Detournement

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.

The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.

Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.

http://www.bloomsbury.com/uk/the-feminist-uncanny-in-theory-and-art-practice-9781472505583/

BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms

Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013

Özet Postmodern dönemde sanat yapıtının müze ve sanat galerilerinden dışarıya çıkmaktadır ve gündelik yaşantıya nüfus etmektedir. Muhalif toplumsal hareketlerin ve Avangart sanat akımlarının etkisiyle birlikte sokak sanatı ortaya çıkmaktadır. Bu yeni sanat biçimi yenilikçi teknikleri, radikal eserleri, eleştirel üslubu ve farklı dallarıyla günümüzde dikkat çekmektedir. Sokak sanatı içerisinde kültür karıştırması da bulunmaktadır. Kültür karıştırması, tüketim toplumu ve onun yaratmış olduğu kültüre karşıt sosyal bir hareket olarak, medya ve onun yaratmış olduğu reklam kurumları gibi ana akım kültürel oluşumları yıkmayı ve bozmayı amaçlayan, şiddet içermeyen, yenilikçi ve alternatif bir sanatsal ifade biçimidir. Kültür karıştırması eylemleriyle tanınan sanatçılar, kamusal alanlarda reklam amacıyla bulunan görselleri çalıp değiştirerek, bağlamından kopartmaktadır ve farklı anlamların ortaya çıkmasını sağlayarak muhalif bir dil geliştirmektedir. Kültür karıştırmasının hedefinde sokakta bulunan reklam görselleri vardır ve böylelikle bu görsellerin temsil ettikleri şirketlerin, kapitalist kültürün ve tüketim toplumunun eleştirisini yapmaktadır. Anahtar Kelimeler: Kültür karıştırması, sokak sanatı, çalıp değiştirmek, reklam, tüketim toplumu.

Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, Quotational Practices shows how artists and writers use quotation not to undermine authorship and originality, but to answer questions at the heart of twentieth-century philosophies of history.

Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place.

Ultimately, Quotational Practices reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art.

This essay examines the tension between the culture of use signaled by the internet and the culture of ownership embedded in the clearance culture of restrictive copyright law through a comparison with and reinterpretation of Richard Serra’s 1967-1968 verb list.

Thanks to postmodernism it is nowadays a commonly understood truth that even those realities which seemed to be very factual, as the photographic ones, are not as certain as before. Because we have now realised that we will never be able to know that a fact happened for sure, whether that fact is truly represented or not is not a great issue anymore, as long as it is comprehensively well represented. In a world where everything is relative and depending on the personal perspectives of the ones, a fact is authentic when it creates real discussion around it or touches viewers’ sensitivity. Photographers such as Thomas Demand test the line between documentary and personal expression.

GIF (Graphic Interchange Format) can be defined as a moving image characterized by brevity, repetition (loop) and an apparently low informative content; used as a pseudo-linguistic element, GIF is able to re-mediate a pre-existing text and to resemanticize it. In the first place, the image originates from a process of decontextualization of an audiovisual element, quoting or referring to the original audiovisual text itself (Uhlin) – which can be taken from several media: television, cinema, video art, home made. The audiovisual fragment is then assigned with a new specific meaning, when it is used for a communicative purpose (especially on the Social Networks), acting as a container of variable informations generally designated to substitute articulate colloquial elements both emotional or explanatory (Huber).

GIF acts as the summation of the discourses about intermediality of cinema which, hybridizing with other media, as it happens for the audiovisual fragments stolen by a user with the purpose of assigning new meanings in an online conversation, changes its narrative function and becomes part of a more extended “storytelling” which is not played by finctional characters anymore, but by real actors (the users) using the original medium with new goals. From this perspective, GIFs could be seen as a new form of what Guy Debord called détorunement, that is to say «the re-use of pre-existing artistic elements in a new ensemble», where the extracted fragment looses its own importance to be part of a new significant whole. The GIF follows the dètournement’s fundamental rule that is «the loss of importance of each detourned autonomous element – which may go so far as to completely lose its original sense – and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect». In Debord ‘s words «leaving the imbeciles to their slavish reference to “citations”», we may think at GIF as what Maria Rosaria Dagostino instead calls ‘cit-action’, defining it as «an active crossreference for the construction of a new sense», which applies independently from the origin of the raw material. Even when the frame is taken from a real life event – and not from audiovisual materials – we must rethink that excerpt as it was taken from a storytelling, which is longer then a TV episode or a movie since it refers to defined characters (the individuals) inside a context (their lives). Extrapolating and detouring frames from the real life, GIFs realize what the Situationists called ‘ultra-détournement’, that is, as Guy Debord and Gil J Wolman argued, «the tendencies for détournement to operate in everyday social life», where to gestures and words are given other meanings.

