This contribution consists of two parts. The first is a corpus-based survey on a corpus of tweets obtained from the archive of Twitter by searching for keywords within predefined time spans. Purpose of the investigation is to verify what terms are most commonly used today in Italy to define the people who arrived in the past three years through the Strait of Sicily on makeshift means of transport. In the second part of the research, the lexical evolution will be subsumed under Moscovici (1976; 1984; 1997)’s framework of social representations, through which I will argue the different designations of the migrant are the expressions of different forms of social representations of this figure, more or less oriented and stereotyped. Finally, the imaginary will emerge as the thrust which triggers the evolutionary lexical process. The social imaginary theorized by Castoriadis (1975; 1988), will be, then, identified as the force that continually creates new senses for words.
{"title":"Il migrante immaginario: analisi di una rappresentazione sociale attraverso Twitter","authors":"F. Ruggiano","doi":"10.7413/22818138067","DOIUrl":"https://doi.org/10.7413/22818138067","url":null,"abstract":"This contribution consists of two parts. The first is a corpus-based survey on a corpus of tweets obtained from the archive of Twitter by searching for keywords within predefined time spans. Purpose of the investigation is to verify what terms are most commonly used today in Italy to define the people who arrived in the past three years through the Strait of Sicily on makeshift means of transport. In the second part of the research, the lexical evolution will be subsumed under Moscovici (1976; 1984; 1997)’s framework of social representations, through which I will argue the different designations of the migrant are the expressions of different forms of social representations of this figure, more or less oriented and stereotyped. Finally, the imaginary will emerge as the thrust which triggers the evolutionary lexical process. The social imaginary theorized by Castoriadis (1975; 1988), will be, then, identified as the force that continually creates new senses for words.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116905519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper that follows intends to explore the interlace between imaginary and technique by linking it to human nature. The route that will drive this explorative journey will be traced on the conceptual maps of morphology that began to appear with Goethe’s natural studies on nature. Following this cartographic tradition, I claim that human nature is that particular energetic field activated thanks to the relationship of two polarities: one is the imaginary and the other is the technique. Into this energetic field the life of the social-historical forms – in which each human community takes a specific place in the world to be born, to live and to die cyclically. Therefore, this is the final destination of the journey that is offered to reader here.
{"title":"Imaginary, Technique and Human Nature: A Morphological Reading","authors":"Pier Luca Marzo","doi":"10.7413/22818138055","DOIUrl":"https://doi.org/10.7413/22818138055","url":null,"abstract":"The paper that follows intends to explore the interlace between imaginary and technique by linking it to human nature. The route that will drive this explorative journey will be traced on the conceptual maps of morphology that began to appear with Goethe’s natural studies on nature. Following this cartographic tradition, I claim that human nature is that particular energetic field activated thanks to the relationship of two polarities: one is the imaginary and the other is the technique. Into this energetic field the life of the social-historical forms – in which each human community takes a specific place in the world to be born, to live and to die cyclically. Therefore, this is the final destination of the journey that is offered to reader here.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130535705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After a first escalation on the nineteenth century, animal liberation phenomenon knows an hermeneutics rehabilitation through the web network development. Thanks to the virality of electronic channels, many people are being connected to animalism warfare and become, potentially, compaigners. This article shows how the web allows radical thoughts to form and to grow up, how this radical thoughts become mainstream. Thereby, contrary to a cold and deadly vision of the web, the radical animalism phenomenon reflects an incandescent and living electronic world.
{"title":"Le World Wild Web et l’animalisme radical","authors":"Marianne Celka","doi":"10.7413/22818138062","DOIUrl":"https://doi.org/10.7413/22818138062","url":null,"abstract":"After a first escalation on the nineteenth century, animal liberation phenomenon knows an hermeneutics rehabilitation through the web network development. Thanks to the virality of electronic channels, many people are being connected to animalism warfare and become, potentially, compaigners. This article shows how the web allows radical thoughts to form and to grow up, how this radical thoughts become mainstream. Thereby, contrary to a cold and deadly vision of the web, the radical animalism phenomenon reflects an incandescent and living electronic world.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114251057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Imaginary and technology are recursively intertwined, and digital entertainment is exemplar regarding this synergy. The myth of photo-realism aims to replicate reality, but a divergent trend is taking a foothold - i.e., generative games that allow deconstructive practices toward 1) the agential architecture supporting a specific interaction and 2) the symbolic representation on which the gaming performance relies. Such a revealing act may have a remarkable impact on how imagination is articulated and experienced. In order to shed light on the topic, in this article a multidisciplinary framework is applied to deepen three video games that let the player have an active part in shaping the game world and its features - i.e., Minecraft, Terraria, and Super Mario Maker. Suggestions from Semiotics, Cultural Studies and Game Studies lead the analysis with a peculiar emphasis on the concepts of “sign”, “circuit of culture”, and “metaphor”. Consequently, each case study is analysed according to the dimensions of representation (aesthetics), interaction (mechanics), and linearization (trailers). Therefore, specific imaginative affordances mediated through this creative technology are outlined within digital entertainment and toward interactive media.
