Instead of accepting speculative endeavours as reflections of the present in the future, enabling diffractive viewpoints within the world can help us engage into a deeper analysis of how speculations can actually come to be.
Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.
In Walter Benjamin’s understanding, the use of allegory is typical of Baroque Art: Man acknowledges his guilty passion for this world in the moment of its decay.
The precarious and the immune are no longer only in a relation of opposites in post-Fordist societies, but rather more and more also in a relation of overlapping, tending, in fact, to become indistinguishable.
The current crisis of democracy is the conjunction of a state of affairs that cannot and doesn’t want to change.
No more pages to load