions, memories, experiences and collective attitudes of its people, in the context of E. V. Ramakrishnan’s theoretical reflections. The article proposes new possibilities of adapting the Indian concept “kshetra” to spatial literary studies; its aim is also to suggest a new source of knowledge about the city of Allahabad through a community introspection of “doing culture” in the texts, bringing into view people’s shared experiences, beliefs, religious practices and traditions as offshoots of the postcolonial ethos. The article aims to re-contextualize the city’s longstanding multicultural ethics in the contemporary times of crisis, which may affect a shift in the city’s relevance: from regional concern to large-scale significance within ethnically diverse South Asian countries and beyond. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 151-176 [Access article in PDF] Beyond the Comedy and Tragedy of Authority: The Invisible Father in Plato's Republic Claudia Baracchi They say that, when asked who the noble are, Simonides answered: those with ancestral wealth. --Aristotle, fr. 92 Rose When the victor of the mule-race offered him only a small recompense, Simonides would not compose a poem, for he could not endure poetizing (...) in honor of half-asses; but on being offered an adequate amount he wrote, "Greetings, daughters of storm-footed horses!" Yet, they were daughters of the asses also. --Aristotle, Rhet. 1405b Socrates was driving them to agree that the same man could know how to compose both comedy and tragedy and that a skillful tragic poet could also be a comic poet. They were thus driven, though hardly following and getting drowsy; Aristophanes fell asleep first and, as day was breaking, Agathon also. --Plato, Symp. 223d Introductory remarks What follows is a reading of Plato's Republic in the light of Aristophanes' Clouds. More precisely, what is here offered is the bare outline of such a reading--a set of preliminary notes that, by illuminating the inceptive stages of the Republic (especially book 1), constitutes a propaedeutic to the interpretation of the Platonic dialogue as a whole. Questions that one would typically be expected to raise in this context, questions regarding the relation of philosophy to poetry, the nexus between the Aristophanean and the Platonic Socrates, or Aristophanes' comedy in connection with the fate of the historical Socrates, will here remain unaddressed or will be touched upon only marginally (and obliquely). Far from accidental, this qualified [End Page 151] silence reflects a certain reluctance simply to take up these issues in their time-honored formulations and to speak under the force of their dictation. In this way, perhaps (and only perhaps), motifs of the Platonic discourse that would otherwise remain almost imperceptible if not altogether inaccessible--despite their pervasiveness--may come to show themselves.Leo Strauss wrote that Plato's Socrates may be seen, at least in part, as "a reaction or response to the Aristophanean Socrates" (1966, 316 n 20). The present study articulates the suggestion that the dialogue on the Republic may be understood as a response to Aristophanes' Clouds. Indeed, we shall see how the dialogue makes its own the problems delineated in the comedy, how it rewrites them, and how it unfolds in an attempt to address them. In spite of its remoteness from the tone and mode of the comedy, the Platonic text offers a meticulously punctual, even contrapuntal transcription of the main thematic features of the Clouds--as if an infinitely compelling provocation were to be found there, calling for thinking. The philosophical venture seems to be called forth and stem from such ground--as if comedy were the matter (indeed, the subject matter) of philosophy.Emerging from this interpretive approach to the Republic is the centrality of the figure of paternity, namely, of authority and instituted power. The Clouds depicts fatherhood in its dejection and loss of credibility. What this caricatured remnant of paternity signals is the simultaneous collapse of the orders of the divine, of ancestral authority, and of legality. This is the plexus of problems taken up in the Platonic dialogue.But the question of decay and the dying of the city mark the opening of the dialogue in a rather inconspicuous, even unapparent way. In the Republic, all terms are reversed. Indeed, the rendition of paternity one finds in the Republic is virtually opposite to the risible father of the comedy. Here, a dignified old man commanding respect seems to safeguard the integrity of the family, and hence the stability of the polis, both in its intrapolitical-juridical structures (regulating communal interaction) and in its relation to the gods, to its beyond. Yet, in spite of this inversion, it will become apparent that paternal authority has become an empty simulacrum. Simultaneously, the relation to the gods has become mere commerce, ancestral authority is invoked as a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 151-176 [Access article in PDF] Beyond the Comedy and Tragedy of Authority: The Invisible Father in Plato's Republic Claudia Baracchi They say that, when asked who the noble are, Simonides answered: those with ancestral wealth. --Aristotle, fr. 92 Rose When the victor of the mule-race offered him only a small recompense, Simonides would not compose a poem, for he could not endure poetizing (...) in honor of half-asses; but on being offered an adequate amount he wrote, "Greetings, daughters of storm-footed horses!" Yet, they were daughters of the asses also. --Aristotle, Rhet. 1405b Socrates was driving them to agree that the same man could know how to compose both comedy and tragedy and that a skillful tragic poet could also be a comic poet. They were thus driven, though hardly following and getting drowsy; Aristophanes fell asleep first and, as day was breaking, Agathon also. --Plato, Symp. 223d Introductory remarks What follows is a reading of Plato's Republic in the light of Aristophanes' Clouds. More precisely, what is here offered is the bare outline of such a reading--a set of preliminary notes that, by illuminating the inceptive stages of the Republic (especially book 1), constitutes a propaedeutic to the interpretation of the Platonic dialogue as a whole. Questions that one would typically be expected to raise in this context, questions regarding the relation of philosophy to poetry, the nexus between the Aristophanean and the Platonic Socrates, or Aristophanes' comedy in connection with the fate of the historical Socrates, will here remain unaddressed or will be touched upon only marginally (and obliquely). Far from accidental, this qualified [End Page 151] silence reflects a certain reluctance simply to take up these issues in their time-honored formulations and to speak under the force of their dictation. In this way, perhaps (and only perhaps), motifs of the Platonic discourse that would otherwise remain almost imperceptible if not altogether inaccessible--despite their pervasiveness--may come to show themselves.Leo Strauss wrote that Plato's Socrates may be seen, at least in part, as "a reaction or response to the Aristophanean Socrates" (1966, 316 n 20). The present study articulates the suggestion that the dialogue on the Republic may be understood as a response to Aristophanes' Clouds. Indeed, we shall see how the dialogue makes its own the problems delineated in the comedy, how it rewrites them, and how it unfolds in an attempt to address them. In spite of its remoteness from the tone and mode of the comedy, the Platonic text offers a meticulously punctual, even contrapuntal transcription of the main thematic features of the Clouds--as if an infinitely compelling provocation were to be found there, calling for thinking. The philosophical venture seems to be called forth and stem from such ground--as if comedy were the matter (indeed, the subject matter) of philosophy.Emerging from this interpretive approach to the Republic is the centrality of the figure of paternity, namely, of authority and instituted power. The Clouds depicts fatherhood in its dejection and loss of credibility. What this caricatured remnant of paternity signals is the simultaneous collapse of the orders of the divine, of ancestral authority, and of legality. This is the plexus of problems taken up in the Platonic dialogue.But the question of decay and the dying of the city mark the opening of the dialogue in a rather inconspicuous, even unapparent way. In the Republic, all terms are reversed. Indeed, the rendition of paternity one finds in the Republic is virtually opposite to the risible father of the comedy. Here, a dignified old man commanding respect seems to safeguard the integrity of the family, and hence the stability of the polis, both in its intrapolitical-juridical structures (regulating communal interaction) and in its relation to the gods, to its beyond. Yet, in spite of this inversion, it will become apparent that paternal authority has become an empty simulacrum. Simultaneously, the relation to the gods has become mere commerce, ancestral authority is invoked as a... (shrink)