{"title":"The Imaginative Embrayage Through Gaming Deconstructions","authors":"Enrico Gandolfi, Roberto Semprebene","doi":"10.7413/22818138058","DOIUrl":"https://doi.org/10.7413/22818138058","url":null,"abstract":"Imaginary and technology are recursively intertwined, and digital entertainment is exemplar regarding this synergy. The myth of photo-realism aims to replicate reality, but a divergent trend is taking a foothold - i.e., generative games that allow deconstructive practices toward 1) the agential architecture supporting a specific interaction and 2) the symbolic representation on which the gaming performance relies. Such a revealing act may have a remarkable impact on how imagination is articulated and experienced. In order to shed light on the topic, in this article a multidisciplinary framework is applied to deepen three video games that let the player have an active part in shaping the game world and its features - i.e., Minecraft, Terraria, and Super Mario Maker. Suggestions from Semiotics, Cultural Studies and Game Studies lead the analysis with a peculiar emphasis on the concepts of “sign”, “circuit of culture”, and “metaphor”. Consequently, each case study is analysed according to the dimensions of representation (aesthetics), interaction (mechanics), and linearization (trailers). Therefore, specific imaginative affordances mediated through this creative technology are outlined within digital entertainment and toward interactive media.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116908943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to consider the Gehlen’s critique of modernity through his concept of the awkwardness of technology. In order to highlight his philosophical anthropology, I will focus on the special relationship between humankind and the multitude of objects that surround us in everyday life. To clarify this relationship in the age of modernity, firstly I tackle two key concepts of Gehlen’s work. If with the notion of ‘technological action’ I will focus on anthropobiological aspects, through his idea of ‘imagination’ I will handle psychosocial problems. Only after this overview I will deeply focus on the sociological and psychological aspects of modern technology and their effects on contemporary man.
{"title":"Oggetti e disagio moderno della tecnica nell’antropologia filosofica di Arnold Gehlen","authors":"A. Tramontana","doi":"10.7413/22818138064","DOIUrl":"https://doi.org/10.7413/22818138064","url":null,"abstract":"The aim of this paper is to consider the Gehlen’s critique of modernity through his concept of the awkwardness of technology. In order to highlight his philosophical anthropology, I will focus on the special relationship between humankind and the multitude of objects that surround us in everyday life. To clarify this relationship in the age of modernity, firstly I tackle two key concepts of Gehlen’s work. If with the notion of ‘technological action’ I will focus on anthropobiological aspects, through his idea of ‘imagination’ I will handle psychosocial problems. Only after this overview I will deeply focus on the sociological and psychological aspects of modern technology and their effects on contemporary man.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132940843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to Niklas Luhmann, Art is a special kind of communication that uses perceptions instead of language, and it operates at the boundary between the social system and consciousness. The paper supports the thesis that the product of imagination is a tool for storage, transmission, reproduction of cultural identity in the social system. This happens through contents (“form”) and through the medial support (“medium”) of the imaginary. But in the present age of the so-called Revolution 2.0, the increasing and unstoppable dimension of the “sharing” seems to arise some different considerations. In fact, in the “world society”, imaginary could be potentially able to build a global cultural identity or rather to interpret the loss of it.
