Chthulucene

Entro il 17 febbraio 2021 è possibile iscriversi alla Corso 3 - Donna Haraway, Chthulucene. Sopravvivere su un pianeta infetto, promosso dall’Atelier Narrazioni, spazio di ricerca transdisciplinare di IAPh Italia - Associazione Internazionale delle Filosofe, con il sostegno del Master in Studi e Politiche di Genere dell’Università Roma Tre.
Il corso è dedicato allo studio del volume della filosofa e biologa californiana, attraverso l’adozione di una metodologia che unisce “close reading”, lettura diffrattiva e ricerca postqualitativa. Il corso mira a rendere accessibili gli strumenti lessicali, narrativi e teorici del pensiero più recente di Donna Haraway, utili per figurare la particolare congiuntura storica attuale. Il corso è a cura di Isabella Pinto

RESUMO: O principal objetivo deste trabalho é oferecer uma possível resposta para a pergunta “o que podem os filósofos e filósofas diante das mudanças climáticas?”. Inspirado na geofilosofia de Gilles Deleuze e Félix Guattari, este trabalho busca entrever as linhas gerais de uma gaiafilosofia. Para isso, primeiramente, retoma-se dois elementos importantes da geofilosofia, a saber, (1) o papel central do conceito no pensamento filosófico e (2) a relação do pensamento com o território e a terra. Em seguida, destaco duas práticas importantes para a constituição de uma gaiafilosofia: (1) o trabalho do conceito, termo inspirado em Deleuze e Guattari e também em Isabelle Stengers, e (2) as artes da atenção, ideia stengersiana e também relacionada à pesquisa da antropóloga Anna Tsing. De modo a esclarecer e desenvolver essas duas práticas, coloco na forma de quatro perguntas problemas teóricos contemporâneos que necessitam de novas formas de atenção e de cuidadoso trabalho conceitual. As perguntas são: (1) “como redescobrir Gaia?”; (2) “em que tempo vivemos?”; (3) “quem são os habitantes da Terra?”; e (4) “Como viver juntos?”.
PALAVRAS-CHAVE: Geofilosofia. Gaiafilosofia. Cosmopolítica.

ABSTRACT: This paper’s main aim is to offer a possible answer to the question “what can philosophers do in the face of climate change?”. Inspired by Gilles Deleuze and Félix Guattari’s geophilosophy, this work seeks to glimpse the outline of a gaiaphilosophy. In order to achieve it, firstly, I go over two important elements of geophilosophy, namely (1) the central role of concepts in philosophical thought and (2) the relation of thought to the territory and the earth. After that, I highlight two important practices for the constitution of a gaiaphilosophy?: (1) the labor of the concept, a term inspired by Deleuze and Guattari and also Isabelle Stengers, and (2) the arts of attention, a stengersian idea also related to Anna Tsing’s anthropological research. In order to clarify and develop these two practices, I present, in the form of questions, four contemporary theoretical problems that need new forms of attention and careful conceptual labor. The questions are: (1) “how to rediscover Gaia?”; (2) “in what time do we live?”; (3) “who are the inhabitants of Earth?”; and (4) “how to live together?”.
KEYWORDS: Geophilosophy. Gaiaphilosophy. Cosmopolitics.

This is a discussion of what I call Le Guin's dark realism. A version of this paper was presented at the conference Héritages d'Ursula Le Guin. Science, fiction et éthique pour l'Anthropocène which was held in Paris between the 18th and 21st of June 2019.

The paper itself is an early version of an extended effort to come to terms with Le Guin's writing, and particular with Le Guin's understanding of the relationship between writing and the environment. This version of the paper is particularly interested in questions of time in Le Guin, though the discussions of time in this text are-- in the opinion of the author-- somewhat inchoate. I nevertheless leave the text on the site with the assumption that it may be of interest to some, if only as an illustration of how not to get our minds around a difficult writer.