Then, independently from the origin of the detourned material, whether it comes from an audiovisual text or a real-life event, the emotional load is subjected to the détournement as much as the narrative and iconographic content. Notwithstanding, in some respect, especially speaking about carrying emotions, GIFs seem to exceed the détournement. In fact, when they pass from being part of a continuum (fictional or actual) to being a GIF properly defined, emotions are detoured indeed, but also re-mediated. In every remediation, the content, even the emotional one, adapts itself according to the features of the arrival medium: in the case of GIFs, it gains the brevity, circularity and the being an object in its own right typical of the looped structure. Therefore, the emotional load, remediated by the medium ‘GIF’, achieves rarefaction, abstracting itself from the emotions of the originally previous and following frames, so becoming expressive on its own. Taking into account these transformations, that is to say the passage of the frames from being emotionally dependent from the original context to the completely independence, GIFs seems to negate the rule according to which, as stated by Debord and Wolman, «the main impact of a détournement is directly related to the conscious or semiconscious recollection of the original contexts of the elements». In fact, it is quite obvious that GIFs have an intense affective power even without this recollection. Then, GIFs are able to state a perfectly eligible emotion, independently from the images’ origin, recognisability and relevance. This is what makes GIF possibly definable as a para- or pseudo-linguistic element by itself.

As a new linguistic element, GIF exemplifies the vast set of possibilities which transform the consuming user into a productive one, able to create new meanings in a socio-cultural context founded on the operation of remix (Lessig). The same audivisual quality (Mittell) – both of movies and TV series – seems nowadays influenced by the possibility (or need) to re-use the original product, giving us the chance to examine a new paradigm that, in this conribution, we can define as GIF culture, or the tendency to evaluate the movie product by the quantity and quality of its possible re-use in other communication contexts.

Through the analysis of the possible uses of GIF online – which exemplifies the actual concept of post-truth, meant as re-definition of the priorities of authenticity and veracity –, the contribution to this book aims to identify also the motions and the peculiar linguistic and communicative properties of this relatively new object, mostly collecting cases within specific social network platforms (Twitter, Facebook).

The process of decontextualization, followed by the appropriation of a fragment with the possible purpose of giving it a new meaning, implies three different problems:
    • Authenticity and copyright questions, connected to the use of owned material or creative products that are characterized by having a specific purpose in a different context; a fact which leads back to the concept of remix, as it was proposed by Lawrence Lessig, and to a new cultural paradigm in which the ownership of creative contents are always more considered, or perceived, as a public good (Pescatore). A condition which reminds the paradigmatic metaphor of piracy and the difficult possibility to define what is a pirate or a hacker in the contemporary social and economic landscape (Larsson, Svensson, de Kaminski, Crisp, Lobato).
    • Authoriality which, similarly to the previous problem, is menaced by the remixed content. Who is the real author of a GIF once it is used for a different purpose by a user? What is its aesthetic value? How the reference to the original author can define the purpose in the use of the GIF in a communicative social network context?
    • Post-truth and loss of creative original contents, that are now scattered in communicative online waves, becoming always less detectable as original, owned and true since they are not used anymore for the purposes they were created for. The informational part of the message is lost in favor of emotional or impulsive scopes.