{"title":"“One, No One and One Hundred Thousand” contacts. The exponential growth of relations in the construction (or destruction) of the collective identity","authors":"Laura Appignanesi","doi":"10.7413/22818138068","DOIUrl":"https://doi.org/10.7413/22818138068","url":null,"abstract":"According to Niklas Luhmann, Art is a special kind of communication that uses perceptions instead of language, and it operates at the boundary between the social system and consciousness. The paper supports the thesis that the product of imagination is a tool for storage, transmission, reproduction of cultural identity in the social system. This happens through contents (“form”) and through the medial support (“medium”) of the imaginary. But in the present age of the so-called Revolution 2.0, the increasing and unstoppable dimension of the “sharing” seems to arise some different considerations. In fact, in the “world society”, imaginary could be potentially able to build a global cultural identity or rather to interpret the loss of it.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116558363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hip Hop is a complex cultural and musical phenomenon resulting from the interactions between globalization and localization processes. Hip Hop artists operating in different locations – and often moving between multiple localities – appropriate and (re)interpret the genre on the basis of local musical and cultural traditions while defining their identities as artists and more often than not as political activists. English as a Lingua Franca (ELF), combined with other languages, is the common code shared by Hip Hop artists throughout the world, while translation, both in its traditional function and in a broad sense, is intrinsic to Hip Hop as a political site allowing local expressions to connect at a global level. Drawing on translation and globalization studies, and applying the notion of prefigurative politics, I will show how Hip Hop music aims to create its own imaginary to give voice to people of all cultures beyond geopolitical boundaries. More specifically, diasporic Arab Hip Hop artists, such as the Syrian- American Omar Offendum and the Iraqi-Canadian Narcycist, among others, aim to subvert the representation of Arabs as terrorists codified in mainstream Western discourses. They construct their identities as global citizens and activists through songs and videos such as Fear of an Arab Planet, a play on the title of legendary Hip Hop group Public Enemy‘s Fear of a Black Planet, and a parody of Western images of Arab people.. Most important of all, they adopt a series of prefigurative strategies to create alternative imaginaries and to put into practice principles of peace and justice in the here and now rather than in an ideal future. An analysis of Hip Hop global imaginary from an interdisciplinary perspective can shed a new light on the role of art activism in challenging mainstream imaginaries and social and political practices.
{"title":"The Global Imaginary of Arab Hip Hop: a case study","authors":"Stefania Taviano","doi":"10.7413/22818138066","DOIUrl":"https://doi.org/10.7413/22818138066","url":null,"abstract":"Hip Hop is a complex cultural and musical phenomenon resulting from the interactions between globalization and localization processes. Hip Hop artists operating in different locations – and often moving between multiple localities – appropriate and (re)interpret the genre on the basis of local musical and cultural traditions while defining their identities as artists and more often than not as political activists. English as a Lingua Franca (ELF), combined with other languages, is the common code shared by Hip Hop artists throughout the world, while translation, both in its traditional function and in a broad sense, is intrinsic to Hip Hop as a political site allowing local expressions to connect at a global level. Drawing on translation and globalization studies, and applying the notion of prefigurative politics, I will show how Hip Hop music aims to create its own imaginary to give voice to people of all cultures beyond geopolitical boundaries. More specifically, diasporic Arab Hip Hop artists, such as the Syrian- American Omar Offendum and the Iraqi-Canadian Narcycist, among others, aim to subvert the representation of Arabs as terrorists codified in mainstream Western discourses. They construct their identities as global citizens and activists through songs and videos such as Fear of an Arab Planet, a play on the title of legendary Hip Hop group Public Enemy‘s Fear of a Black Planet, and a parody of Western images of Arab people.. Most important of all, they adopt a series of prefigurative strategies to create alternative imaginaries and to put into practice principles of peace and justice in the here and now rather than in an ideal future. An analysis of Hip Hop global imaginary from an interdisciplinary perspective can shed a new light on the role of art activism in challenging mainstream imaginaries and social and political practices.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123353841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Clash of civilizations over an elevator in Piazza Vittorio by Amara Lakhous - winner of the prestigious Flaiano and Racalmare Leonardo Sciascia awards - has been the object of great attention by scholars of Italian Literature, Comparative Literatures and Migration Studies who have based their analyses, except for a few works, on the Italian self-translation of the novel (2006) and subsequent translations from the Italian text. However, most of these studies overlook the fact that the novel was originally written in Arabic and published in Algeria in 2003. This article examines both the Arabic and the Italian versions of Clash of civilizations over an elevator in Piazza Vittorio with reference to the different horizons of expectation of the readers of the two texts. This approach allows to understand a distinctive feature of Lakhous’ work that has been neglected by previous studies: the way the novel interacts with two different social imaginaries and operates to transform them.