This essay situates Jamaal May’s 2014 poem “Mechanophobia: Fear of Machines” within a Black Anthropocene discourse that traces its genealogy to the work of Octavia Butler, through the writing of contemporary science fiction writers like adrienne maree brown, in order to make clear the intersectional networks of activism and world-making that have long privileged Donna Haraway’s recent mandate to “make kin in edgy times” (2016).  I read the poem, in Haraway’s terms, as a “geostory”—“a new story for telling new stories”; and I further suggest that its narrative terrain figures a productive departure from conventional Anthropocene narratives.

This article is an analysis of key topics in Donna Haraway's Staying with the Trouble: Making Kinship in the Chthulucene. By following the game rules of the two string figures, cat's cradle (non-Indigenous) and na'atl'o' (Din'eh), the article weighs, from Indigenous perspectives, the political and ontological implications of such multispecies storytelling. Through its diffractive close reading, this paper puts in conversation Indigenous and non-Indigenous concepts and authors: Deleuzian rhizomatic deterritorialization and Indigenous self-determinacy, paradigmatic All My/Our Relations of Winona LaDuke, Leroy Little Bear, and Gregory Cajete, and the spider pimoa cthulhu. The aim is to recognize the multiplicity of forms of kinships or dependencies and to consider what kind of implications they have on marginalized assemblages. While Haraway suggests to call our contemporary planetary condition the Chthulucene, an epoch that requires from us to rethink relationality and coexistence , this paper looks at how the animacy of the world and the relationality of nonhuman and human animals in it create circumstances for "tranimals to emerge." By giving ethical consideration to our material animacy, tranimacy will serve as a tool to analyse the entanglement of nonhuman and human animals, trans materiality, and questions relating to agency.

This essay is an attempt to link aspects of Kierkegaard’s experimental
writings with new contemporary ecological perspectives which—in the act of interpenetration—are fusing philosophy, science, literature, anthropology,
political thought, new economic perspectives, and visual and sound media, in order to open up new ways to live and flourish on a damaged planet—in our “age of disintegration.” I present Kierkegaard’s diagnosis of his time as “the age of disintegration” (from 1848) as something that can be connected to the contemporary socio-political conditions in late modernity, and to the new epoch on the horizon which we are now experiencing. I interpret Kierkegaard’s expression “out into the middle of life” as the kernel of Kierkegaard’s authorship of interruption and unsettling. I argue it can be implicitly included in aspects of ecological perspectives offered by innovative writers today.

https://www.degruyter.com/view/journals/kier/24/1/article-p437.xml?language=en

Post-Theories in Literary and Cultural Studies focuses on the shifting paradigms in literary and cultural studies. Prompted by the changes and problems on the global scale, the last two decades have seen a resurgence of scholarly interest in theories which are more embedded in the social realities and human condition. This volume shows that theory can reinvent theory and re-define criticism according to the demands of the new millennium. In this context, it examines new ways of considering the relation of post-theory to the concepts such as ethics, aesthetics, truth, value, authenticity, human, and reality to understand the mindset of the new century. This volume presents the various suggestions and concerns of post-theoretical studies that reflect the sensibilities of the contemporary social and cultural life. The book is a source of reference to develop an understanding of this change of attitude in post-theoretical studies towards a more directly and sincerely responsive approach to the current problems worldwide, their representations in literature and language, reflections in theory, roots in socio-political domains, and effects on the material reality.

This review focuses on the often-overlooked theological aspect of Donna Haraway’s work, the formation and clarification of Haraway’s biopolitical position, and its affirmation of the necessity of adopting a narrative that facilitates both Living and Dying well together in the face of potential global environmental catastrophe.