The chapter will focus on the analysis of GIF, in a first moment as a singular element, developping a real description of the element in all of its characteristics: brevity, loop, composition, derivations, creation – with a specific focus on the platforms and services supplied for the extrapolation of frames or for the conversion of other file formats into GIF.
In a second moment the focus will be more specifically the capability of this element to refer to other texts, summarily identifiable in the cinema production, television programming and series, amateur footage, online reachable contents and works of art or with aesthetic aim. All of these sources operate in the long term, defining the possible purpose in the use of the GIF element.
The third part will focus on the communication aspect; GIF can actually be seen as a cross-tool:
    • an artistic format,
    • an informational or educational tool,
    • a communication or linguistic element.
Basing the discussion on the possible reference to the deriving text, GIF can also be considered and defined as
    • quoting GIF, if the message which is delivered through this element is directly referred to the original audiovisual text;
    • sensation, or reaction (Huber), or even détourning (Debord) GIF, if it derives from a process of de-authorialization and de-contextualization of the content from the original context. The fragment is actually stolen from the text with the aim of re-using it, giving it a new significance (re-semantization) with a communicative purpose of emotions or meanings;
    • cit-action (Dagostino) or community GIF, as soos as the re-semantization of the fragment brings to the individual and not expected recognition, by the interlocutors, of the original text or context, bringing to the possible creation of a community of intents, made of people who recognize themselves following the shared knowledge of the referred text or context.

Through this description of the GIF element and of its use in a communicative online context, the chapter will try to clarify, through a common social network practice, some of the most weighty questions of the contemporaneity, founding in this simple communicative element e point of intersection of different sets of social, politics and economic problems. GIF culture appears as the behavioral crossroad of contemporaneity, both in terms of re-use of creative contents and of demysification of current facts.

The Situationist International (1957-1972), or SI, was an intellectual avant-garde collective that used Homo Ludens, a text written in 1938 by the Dutch historian Johan Huizinga, as a key source informing much of their writing and key tenets of their philosophy. In this paper, I will first look at key elements of Huizinga’s theory of play as outlined in his seminal work, followed by the ways that these ideas were absorbed into the Situationists theories and practices. I will examine the ways that ludic principles were appropriated for, and played out in, the Situationist practices of dérive, détournement, situations, and unitary urbanism. I will argue that while the SI rightly believed that a rediscovery of man’s instinct to play could be used to inform revolutionary praxis, the way in which they utilized ludic ideals in practice tended to ignore essential elements of Huizinga’s theory.

El presente trabajo ensaya una crítica a las críticas más usuales al situacionismoen la teoría y la filosofía contemporáneas, fundamentalmente en las figuras de Lacoue-Labarthe y Rancière, centradas en la crítica situacionista de la representación, a nivel estético y político. Mostramos que el lugar de la "reapropiación" de la "presencia" al que estas críticas quieren llevar al situacionismo no se corresponde con los conceptos troncales de esta tradición, centralmente los de détournement y juego. Sugerimos finalmente que esta sintomática deslectura del situacionismo en la teoría contemporánea señala la tarea de un marxismo improductivo como tarea central de nuestro tiempo.

Con il termine reimpiego (o riuso) si indica, in archeologia, la pratica di riutilizzazione di monumenti antichi, interi o in frammenti (spolia), in un successivo contesto, con identità o differenza di funzione e/o significato. […]
L’esistenza di un grado zero del riuso implicherebbe, per l’ampiezza dei casi corrispondenti, una notevole riduzione delle speculazioni al riguardo, e sarebbe forse un bene, benché personalmente nutra delle riserve sulla possibilità di totale assenza di connotazioni culturali, certamente potrebbero essere talmen­te ridotte da rendere superflua l’anali­si. Credo tuttavia che il punto non sia questo. Il punto sta probabilmente nella presenza della pratica del riuso in tutte le attività umane. In sostanza si ha un riuso ogni qualvolta un monumento A realiz­zato nello spazio As e nel tempo At sia stato riutilizzato (in se o in re) come B in Bs e Bt (eventualmente poi come C…). Poiché l’oggetto, il monumento può es­sere qualsiasi cosa, compreso un testo, anche la letteratura e la poesia non si sottraggono alla pratica del reimpiego. [...]

