Suchergebnisse

(English version below) Il progetto ERC ARTIVISM si concentra su varie forme d'arte utilizzate dagli attivisti per formulare rivendicazioni politiche. Da una prospettiva multisensoriale in città molto diverse, sparse su tre continenti (Douala e Yaoundé in Camerun, Los Angeles negli Stati Uniti d'America, Genova e Viareggio in Italia e Nizza e Marsiglia in Francia) vengono esplorate la creatività e la performance come forme sovversive di espressione politica Applicando un approccio diretto all'evento piuttosto di una prospettiva centrata sul gruppo, il team del progetto ERC ARTIVISM ha elaborato specifici metodi di apprendimento, field-crossing e antropologia audiovisiva (riprese video, disegni). I primi risultati mostrano come l'ascesa della speculazione, della turistificazione e del city-marketing siano gli obiettivi scelti dagli attivisti che organizzano performance politiche carnevalesche, veri e propri carnevali indipendenti in un contesto di securrizzazione, controllo e censura. The ERC ARTIVISM project focuses on various art forms used by activists in order to formulate political claims. From a multisensory perspective, creativity and performance as subversive forms of political expression are researched in super-diverse cities on three continents (Douala and Yaoundé in Cameroon, Los Angeles in the United States of America, Genova and Viareggio in Italy and Nice and Marseille in France). Applying the event approach instead of a group-centred perspective, the team has elaborated on methods of apprenticeship, field-crossing (Salzbrunn 2011) and audio-visual anthropology (filming, drawing). Preliminary results indicate the growing importance of speculation, touristification and city-marketing as targets chosen by activists who organise independent carnival and carnivalesque political performances in a context of securisation, control and censorship.

The author explores how the internet and the new media are changing the way that we communicate, act and think, individually and collectively, through the example of the Occupy Wall Street Movement. The author claims that The Occupy Movement, as a post-narrative project conceived in a digital environment, is less of a political activity, and more a new way of behavior for its members and for the society at large. Its focus on consensus building and its modus operandi are reflecting the principles of the Internet, web-organization and cooperation. Therefore, its success is not about achieving any particular political aim, or winning an election, but about the general acceptance of these values and their becoming part of a wider political agenda. ; Autor istražuje kako internet i novi mediji menjaju način na koji komuniciramo, delujemo i mislimo, pojedinačno ali i kolektivno, na primeru pokreta "Okupirajmo Volstrit". Autor tvrdi da "Okupacija Volstrita", kao postnarativni pokret nastao u digitalnom okruženju, manje predstavlja političku aktivnost a više novi normativni način ponašanja za svoje članove, ali i čitavo društvo. Njegova usmerenost ka izgradnji konsenzusa, kao i sam modus funkcionisanja, odražavaju principe interneta, mrežne organizacije i kolaboracije. Zato je njegov uspeh manje povezan sa ostvarivanjem nekog pojedinačnog cilja ili osvajanja vlasti na izborima, a više sa razmerom u kojoj će ove rednosti biti opšteusvojene i postati deo ukupne političke agende.

Nata a Pistoia nel 1880 e morta a Genova nel 1971, Leda Rafanelli abbraccia giovanissima l'ideale anarchico; durante un suo breve soggiorno ad Alessandria d'Egitto, incontra e si innamora di Luigi Polli, il pubblicista fiorentino – in seguito suo primo marito – che la introdurrà alla locale colonia anarchica italiana della Baracca Rossa. Subito dopo la Rafanelli si converte al sufismo – conversione rappresentativa della sua ribellione ai miti colonialisti e capitalisti dell'Occidente. Con il secondo compagno, Giuseppe Monanni, dirigerà la Casa Editrice Sociale, punto di riferimento per la cultura italiana dissenziente durante gli anni della dittatura fascista, ma anche del secondo dopoguerra. Solo ultimamente tornata ad essere criticamente valutata ed apprezzata, in Memorie di una chiromante (che ha visto la pubblicazione nel 2010, per i tipi di Nerosubianco, grazie al lavoro di Milva Cappellini e di Fiamma Chessa) Leda Rafanelli ci propone una comunità di donne raccontata da una donna, dove la vita quotidiana è contemporaneamente luogo privato e spazio dove esprimersi anche politicamente. Romanzo della maturità e della vecchiaia, Memorie di una Chiromante è una pedagogica metautobiografia in cui la scrittura di sé – ed in modo particolare quella femminile – diventa atto politico per eccellenza. ; Leda Rafanelli (1880 - 1971) was a political activist, a poet and a novelist, a scholar of Arabic languages, and an individualist anarchist. She converted to Sufism at a very early age, while she was travelling in Egypt, where she met Luigi Polli, a comrade who introduced her to the Italian anarchist circles in Alexandria; later he became her first husband and co-publisher. Although many individualist anarchists would side in favor of World War I as interventionists, Leda stated her pacifist ideas throughout her long life. She wrote tirelessly, from political pamphlets to children stories, from anti- colonialist novels to biographies and auto-biographies. With Giuseppe Monanni, her second partner, she founded the influential publishing house Casa Editrice Sociale, active from 1907 to 1935. Memorie di una chiromante (The memories of a fortune teller) was published in 2010 thanks to the research conducted by Milva Cappellini and Fiamma Chessa, the director and keeper of the Archive Famiglia Berneri – Aurelio Chessa in Reggio Emilia. Written when Leda had reached her maturity, it is a collective meta-autobiography and an invaluable handbook to practice existence as a political act through the methodology of self narration – which, especially in the case of women's autobiography, becomes quintessentially political.

The book addresses the theme of youth climate activism building on the experience of FridaysForFuture activists and analyzing both their social representations of climate change and their social media usage practices. It accounts for the results of a qualitative research carried out with(in) the Roman group of the movement, adopting a solidarity-based epistemic stance that invites reflections both on activism and research practices.
Drawing upon social representations theory, the authors analyze how the "Fridays" perceive climate change: as a socio-ecological crisis that comes from afar and has repercussions on the future, as something that affects everything and everyone; but also, as a generational problem whose environmental, social, and economic costs will be paid mainly by young people. On the other hand, guided by the literature on digital activism, the authors explore the way in which the activists inhabit social media: as constitutive environments of activism, where political and media practices define each other; but also, as environments that belong to young people and are characterized by age-specific communication styles.
The two experiences related to climate change and the political usages of social media influence each other, giving rise to an unprecedented youth movement for the climate that can tell us about the transformations currently undergoing digital, environmental, and youth activism.