Although the majority of young children now spend time in nonparental child care, we know relatively little about who provides this care and how its costs are distributed among parents, government, and other family members. In this article we use data from a survey of New York City families with children younger than six to estimate the contribution of parental expenditures, government assistance, and the market value of “donated” caregiving time by family, friends, and relatives. We conclude that uncompensated caregivers (...) provide a substantial share of child care that is “invisible” in conventional economic measures. (shrink)

Through publicness we offer a reconceptualization of marginality in the city, one that makes apparent the “inherent porosity” of the boundaries that organize urban life (Harvey 2006, 19). Our analysis attends to moments of publicness during fieldwork spent in various spaces within the city of Ottawa, Ontario, with individuals who use drugs and/or panhandle. Much of this research took place in central neighborhoods of Ottawa, which serve as the public image of the nation’s capital: Lowertown to the East of Parliament (...) Hill, and Centretown to the South. These neighborhoods hold the largest concentration of national and historical monuments in the city. They also contain the largest concentration of public marginality, including a cluster of homeless shelters and harm reduction services. In this article we examine this paradox of urban marginality and the limits of exclusion for conceptualizing it. While marginal individuals are deemed invisible, unimportant, and apart from “normal” city life, they are present and visible, perhaps more visible than anyone else. Even from marginal positions individuals remain affective participants in the space of the city, and constitutive of the urban experience. (shrink)