"Old Stone to new Building". Il riuso fra archeologia e letteratura, in “Versodove. Rivista di Letteratura”, 21, 2019, pp. 62-64. ISBN 978-88-85863-53-8

journées d’études « Les poètes et la publicité » (organisation : Laurence Guellec et Marie-Paule Berranger), Université Paris 3-Sorbonne Nouvelle (THALIM/ANR LITTéPUB), 15-16 janvier 2016. (actes à paraître)

[Cette communication se propose d’aborder les relations de la poésie « visuelle » à la publicité dans la seconde moitié du XXe siècle. Nous verrons comment l’émulation joyeuse (« rivalise donc, poète, avec les étiquettes des parfumeurs », enjoint Apollinaire) et les élans enthousiastes allant jusqu’à poser l’équivalence « Publicité = poésie » (Cendrars) laissent place, au cours des années 1950, à une posture plus critique, qui ne rompt cependant pas avec les expérimentations visuelles de la première moitié du siècle, mais en revendique et infléchit l’héritage et la portée. Des métagraphies lettristes aux « ultra-lettres », puis, à partir des années 1960, de la poésie concrète et spatialiste, jusqu’aux propositions contemporaines, les expériences de poésie visuelle auxquelles nous nous intéresserons empruntent leur langage graphique à la publicité, pour mieux le détourner, le subvertir, finissant par ériger la publicité en véritable contre-modèle, et laissant apparaître une équation toute autre : « Poésie = publicité ». Sans négliger les divergences esthétiques, nous nous proposons de dégager quelques traits communs dans les stratégies mises en place par ces poésies pour travailler avec et contre le langage publicitaire.]

Jean-François Hamel, « Détourner la science de l'État. Politique de la littérature et dispositif poétique dans Les Berthier. Portraits statistiques de la Rédaction », Cahiers de l'Association internationale des études françaises, no 67, mai 2015, p. 59-71.

...Mizah, içerisinde barındırdığı güç ve iktidar ilişkilerinden bağımsız olarak
ele alınamaz. Bu anlamda mizahın yoğun bir muhalif işlevinden bahsedilebilir.
Mizahın bu yönü, toplumun alt kesimlerinin direnişini mümkün kılması ölçüsünde
kendilerini var etme biçimidir. Diğer taraftan, mizahın temel hedefi güldürme
olsa da çoğunlukla onun içerisinde toplumdaki aksaklık ve sorunları, çirkinlikleri
eleştirme ve iğneleme, düzeltme amaçları da gizlidir. Bu anlamda mizahın toplum
vicdanının ürettiği bir savunma mekanizması olduğu da söylenebilir...

This is a final draft. Please cite only the published  in Gregory R. Smulewicz-Zucker and Michael J. Thompson, Radical Intellectuals and the Subversion of Progressive Politics: The Betrayal of Politics (New York: Palgrave Macmillan, 2015), pp. 211-236.

À rebours d’une hypothèse répandue qui fait de Tomates (2010) un point tournant de la production de Nathalie Quintane, cet article insiste sur les similitudes qui unissent la « première » et la « seconde » portion de son œuvre. Je montrerai que plusieurs des logiques auxquelles répondent les plus récentes parutions de l’écrivaine trouvent leurs fondements dans ses premiers textes : loin de mener d’une part un travail d’expérimentation formelle et de l’autre un travail de thématisation d’enjeux politiques, Quintane problématise des représentations communément partagées depuis « Ah » (1996), Chaussure (1997) et Grand ensemble (2008) jusqu’à Tomates, « Stand up » (2014) et Un œil en moins (2018). En plus de mettre au jour la grande cohérence de l’œuvre, l’étude des figures du pouvoir qui peuplent ces différents textes permettra de décrire deux des procédés par lesquels l’écrivaine s’attaque, dans sa pratique, aux imaginaires qui fondent l’autorité des puissant·e·s. Qu’elle élabore des portraits caricaturaux ou qu’elle détourne des discours, Quintane s’applique moins à critiquer explicitement les politicien·ne·s convoqué·e·s qu’à faire saillir, par un jeu de loupe, les failles qui fragilisent leur stature ou leur rhétorique.