{"title":"Immaginario, migrazione e politica nella scrittura di Amara Lakhous: Kayfa tarda‘u min al-dhi’ba duna an ta‘addaka e la sua autotraduzione Conflitto di civiltà per un ascensore a Piazza Vittorio","authors":"L. Casini","doi":"10.7413/22818138065","DOIUrl":"https://doi.org/10.7413/22818138065","url":null,"abstract":"Clash of civilizations over an elevator in Piazza Vittorio by Amara Lakhous - winner of the prestigious Flaiano and Racalmare Leonardo Sciascia awards - has been the object of great attention by scholars of Italian Literature, Comparative Literatures and Migration Studies who have based their analyses, except for a few works, on the Italian self-translation of the novel (2006) and subsequent translations from the Italian text. However, most of these studies overlook the fact that the novel was originally written in Arabic and published in Algeria in 2003. This article examines both the Arabic and the Italian versions of Clash of civilizations over an elevator in Piazza Vittorio with reference to the different horizons of expectation of the readers of the two texts. This approach allows to understand a distinctive feature of Lakhous’ work that has been neglected by previous studies: the way the novel interacts with two different social imaginaries and operates to transform them.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123894862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the point of view of the phenomenological sociology of knowledge, is really interesting to analyse relationship between collective imagery and the increasing growth of the technical universe: social existence in the Western world–in our time–is in fact embedded in the “myth of information” (Pecchinenda, 2009). This concept derives its cognitive and normative power from its peculiar genesis: the symbolic roots of this process lie in the moral mission of the early modern science, inspired– consciously or unconsciously–by the ethos of Judeo-Christian paradigm. The “myth of information” incorporates these ancient heritage in the flow of contemporary cosmology using the rhetoric of “transparency” (Breton, 1996): this peculiar rhetoric seems to announce daily the final unmasking of the mechanisms that rule the world.
{"title":"L’immaginario tecnologico. Un’analisi sociologica della cosmologia contemporanea","authors":"Antonio Camorrino","doi":"10.7413/22818138057","DOIUrl":"https://doi.org/10.7413/22818138057","url":null,"abstract":"From the point of view of the phenomenological sociology of knowledge, is really interesting to analyse relationship between collective imagery and the increasing growth of the technical universe: social existence in the Western world–in our time–is in fact embedded in the “myth of information” (Pecchinenda, 2009). This concept derives its cognitive and normative power from its peculiar genesis: the symbolic roots of this process lie in the moral mission of the early modern science, inspired– consciously or unconsciously–by the ethos of Judeo-Christian paradigm. The “myth of information” incorporates these ancient heritage in the flow of contemporary cosmology using the rhetoric of “transparency” (Breton, 1996): this peculiar rhetoric seems to announce daily the final unmasking of the mechanisms that rule the world.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115603878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shaping the way we think and act, technological progress is redefining the society we live in. In order not to be overwhelmed by their own tools, people try to build themselves and their aspirations through the imaginary. This one, charged with symbols and striving to represent the desires and anxieties of all of us, may be social as well as individual, thus becoming an active engine to re-think the future of a society that seems rooted in an eternal present. A new demand of change is moving people, group of active citizens, realizing to live in a state of uncertainty, crossing crisis. Thanks to technology and networking they act creating a pervasive creative intelligence spreading collective and grass-rooted activities and bottom-up solutions to real, local and social problems. Terms such as communion and commotion (i.e. shared emotion), can assume a leading role in designing the world of tomorrow with actions oriented the most on processes than on products. Design, with new creative forms of collaboration, can facilitate this process.
{"title":"The collaborative dimension of social innovation","authors":"A. Bertirotti, R. Fagnoni","doi":"10.7413/22818138063","DOIUrl":"https://doi.org/10.7413/22818138063","url":null,"abstract":"Shaping the way we think and act, technological progress is redefining the society we live in. In order not to be overwhelmed by their own tools, people try to build themselves and their aspirations through the imaginary. This one, charged with symbols and striving to represent the desires and anxieties of all of us, may be social as well as individual, thus becoming an active engine to re-think the future of a society that seems rooted in an eternal present. A new demand of change is moving people, group of active citizens, realizing to live in a state of uncertainty, crossing crisis. Thanks to technology and networking they act creating a pervasive creative intelligence spreading collective and grass-rooted activities and bottom-up solutions to real, local and social problems. Terms such as communion and commotion (i.e. shared emotion), can assume a leading role in designing the world of tomorrow with actions oriented the most on processes than on products. Design, with new creative forms of collaboration, can facilitate this process.","PeriodicalId":293955,"journal":{"name":"Im@go. A Journal of the Social Imaginary","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114685617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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