The Japanese “new religions” active in Kinshasa nearly all perform healing through the channeling of invisible divine light. In the case of Sekai Kyūseikyō, the light of Johrei cannot be visually apprehended, but is worn as an invisible aura on the practitioner’s body. This article discusses the trans-cultural resonances between Japan and Central Africa regarding the ontology of spiritual force, regimes of subjectivity, and the gradual embodiment of Johrei divine light as a protection against witchcraft. Meanwhile, I argue (...) that religious multiplicity in urban Africa encourages cultural reflexivity about concepts of health and healing, self-responsibility, and Pentecostal suspicion-mongering of occult sciences. Thus, Johrei divine light not only feeds into a longstanding local tradition of spiritual healing; within the religiously multiple city, it is also a discursive space for, and an experience and performance of, emic critique. (shrink)

When infrastructural technology is functioning correctly, it is often considered to recede from view and become invisible. According to this perspective, visibility is restored in cases of breakdown and malfunction, which for this reason, are often understood to represent important epistemic opportunities for grasping previously hidden aspects of infrastructure. This article seeks to outline the limitations of the idea that infrastructural failure has a positive epistemic function by distinguishing between two fundamentally different ways in which the nature of technological (...) function can be conceptualised; the first understands function as stemming primarily from the way a technology was designed and produced, the second as a process sustained by constant human activities of maintenance and repair. After illustrating how a number of recent studies of infrastructure build upon insights granted by the latter process perspective, this article aims to demonstrate how the experience of breakdown itself does little to facilitate a shift towards understanding infrastructure in this way. For this reason, this article ends with a suggestion for a shift in emphasis in studies of infrastructure, away from breakdown and towards a sustained examination of everyday practices of maintenance, repair and modification of infrastructural technologies. (shrink)

One of the most predictable implications of photography consists of the ability to fix some images returning them in a variable timeframe for the observation. In all the major world cities, it is common to incur in some book where recent photos are compared to old ones searching the same point of view in order to make the comparison more accurate and stimulate the critical ability of the observer. An exercise that sometimes stimulates a sort of regret for the (...) past, pointing out a diffused excess of nostalgia for times gone by. Nevertheless, the reality and meaning of modern city images are not always so prosaic. What happens when photographs are evocative of a reality that is completely lost in the collective imaginary even though it still exists and functions, despite being forgotten and buried in the depths of the city? This is the case of very few pictures capable of telling the story of a city, Milan, and its only “real” river, the Olona, whose waters, humiliated and rejected, continue to flow in total amnesia. It is a different story when photography does not have the role of nourishing nostalgia, but the power to make visible and explain the variation of a presence and its progressive obliteration. Some pictures testify to the passage from the bucolic amenity of the river and its banks in a pre-urban context to a muscular urban infrastructure. A rigid channelized river, shown with confidence, is trying to keep its presence, until the moment of its inevitable decline and disappearance. It is in these images that the possibility of reconsidering the Olona as a part of the new project for the city lies. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: (...) narrow corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

In this paper, we identify and discuss some of the ethical problems associated with digital sensors used to detect water contamination and air pollution in the United States. Such safety devices are often deployed unsystematically and with questionable efficacy, thereby structuring the life chances of people in unequal ways. Whereas most technological infrastructures are hidden from view . or at least from active awareness . until they cease to function, those infrastructures meant to monitor and/or regulate largely "invisible" public (...) health dangers resist public awareness even when they fail. Because such detection systems tend to indivi-dualize responsibility for reducing risk, the systems may normalize and perhaps exacerbate root problems of contamination and unequal exposure. One ethical challenge is to render such systems and their failures legible. (shrink)

In vertebrate and invertebrate nonmuscle myosins, light‐ and heavy‐chain phosphorylation regulate myosin assembly into filaments, and interaction with actin. Vertebrate non‐muscle myosins can exist in vitro in three main states, either ‘folded’ (assembly‐blocked) or ‘extended’ (assembly‐competent) monomers, and filaments. Light‐chain phosphorylation regulates the ‘dynamic equilibrium’ between these states. The ability of the myosin to undergo changes in conformation and state of assembly may be an important mechanism in regulating the organization of the cytoskeleton and cell motility.

In this afterword I will try to re-launch the inquiry into the causes of good-bad polity and good-bad relationships between man and society, individual and institutions. Through an analogy between Einaudi’s search for good government and Calvino’s “Invisible cities”, I will sketch an account of the human and invisible foundations – first of all: trust/distrust – of any good-bad polity.