For Situationist, theorist and film-maker Guy Debord, the aerial view reproduced the falsely objective world-view he called 'the spectacle'. To counter its myth of an infinitely expandable, omniscient perspective, Debord focused on reducing views from above to 'derisory documents' of the social and the environmental through détournement in the two films he made while the Situationist International was in existence. The films engage critically with aerial photography as a hegemonic mode of indexical media, with the aerial view's application as information image and ornament, and with the formal phenomenon of ciné-mapping. This analysis suggests that the détournement Debord performs in and across these films can be best conceptualized as a critical optic that constitutes a practice of seeing, a mode of reception and a call to action in the social space beyond its aesthetic employ. As such, the optic of détournement is the contestational counterpart to the optic of the aerial view. This remains the case despite the contemporary complexity of

This paper aims at analysing the intertextual sources of one of Nonnus’ Dionysiaca most neglected episodes (the epyllion of Morrheus and Chalcomede, Dion., 33-34), namely the third book of Apollonius of Rhodes’ Argonautica. Its function as a major hypotext of Nonnus’ epyllion is broadely dissected as well as the rhetorical means (parody, irony, dissimulation, para-formular diction, détournement) by which Nonnus reworks the archetypal subject.

Este artículo explora distintas preguntas relacionadas a la corrupción neogranadina a finales del siglo XVIII, pero, fundamentalmente, ofrece una metodología que utiliza las deudas de los administradores de caudales públicos y su seguimiento en temporalidades medias y largas con el fin de aproximarnos a cuantificar la corrupción en el Antiguo Régimen español. En otras palabras, el artículo propone estudiar el fenómeno de la corrupción en la renta de tabaco del Nuevo Reino de Granada a finales del siglo XVIII a partir de los expedientes que los jueces subdelegados de rentas alzaron en contra de algunos estanqueros de la administración principal de Santafé por el delito de malversación y los alcances en sus cuentas.

Con documentación cualitativa y cuantitativa del Archivo General de la Nación (Colombia), se detalla: el uso de los registros de «deudas a favor» o «debidos cobrar» como fuente histórica para el estudio de la corrupción y su posible cuantificación, y los mecanismos que utilizó la renta para castigar el delito de malversación y resarcir a la Real Hacienda. En definitiva, el artículo contribuye a explicar cómo la ausencia de un salario fijo entre los administradores particulares de la renta de tabaco fue un factor que los motivó a participar en prácticas corruptas que fueron entendidas y juzgadas por el delito de malversación.

This article attempts to study the phenomenon of corruption in the revenue from tobacco in the New Kingdom of Granada in the late 18th century, from files that revenue sub-delegate  judges presented against some tobacconists of the principal administration of Santafé, for embezzlement and the scale of their accounts. Qualitative and quantitative documents from the National Archives (Colombia), such as records of «debt in favour» as a historical source for the study of corruption
and its possible quantification, and the mechanisms used by the revenue to punish embezzlement and provide redress to the Royal Treasury. In conclusion, the article contributes to explaining how the absence of a fixed salary for the administrators of the revenue from tobacco led to corrupt practices which were understood and judged as embezzlement

Resumo: O presente artigo tem como interesse relatar a influência que movimentos de vanguarda como dadaístas, surrealistas, Internacional Situacionista ou, mais recentemente, grupos underground como Luther Blisset, tiveram sobre ideias e ações que marcaram a " guerrilha poética " (Bey, 2003) no Brasil, quer durante o regime militar quer por ocasião dos protestos recentes contra as políticas públicas e econômicas ditadas pelo Neoliberalismo. Argumenta-se que este tipo de ações se insere numa tradição artística utópica que nega a arte institucionalizada, chegando a propor a sua abolição. A partir da década de 1990, artista e ativista político confundem-se, convergindo na figura do colectivo anónimo ou de nome múltiplo. Personagens mitopoéticas cuja estratégia passa também por uma crítica cerrada da impressa e televisão brasileiras, consideradas o braço midiático das reinvindicações do mercado. Abstract: This article interest is to report the influence that avant-garde movements such as Dada, Surrealist, Situationist International or, more recently, underground groups as Luther Blissett, had on ideas and actions that marked the "guerrilla poetry" (Bey, 2003) in Brazil either during the military regime nor on the recent protests against public and economic policies dictated by Neoliberalism. It is argued that this type of action is part of a utopian artistic tradition that denies the institutionalized art, even proposing its abolition. From the 1990s, artist and political activist are confused, converging in the figure of the anonymous collective or multiple name. Mythopoesis characters whose strategy will also include a review of printed and bushy Brazilian television, considered the media wing of Claims of the market.