Quizás es tiempo de escribir un "Mani fiesto Chthuluceno". "Mi" Chthuluceno es el tiempo de composiciones mortales que están en juego unas por otras y unas con unas. Esta época es el kainos 2 (ceno) de los poderes en desarrollo constante que son Terra, de aquellos con una miríada de tentáculos en todas sus materialidades, espacialidades y temporalidades difractadas y unidas por membranas interdigitales. Kainos es la temporalidad del espeso, fibroso y grumoso "ahora", que es y no es antiguo. El Chthuluceno es un ahora que ha sido, es, y aún está por venir. El Chthuluceno es un espacio-tiempo inexorablemente difractado (recuerden a Karen Barad sobre los campos cuánticos en Meeting the Universe Halfway). Estos poderes surgen a través de todo lo que es Terra. Son destructivo/generativos y no son el recurso secreto de nadie. No están acabados y pueden ser terribles. Su resurgimiento puede ser terrible. La esperanza no es su género, pero sí podría serlo el reclamar respons-habilidades. Las fuerzas terrenas matarán a los necios que no paran de provocar. Estos necios, asesinados pero no desaparecidos, acecharán como fantasmas en una destrucción tentacular continua. Los poderes chthónicos, generativos y destructivos a la vez, son parientes de la Gaia de Isabelle Stengers y Bruno Latour, aun cuando sus Gaias no son para nada idénticas. Pero tanto para Stengers como para Latour y para mí, Gaia y sus parientes no son la madre; son gorgonas serpentinas como la indomable y mortal Medusa; ellas no se preocupan por eso autode finido Antropos, eso que mira hacia arriba. Eso que mira hacia arriba no tiene ni idea de cómo hacer visitas, de cómo ser amable ni cómo practicar la curiosidad sin sadismo (recuerden a Vinciane Despret y Hannah Arendt). En el Antropoceno (una denominación que yo también he llegado a necesitar), las entidades chthónicas pueden unirse (y lo hacen) en una doble muerte aceleradora, provocada por la arrogancia de quienes industrializan, supertransportan y capitalizan mares, tierras, aires y aguas. En el Antropoceno las fuerzas tentaculares son las del fuego nuclear y el carbón; queman al hombre hacedor de fósiles que quema más y más fósiles de manera obsesiva, creando cada vez más fósiles en una parodia lúgubre de las energías terrestres. En el Antropoceno, las fuerzas chthónicas también son activas; no toda acción es humana, por decir lo menos. Espantosos poderes surgen, inscritos en las rocas y la química de los mares. La doble muerte ama los abismos atormentados. Las fuerzas chthónicas pueden impregnar toda Terra, y de hecho lo hacen, incluyendo a su población humana, que deviene con un amplio revoltijo de otros. Todos estos seres viven y mueren, y pueden vivir y morir bien, pueden florecer, no sin dolor ni mortalidad, pero sin practicar la doble muerte para ganarse vida. Los terrícolas, incluidos los humanos, pueden fortalecer el resurgimiento (en el sentido de Anna Tsing) de vitalidades que alimentan los apetitos voraces de un mundo exuberante y diverso. El

A classic ‘artivist’ example in times of conflict is the 1993 performance organised by architect Lebbeus Woods in Sarajevo. On the war-ravaged steps of the Olympic museum and in full view of the Serbian snipers, two actors read and distributed forty copies of Princeton’s Pamphlet Architecture, a bilingual issue authored by Woods and titled ‘War and Architecture’. Drawing from his previous projects for Berlin and Zagreb, the American architect accused the entire political spectrum of being responsible for the murderous status-quo. The solution he envisioned was empowering the inhabitants into forming a new collective actor, through a very particular architectural project: building anti-ideological ‘parasites’ directly on top of the spatial scars of the city. Woods’ eloquent drawings also generated a critical back-lash, which included being accused of having ‘certain fascist impulses’ (Leach, 1999). This article proposes a novel re-interpretation of the War and Architecture project. It links Woods’s discourse with China Miéville’s notion of salvage, as the contraction of ‘salvation’ and ‘garbage’. This kinship is further analysed in relation to the theories of Donna Haraway on the subject of ‘Chthulucene’. From this contemporary perspective, Lebbeus Woods is seen as belonging to a Chthulucene avant-garde, while his denounced bricolage aesthetics is re-considered in relation to architectural activism.

