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This chapter deals with the recent crisis and a failed attempt at paradigm change. The worldwide protest movement has been ineffective in delivering an impact on policies and providing a feasible alternative. The co-operative movement and the protest movements have several points in common despite their lack of dialogue. The occupy movement needs a feasible and pragmatic plan of action to make protests constructive and consequently more effective. Without a feasible and sound proposal, the occupy movement will either decline or will end up reinventing itself more radically. Questo capitolo si occupa della recente crisi finanziaria e del fallito tentativo di cambio di paradigma. Il movimento di protesta mondiale è stato inefficace nel avere un impatto sulle politiche e nel proporre un modello alternativo al capitalismo finanziario. Il movimento cooperativo e quello di protesta hanno molti punti in comune nonostante la mancanza di dialogo tra loro. Il movumento occupy ha bisogno di una alternativa fattibile e un piano di azione pragmatico per rendere la protesta più costruttiva e conseguentemente efficace. Senza una proposta fattibile e robusta, il movimento di protesta è destinato al declino o dovrà reinventarsi in una forma più radicale.

In the years of the 2008 world financial crisis and of the global protests of the Occupy-Movement, the German author Ingo Schulze writes a novel about the German reunification, in which he tells the story of the 'GDR-rogue' Peter Holtz fighting for a fairer society. In this novel Schulze challenges the question of the democratic quality of the political and economic world order arisen at the historical moment of the Fall of the Berlin Wall. Why does Schulze decide to write just a picaresque novel about the German reunification during the financial crisis after 2007? What is the additional value of this literary elaboration of the historical turning point of 1989? Why does money play such a significant role in this novel? The contribution expounds that Schulze retrospectively and critically retraces in his picaresque novel the way from the 'anti-fascist rampart' of the GDR to the moneycentred financial world of Wall Street. The article illustrates at the same time Schulze's diagnosis according to which during the process of German reunification the West betrayed its own democratic values and against the background of the peaceful revolution in the GDR missed the historical chance to build a fairer future society. ; In the years of the 2008 world financial crisis and of the global protests of the Occupy-Movement, the German author Ingo Schulze writes a novel about the German reunification, in which he tells the story of the 'GDR-rogue' Peter Holtz fighting for a fairer society. In this novel Schulze challenges the question of the democratic quality of the political and economic world order arisen at the historical moment of the Fall of the Berlin Wall. Why does Schulze decide to write just a picaresque novel about the German reunification during the financial crisis after 2007? What is the additional value of this literary elaboration of the historical turning point of 1989? Why does money play such a significant role in this novel? The contribution expounds that Schulze retrospectively and critically retraces in his picaresque novel the way from the 'anti-fascist rampart' of the GDR to the moneycentred financial world of Wall Street. The article illustrates at the same time Schulze's diagnosis according to which during the process of German reunification the West betrayed its own democratic values and against the background of the peaceful revolution in the GDR missed the historical chance to build a fairer future society.

This paper examines the common imagery of the inscriptions found on thewalls of some Latin American and European cities. We aim to understand the graffiti andother mural artistic manifestations as an insurgence of the words. In order to reflectcritically on these manifestations, we examine how the visual language of graffiti relatesto visual art and literature. To this end, we follow Aby Warburg's Atlas Mnemosynemethod to address narrative representations as contemporary generational trends.With the help of the theoretical approach of Walter Benjamin's studies of art and politics,we intend to reflect on the aestheticization of revolt through the appropriation of publicspaces. The central point of the paper is to think about walls as places for experimentingwith marginal forms of co-creation that question the strategies of visibility of the urbansemiological regime. As a conclusion, we interrogate the aesthetics of the revolt usingthe notions of territory and contemporary culture. The walls have not only become aspace for political struggle, but also supports for creative urban practices where artmeets the everyday life. ; This paper examines the common imagery of the inscriptions found on thewalls of some Latin American and European cities. We aim to understand the graffiti andother mural artistic manifestations as an insurgence of the words. In order to reflectcritically on these manifestations, we examine how the visual language of graffiti relatesto visual art and literature. To this end, we follow Aby Warburg's Atlas Mnemosynemethod to address narrative representations as contemporary generational trends.With the help of the theoretical approach of Walter Benjamin's studies of art and politics,we intend to reflect on the aestheticization of revolt through the appropriation of publicspaces. The central point of the paper is to think about walls as places for experimentingwith marginal forms of co-creation that question the strategies of visibility of the urbansemiological regime. As a conclusion, we interrogate the aesthetics of the revolt usingthe notions of territory and contemporary culture. The walls have not only become aspace for political struggle, but also supports for creative urban practices where artmeets the everyday life.

[EN] In the summer of 1502, Cesare Borgia appointed Leonardo da Vinci for his engineering expertise. His assignment was specific and concerning with military architecture: he was expected to "see, measure and do good estimation". The Codex L, a small notebook conserved in the Library of the Institute of France, show the results of the survey of the city walls of Cesena and Urbino. The technique Leonardo adopted consists in traversing rectilinear stretches, measuring their length by means of an instrument able to count his steps and establishing their orientation by means of a compass. At the end of the path, the data relative to the sides of a closed polygon are obtained, resulting the geometric plan of the walls. This practice is testified by some residual eidotypes provided with quotas and orientations. In some cases, only the lists of distances in numbers are present, but the analysis of the figures makes it possible to reconstruct the surveyed plans, as Nando De Toni pioneered many years ago. This study focuses on the tools and the urban survey technique used by Leonardo. The analysis of some sheets from the Codex L, contextualized with respect to the actual topography of the sites, allows to understand the correct sequence of the operations carried out first in the site and then at the drawing board. By means of specific digital reconstructions, it is therefore possible to study the instrumental and operational limits of this practice and, by comparing it with the current state, to reconstruct the entire defensive structure. ; Carpiceci, M.; Colonnese, F. (2020). Le mura di Leonardo. I rilievi del 1502. Editorial Universitat Politècnica de València. 793-800. https://doi.org/10.4995/FORTMED2020.2020.11363 ; OCS ; 793 ; 800

Anna Chiarloni, Professor Emeritus of German Literature at the University of Turin, talks about the collection of personal papers she recently donated to the university's Archivio Storico. She describes the corpus – mainly her correspondence with East and West German writers – and uses it as the basis to reflect on Germany's complex evolution from the Seventies until its reunification after the Fall of the Berlin Wall. Deeply involved in the literary debate in the DDR throughout her academic career, Chiarloni, thanks to her direct relationship with key figures on the country's cultural scene – Volker Braun, Heinz Czechowski, Heiner Müller and Christa Wolf – had the opportunity to document Die Wende (the period of political change after the fall of the wall) from the viewpoint of the intellectuals, anxious witnesses of the DDR's social and economic ruin, who faced an uncertain future in reunified Germany.