This article aims to analyse some of the popular activist posters and images related to the Gezi Park resistance that took place in Turkey in 2013. The author argues that the theoretical approach of détournement is the driving force in the formation of the activist ‘identity’ and ‘imagery’ related to Gezi protests. Further, through detourning the attacks of the government, the article examines how the activist posters and images caused shifts in meaning and generated the negation and recreation of signs and significations. In this way, it can be seen that détournement as a subversive theoretical approach can be reconstructive while deconstructing verbal and censorship attacks from the government. The article engages with the word Çapulcu (looters) in an address by the former Prime Minister against the Gezi protesters and the penguin documentary used as a censorship element during the protests. It analyses how détournement applied by the protesters to these attacks led to the creatio...

Apesar de ter experimentado uma significativa redução após a CF/88, em virtude do incremento dos parâmetros de controle judicial, designadamente em razão da constitucionalização de novos princípios e da subsequente releitura jurisprudencial-doutrinária de vários princípios constitucionais, o conceito de mérito do ato administrativo sobrevive. À luz do exposto, dessume-se que subsiste o conceito de mérito administrativo como limite negativo ao controle judicial, ou seja, como um núcleo cognoscível, mas imodificável pelo Judiciário.

No fim de novembro passado, a convite da extraordinária e luminosa Alice Walla e Maria Eugênia Zanchet tive a honra de falar no Women in Philosophy series. Um lugar de discussões sobre os variados aportes filosóficos implicados na recuperação de mulheres na história da filosofia e na luta feminista para a prática filosófica. O vídeo é desse talk: “Private virtues, public virtues”: on the Détournment of Mandeville’s Fable of Bees, by Du Châtelet. Analysis of some fragments. Espero que gostem. É um dos primeiros resultados da pesquisa em Émilie Du Châtelet, e eu me interesso por um tema que considero primitivo, embora persistente, no pensamento dela: o problema da liberdade. Du Châtelet é uma iluminista e, em muitos aspectos, foi uma mulher livre, sobretudo para os padrões da época em que viveu, no que concerne ao lugar, aos direitos (na época, privilégios) e às oportunidades concedidas às mulheres. A sua preocupação com o problema da liberdade habita os seus escritos precedentes aos trabalhos em filosofia da natureza, mas não lhe são apartados: há uma irredutível pretensão sistematizante no pensamento dela, que autoriza a busca de consistência de um programa filosófico a um só tempo racionalista e experimental, no que concerne à pesquisa nas leis do movimento e da força. Eu fiz alguns ajustes na primeira versão deste texto, para publicar agora, com o vídeo. Bear with my accent, not with my work. Todas as críticas, sugestões e anotações são bem vindas e eu falo sério. Obrigada pela interlocução. Por conta deste talk, um trabalho posterior está a caminho, sobre a mudança na conotação da “inocência”, em uma das manobras semânticas levadas da cabo por Du Châtelet, de acordo com a sua original teoria da tradução.

At the end of last November, at the invitation of the extraordinary and luminous Alice Walla and Maria Eugênia Zanchet, I had the honor of giving a talk at the Women in Philosophy series. A place for discussions on the various philosophical contributions involved in the retrieve of women in the history of philosophy and in the feminist struggle to philosophical practice. The video is from that talk: “Private virtues, public virtues”: on the Détournment of Mandeville’s Fable of Bees, by Du Châtelet. Analysis of some fragments. Hope you like it. It is one of the first results of the research in Émilie Du Châtelet, and I am interested in a topic that I consider primitive, in a strong sense, in her philosophical thought: the problem of freedom. Du Châtelet is a philosopher of the Enlightenment and, in many ways, she was a free woman, especially by the standards of the time in which she lived, with respect to the place, the rights (at that time, privileges), and the opportunities granted for women. Her drive on the question of freedom inhabits her writings preceding her work in philosophy of nature, but they do not seem to be different in nature: there is an irreducible systematizing claim in her thinking, which allows the search for consistency in a philosophical program at once rationalist and dedicated to experimental research on the laws of movement and force. I have made some adjustments to the first version of this text, to publish now, with the video. Bear with my accent, not with my work. All criticisms, suggestions, and notes are welcome and I mean it. Thank you once more, Alice, and Mauê. And thanks for the dialogue. Because of this talk, further work is underway, about the change in the connotation of “innocence”, in one of the semantic maneuvers carried out by Du Châtelet, according to her original theory of translation.