Becoming-with Water and the (Her)story of Revolting in Emmi Itäranta's Novel Memory of Water (Abstract of Master’s thesis)

My masters’ thesis makes a close reading on Emmi Itäranta’s feminist speculative fiction novel Memory of Water (2014) / Teemestarin kirja (2012), by thinking-with water as well as Donna Haraway’s ideas about a possible past, present and future story of a the Chthulucene. In her book, Staying with the Trouble. Making kin in the Chthulucene Haraway calls for an end to the stories of human exceptionalism and demands the acknowledgment of the sympoietic processes of becoming-with in which partners do not precede their relatings.

By looking at Itäranta’s novel, I examine the possibilities of becoming-with water, thus broadening the concept of becoming-with to inorganic and abiotic things. I turn to grief and the act of grieving-with, which can show our relatedness to the world in the toxic compost piles of the novel. I define both becoming-with water, as well as grieving-with as means of political resistance in a totalitarian biopower and as a revolt which stays with the trouble, having the capability to give way to the Chthulucene after a devastating boundary event of the Anthropocene/ Capitalocene. I also analyze the story from a feminist point of view, paying attention to the status of women and the emancipatory, revolutionary activity of the young female main characters. In addition to becoming-with abiotic forces of the earth in a naturalcultural history, making kin is another crucial process of the Chthulucene and in the world of the novel. Thus, the paper also deals with the possibilities of transgressive kinship across time and space that the speculative worlding of the novel gives us.

Pensare-con: come si mescola la pratica filosofica con l’arte
del racconto. Nell’opera di Anna Tsing l’intreccio con il pensiero di Donna Haraway e Ursula K. Le Guin parla di una possibile rinascita olocenica, di refugia, e di commons in alternativa alla “ecologia della distruzione” tipica dell’Antropocene

Joana Maria Soares has interviewed Ana Vaz and Tristan Bera in regard to their collaborative film "A Film, Reclaimed" (2016), ahead of its online screening as part of the DEMO Moving Image Festival 2020. The ecologic crisis is a political, economic and social crisis. It is also cinematographic, as cinema coincides historically and in a critical and descriptive way with the development of the Anthropocene. "A Film, Reclaimed" is a conversation, an essay that reads the terrestrial crisis under the influence and with the help of the beautiful and terrible films which have accompanied it. The following text is a result of their written exchange.
see http://atpdiary.com/ana-tristan-a-film-reclaimed/

Article présenté au colloque "Robots - Androïdes - Machines. Les automates entre la magie et la technique en Littérature depuis l’Antiquité", organisé par l’Université de Picardie Jules-Vernes à Bologne, Italie. Publication des actes du colloque prevue pour fin 2019.

Article presented at the "Robots - Androids - Machines" conference, organised by the University Jules-Vernes in Picardie in Bologna, Italy in May 2018. Conference Proceedings Papers to be published in the end of 2019.

This contribution will engage the reception of Donna Haraway’s theories in Italy, focusing on her first book ever translated in Italian (A Cyborg Manifesto) and the latest, Staying with the Trouble (translated as Chthulucene). The contribution will take into account the reception - and re-elaboration - of two philosophers, Rosi Braidotti and Federica Timeto, in order to demonstrate the centrality of Haraway’s philosophy in the Italian debate on post-humanism. The first personally wrote the introduction for the Italian edition of A Cyborg Manifesto, to which followed two other books in dialogue with Haraway’s theories: The Posthuman and Materialismo Radicale. The latter wrote articles on Haraway’s work, and published Bestiario Haraway, a book divided into an essay on Staying with the Trouble, and an interview with Haraway herself. The texts cited cover a period of 25 years, during which the debate on post-humanism and anthropocentrism developed and changed course many times. The reception of Haraway’s work has always been central to these discussions, from its first arrival in Italy in the 90s to today’s conversation about ecocriticism and anti-speciesism. This contribution will try to understand the evolution of ‘harawayan’ topics in Italy through the texts of her scholars, especially Braidotti and Timeto.

