This article sketches a new image of musical works, situated beyond the «work concept», critically rethinking existing music ontologies, and grounded on Gilles Deleuze’s central ontological commitments. After situating the problem (1), the paper discusses current issues in music ontology (2), explores specific Deleuzian and Deleuzo-Guattarian ontological concepts (3), and argues for a new image of musical works (4), which are more aptly described as assemblages(5), as highly complex, historically constructed multiplicities defined by virtual structures, intensive processes, and actual things.
With the massive mobilization, at the end of 2019 and the beginning of 2020, of all public service, health and education in particular, against the reforms of the Philippe government, there was an unprecedented popular uprising which, after the Gilets Jaunes, then took on new forms and new colors. At issue is the demand to adapt our lifestyles in the face of a supposed delay.
Recensione al libro di Marco Pavanini (a cura di), Lo spazio dell’umano. Saggi dopo Sloterdijk. Pompei: Kaiak Edizioni, 2020. Con contributi di: Bruno Accarino, Gianluca Bonaiuti, Dario Consoli, Eleonora de Conciliis, Igor Pelgreffi, Fabio Polidori e Vincenzo Cuomo.
In Jacques Ellul’s texts around technique, there are at least two important implicit declensions of the theme of excess or about the risks connected to a systematic avoidance of the limit and limits: one is related to the potential loss of capacity of symbolization in the technical environment and the other concerns the consequences of the affirmation of the accelerationism paradigm on the human perception of time. Both aspects can be analyzed in the light of his wish to achieve an ethic of non-power in the technological society, which he theorized starting from the early 1980s. In fact, the author bases the essential traits of the criticism he addresses to the technical system, on the myth of efficiency and the sacralization of technology, which he described characteristics and peculiarities already in the mid-sixties. The central theme of this article is postmodernism and its relationship with the paradigm offered by Jacques Ellul. The distinctive and most interesting aspects of Ellul’s thought, which are well suitable for a reflection in relation to other currents of contemporary thought, lie in the ambivalent nature of technique, in its autonomy linked to efficiency, in the core value of the concept of both; technical environment and the limit, in the visionary anticipations on the ideological domination of (computer) data and in the reflections on cybernetics.