https://www.canva.com/design/DAEOiE6lP5c/x0xVGDB7IjMe0m7XM1es6g/view?utm_content=DAEOiE6lP5c&utm_campaign=designshare&utm_medium=link&utm_source=publishsharelink&fbclid=IwAR3TTxCAL74S2bi3qanxWUbn3YS5BU1FKErzyBu4W_wvzr0Md0HYL457q6U

This article aims to analyse some of the popular activist posters and images related to the Gezi Park resistance that took place in Turkey in 2013. The author argues that the theoretical approach of détournement is the driving force in the formation of the activist 'identity' and 'imagery' related to Gezi protests. Further, through detourning the attacks of the government, the article examines how the activist posters and images caused shifts in meaning and generated the negation and recreation of signs and significations. In this way, it can be seen that détournement as a subversive theoretical approach can be reconstructive while deconstructing verbal and censorship attacks from the government. The article engages with the word Çapulcu (looters) in an address by the former Prime Minister against the Gezi pro-testers and the penguin documentary used as a censorship element during the protests. It analyses how détournement applied by the protesters to these attacks led to the creation of a shared Gezi identity and image.

Il libro documenta e racconta la parte conclusiva della tournée internazionale di uno degli spettacoli più innovativi e festivi della ricerca teatrale italiana: l’Orlando Furioso di Lodovico Ariosto nella riduzione di Edoardo Sanguineti per la regia di Luca Ronconi (Spoleto, Festival dei Due Mondi, luglio 1969). New York, che lo ospitò a partire dal 4 novembre del 1970, avrebbe dovuto essere il punto di partenza per una lunga tournée nelle principali città americane. Invece, fu il punto del suo ultimo compimento. Una pregiudiziale ricezione, dovuta a questioni soprattutto interne, legata alle lotte sindacali dei portuali contro le politiche culturali dell’amministrazione del sindaco John V. Lindsay, hanno compromesso la sopravvivenza di un’operazione teatrale di grande impegno produttivo. Dopo molte polemiche, la sede per l’Orlando fu individuata in Bryant Park, nel cuore di Manhattan. Una imponente tensostruttura (Bubble Theater) fu costruita appositamente e il debutto poté avere luogo. Lo spettacolo che meglio aveva incarnato il clima politico-culturale successivo al Sessantotto, applaudito a Parigi con il motto del Maggio francese, l’Orlando a New York mancò il suo pubblico. Le recensioni inizialmente negative, con una coordinata coda polemica sui giornali, resero tuttavia impossibile la sua sopravvivenza. Il gigante mostrò tutta la sua fragilità e una trionfale parabola dunque qui si chiuse. Grazie alla scoperta di tutta la documentazione, in gran parte inedita, è stato possibile ricostruire l’intera vicenda. Sono state ascoltate e qui raccolte le voci di chi allora c’era, per mostrare, in tutta questa storia materiale, la forza intatta di un’utopia possibile: quella di un teatro popolare ritrovato perché capace di mantenere in comune l’intero immaginario della sua festa. Un teatro vissuto e attivamente partecipato dallo spettatore, secondo la felice definizione di Luciano Berio, come una «polifonia di eventi per gente libera».

As a score, Détournement is meant to guide the performance of any number of non-strictly musical instruments. The score requires the performers to have enough familiarity with their instruments to allow for the arbitrarily occasional, playful simulation of non-familiarity as well as the arbitrarily occasional, playful and even more dramatic simulation of proficiency.

Right-wing media outlets have dubbed Donald Trump “The Punk Rock President” to validate his rule-breaking crudeness and appeal to white working-class rage. How did this happen? This blog confronts the complex and often contradictory politics of punk songs, symbols, and images to show how punk history can be a tool for political conversation and engagement in the present.