This chapter, centering upon the pivotal term "Anthropocene", lays out various interpretations of the concept from an ecocentric worldview. The chapter highlights that all recent endeavours signal the coming of a new era characterized by various effective efforts of restoration. These efforts are expected to create a difference in the struggle against global climate change and hopefully slow down anthropogenic climate change. Thus, it is anticipated and projected that restoration will become the face of a new epoch of optimism and compensation.

Following the ongoing debate on the nomenclature of the current moment in which we find
ourselves, in my presentation I aim to explain the proliferation of terms and definitions, and
propose a reading of some recent literary texts (Blacker Than a Thousand Midnights by
Susan Straight, The Ministry of Utmost Happiness by Arundhati Roy, and Diary of a Bad Year
by John Coetzee) which provide an illustration of the current preoccupations with the
naming of the current moment: the Anthropocene (Paul J. Crutzen), the Capitalocene (Jason
Moore), or the Chthulucene (Donna Haraway). The main focus of my presentation is on the
connection between human and nonhuman animals: when we choose to conceptualize them
as intra-actions (after Karen Barad), in consequence we have to reconsider how we define
the human. This redefinition of the human is placed within the context of Jacques Derrida’s
carnophallogocentrism, and it opens up possibilities of imagining a post-anthropocentric
texts.
Attentive to the environment, the landscape, the flora and fauna in which human and nonhuman
life is immersed, Coetzee’s, Straight’s and Roy’s novels portray animal figures that
become a reminder of the shared vulnerability between human and nonhuman animal. The
animal figures point to the limits of expression (of speech and narration), and they become
a call for the recognition of other modes of being. Taking inspiration from Jacques Derrida
and Cary Wolfe, I focus on the ambivalent middle ground between the human and the
nonhuman where the limits of vulnerability and belonging lie.

This paper aims to start a path of exploration on the generation of the project in the post–digital era through an accelerationist perspective. This implies the con-sideration of thematic intersections that link the cyborg, the trans, and the xeno. It also forges a vision of the project facing multiple possible futures, where ro-botics,  machine  learning,  and  digital manufacturing  will  be  linked  on  multiple  scales with the biotechnological and the post–natural. This will create an inexorable hybridization between the human and the non–human capable of redefining the inter–systemic relations built on the remains of the Anthropocene, heading towards a physical–digital convergence.

This paper was originally published in Spanish in Arquisur Revista. July 2020.

Wie digitale Vernetzung unsere Gesellschaft verändert, gehört zu den drängendsten Fragen der Gegenwart. Wie jedoch dieser Prozess die zeitgenössische Literatur prägt, erfährt seit der enthusiastischen Erforschung von Hypertexten um die Jahrtausendwende wenig kulturwissenschaftliche Aufmerksamkeit. Dabei lohnt es sich, die Beobachtungsperspektive von der Literatur im Netz auf das Netz in der Literatur zu verschieben. Denn informations- und kommunikationstechnologische Netzwerke – und vor allem das Internet – schreiben sich zunehmend in die Romane der Gegenwart ein. Nicht selten avanciert das ›Netz der Netze‹ sogar zum inhaltlichen Kernelement von erzählten Welten und wird dort vielfältig wirksam: von der räumlichen und temporalen Inszenierung des Motivs über das Zusammenspiel von Figurenkonstellationen und Erzähltechnik bis hin zur formalästhetischen und symbolischen Ausgestaltung der Texte. Auf einer breiten theoretischen Basis erkundet die vorliegende Studie literarische Erzähltexte, die den medial bedingten Wandel der Lebenswelt reflektieren, indem sie dessen wohl wichtigstes Movens poetisch durchdringen.

Earth and Horror in Saul Bass’ Phase IV
There was a wave of eco-horror movies during the 1970s, among which Phase IV (1974), the only feature film ever directed by Saul Bass, stands out. The film is taken, in this paper, as an experiment on the interpellation of mankind, represented by scientists, by non-human peoples, in this case, ants. In view of the current environmental catastrophe, it is proposed that cinema is a privileged place to the development of a mythical-real apparatus capable of dealing with a possible end of the human world.
Keywords: Saul Bass – eco-horror – Chthulucene – extra-humanity – ants

The Post-Quantal Garden is a work of speculative fiction based on J.G. Ballard's short story "The Terminal Beach" first published in 1964. Set within Donna Haraway's climate-changed Chthulucene, the work is intended as an elliptical rumination on the history of nuclear testing in the Pacific, biohacking, tropicality, and apocalyptic narrative. Moving between historical fact and speculative fiction, the story takes the form of a scholarly introduction to and contextualization of fictional passages from an imaginary journal supposedly found during the very real radiological clean-up of Enewetak Atoll. Enewetak, an atoll in the Marshall Islands group, was used by the US for nuclear testing and was the site of operation Ivy-Mike, the first fusion bomb test, and is the setting for Ballard's Terminal Beach.

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival (2016) is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a "third synthesis" of time, and that which J. M. E. McTaggart named the a-temporal "C series" of "unreal" time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have dominated the planet, to the "chthulucene," in which humans no longer exist on the planet at all.

We call it the Anthropocene, this irreversible evidence of human activity etched into the Earth’s strata: concentrated atmospheric carbon dioxide, nuclear material, plastics. But in an article decrying the poverty of our nomenclature, Eileen Crist criticises the arrogance of naming this
ecological crisis after ourselves, stating that the voices of all Others – plants, animals, organic matter – have fallen victim to the organised human project of forgetting, characterised by their unnaming in the term ‘Anthropocene.’ Unknowing is an experiment in writing an alternative – the Chthulucene. Coined by Donna Haraway, the Chthulucene captures a global, tentacular web of inter-species relationships in the context of climate crisis, species loss and natural disaster. Taking plant life – which is intrinsically communicative and semiotic (Kohn) – as a powerful actor in worlds of mutual transformation, Unknowing explores how ecological crisis necessitates new modes of story-telling that move beyond science-fictional narratives of apocalypse and ecocatastrophe to grant non-humans agency. It therefore steals not only from existing literary practice but also the semiotic processes of plants themselves to suggest a way of recognising the subjectivities of autopoietic lifeforms within living systems of exchange that link humans inextricably with Others.

Os anos 1970 foram palco de uma onda de filmes do gênero eco-horror, dos quais se destaca Phase IV (1974), único longa-metragem dirigido por Saul Bass. O filme é tomado no artigo como um experimento diante da interpelação de povos não-humanos, no caso, as formigas, à humanidade, representada pelo discurso científico. Tendo em vista a atual catástrofe ambiental, propõe-se que o cinema seja um lugar privilegiado para o desenvolvimento de um aparato mítico-real capaz de lidar com o fim do mundo humano.

Western rationality tends to interpret, tame and solve (the problems of) reality. Science, capital and entertainment drove colonial and globalizing processes that defined Western Modernity. In this civilization (currently contaminating the whole globe) there is no place for the unknown and the unresolved. According to this conception, as capital grows and science evolves, the world will one day be fully understood and dominated.
As an alternative to the Anthropocene and Capitalocene, Donna Haraway (2016) proposes the Chthulucene model as a non Western-centric and human exclusivist interpretation of the Present. By accepting the chaotic nature of Reality, the Chthulucene includes the uncertainty dimension that Western cultures tend to abject. Such dimension characterized by the intertwinement of art, magic and ritual is, on the contrary, very present in the epistemologies of the South (Sousa Santos, 2014), marginalized and devalued by Western domination. Magic, ritual and art expand human rationality (Gil, 2018), by creating space for the unknown and the unresolved in the understanding of the Real.
This paper intends to discuss how several artistic practices have challenged the conventional art theory based on the hermeneutics of the object and auratic approximations to art. Such critique can be extended to Rationality. The practices analysed, such as those of Ana Vaz, Kader Attia, Joseph Beuys or Karrabing Film Collective, tend to involve the body as a means of knowledge, and to foster a ritual and magic understanding of art. They challenge Rationality, as they question the dichotomies of subject/object, artist/work of art and work of art/beholder.
This overview aims to describe how contemporary artistic practices revalue and recenter the knowledge of the global South. By centering the artistic focus on the body rather than objects, by recreating rituals and magic artifacts and by documenting cultures that resist (or re-exist) against Western domination, these artistic practices engage uncertainty, irresolubility and the unknown.

While the symbol of a benign cumulus cloud can be found in the logo of many cloud companies, an icon of a terrestrial element like fire, water, or lightning would be a far more appropriate index (Durham Peters 2015). From the pooled caloric expenditure of laborers charged with mining the rare earth elements required for the manufacture of computing components, to the titanic siphoning of potable water reserves for the refrigeration of hot electronic components, or in the billions of gigawatts of carbon-sourced electricity consumed by data centers that exceed the energy expenditure of some cities, the Cloud is anything but as traceless as the air, to which it contributes an estimated 2% of annual greenhouse gas emissions.

This can be an abstract, but not a summary. Form and style of most academic paper writing is fixed. This paper humors this habit while taking (Stengersian/Whiteheadian) coherence to demand responsiveness of style to so-called content. The paper is first of all an attentive reading of a scientific article on biological evolution of "human isochrony" as part of origins of human musicality. Where the coherence of the article breaks down, the relation between isochrony and rhythm is reconsidered through Deleuze & Guattari's distinction between meter and rhythm. The reconsideration is extended to the evolutionary story that Paul Crutzen and his students told about how humans were endowed with the powers with which they modified Nature and which they will hopefully do "responsibly." It is also extended to the criticisms of this narrative. The reader is then challenged to think through rhythm and against habitual discourses on time, temporality, and power, to see how this power--which is not old, biological and perfect, but new, technological, and non-final--is a weakness and by a metric and iso-chronic definition cannot be responsible.

This paper aims to start a path of exploration on the generation of the project in the post-digital era through an accelerationist perspective. This implies the consideration of thematic intersections that link the cyborg, the trans, and the xeno. It also forges a vision of the project facing multiple possible futures, where robotics, machine learning, and digital manufacturing will be linked on multiple scales with the biotechnological and the post-natural. This will create an inexorable hybridization between the human and the non-human capable of redefining the inter-systemic relations built on the remains of the Anthropocene, heading towards a physical-digital convergence.

Adottando una metodologia che unisce “close reading”, lettura diffrattiva e ricerca postqualitativa, Donna Haraway, Chthulucene. Sopravvivere su un pianeta infetto è un corso dedicato allo studio del volume della filosofa e biologa californiana. Il corso mira a rendere accessibili gli strumenti lessicali, narrativi e teorici del pensiero più recente di Donna Haraway, utili per figurare la particolare congiuntura storica attuale.

Con la pandemia globale da COVID-19, infatti, si è reso ancora più urgente decostruire i punti di vista tradizionali che raccontano la vita sul pianeta Terra, troppo spesso patriarcali e occidentali. Il corso propone dunque di sviluppare un approccio critico alla visione romantica che separa e oppone Natura e Cultura, privilegiando le visioni alternative provenienti dalle epistemologie femministe, transfemministe e queer, utili per pensare altrimenti l’Antropocene, il cambiamento climatico e le New Ecologies.

Il corso, a cura di Isabella Pinto, si snoda attraverso 5 incontri da tre ore ciascuno che avranno luogo online, sulla piattaforma Zoom.
Gli incontri avverranno la domenica mattina, a partire da domenica 17 gennaio 2021.

Le iscrizioni si chiuderanno mercoledì 13 gennaio 2021.

Per maggiori informazioni visita il seguente link http://www.iaphitalia.org/corso-2-donna-haraway-chthulucene-sopravvivere-su-un-pianeta-infetto/
o scrivi a ateliernarrazioni@gmail.com