On the dispensation machine. On Monica Ferrando’s L’elezione e la sua ombra: Il cantico tradico (2022). by Gerardo Muñoz

Monica Ferrando’s short but dense book L’elezione e la sua ombra: Il cantico tradico (Neri Pozza, 2022) refines our understanding of the secularization debate in the wake of the epochal crisis of modernity and planetary domination. For Ferrando this current domination is rooted in a specific retheologization that must be grasped at face value, no abstractions allowed. The force of theological domination, which has become a proper religious imperialism, expresses itself as a true corruptio optimi pessima, which Ferrando locates in a very precise intersection: the passage from the suppression of dilectio to an instrumental manifestation of electio that will culminate in the unleashed power to dominate not only the relation with the world, but the very existence of the species. If the Ancient covenant of early Judaism was a prophetic covenant with God, the force of predestination will suppress the mysterious relationship of blessed life to render a “selective process” of theological election [1]. It is only with the rise Protestantism, and Luther’s specific hermeneutical efforts to neutralize the messianic message of Paul’s Letters to Romans that election becomes the paradigm of a new government of the soul in this world, which will ultimately find its material legitimacy with the advent of the reproductive logic of capital. Implicitly building on the thesis of economic theology, for Ferrando the advent of the machine of election materializes in the theological reform that translates the universal salvation of the prophecy into a never before seen economy of the dispensing grace through wealth retribution for human labor [2].

The reformation based on dispensation (oikonomia) differed fundamentally from the Church’s idea of change rooted in the ius reformandi. As Gerhart Ladner shows, if the “idea of reform” up until modernity presupposed periods of spiritual reform through monastic experience in relation to wordly profane time, the apparatus of dispensation of election was oriented at securing an integral government rationality combining law, economy and subjective production without reminder [3]. In this light, the operation of the dispensation paradigm is twofold: on the one hand, it promotes an anti-Judaic operation of reducing Jews to a people of this world that will ultimately will be identified with political Zionism; and, on the other, it dismisses the coming of Christ as worthless, and in the best case as merely postponed [4]. For a reformed theologian like Karl Barth – at odds with the economic evangelism that ultimately triumphed in the United States and that now it extends across the global – there was only a ‘great dispensation’ putting end to the abstraction of value and the homogeneity of the time of production [5]. But more importantly for Ferrando, the triumph of the dispensatory paradigm entails a new fundamentalism of judgement based on “election” (in the broadest sense of value equity and competition) will appear as the only immanent force capable of considering every other religion and confession exterior to itself as “merely pagan and idolatrous” [6]. It would amount to the triumph of the self-made ‘gentleman’ over the outward message of Paul.

The dominance of dispensation meant a full convergence between salvation and profane economic life that will bring exteriority into a crisis in the deepest sense. This is why for the reformist mentality, its own modern image initiates the epoch of irreversibility; that is, the pure historical progress guided by the will of election and the work of grace as an exception to universal salvation. If the modern reform has been at times understood as the new regime of social pluralism and system of indirect separations (between Church and State, civil society and religion, the public and the private, etc) for Ferrando it is on the side of the theological presupposition where its most terrifying arcanum must be found: a dispensational theology whose main unity is the recurrent intrusion, training, modification, and discipline of the forum internum, that is, the administration of the consciousness of man. Whereas the felix culpa allowed for the mystery of repentance and universal salvation; the political meditation of election through accumulation and economic benefits will legitimize the new discourse on toleration, “liberty”, and even democracy as the distribution of surplus value. In this sense, Liberalism (with Locke and other thinkers of the English and Scottish Enlightenments) was born, as later understood by Carl Schmitt, with the structural weakness of “individual freedom” and maximized autonomy that will require the expanding checks of police and governmental penalties to cope with the production of effects. Of course, every deviation or movement that could put a halt to the fiction of election will find itself on the side of illegality, or turned into a remnant of a surreptitious past that must be overcome at all costs. This implied, as Ferrando reminds us, nothing less than a novel modification of the anthropogenesis of the human species.

It is one of Ferrando’s most daring and surprising tasks to show how the machine of election does not merely occupy the economic-political sphere, but that it will eventually also imply an aesthetic imperative in Northern European culture; specifically with the rise of German romantic response to the crisis of the Enlightenment and the question of “classicism” of the classical Greece. If according to Gianni Carchia the aesthetic dimension of modernity should be read as a compensatory answer to the futility of the romantic revolution in subjectivity; Ferrando’s complementation to the thesis brilliantly shows how this attempt was meant to fail at its original ground due to the mimetic appropriation and metaphorization of the Greek historical past in the aesthetics program of Winckleman and German Idealism (with the exception of Hölderlin’s fugitive position) [7]. The mimetic “hellenization” of German romanticism and its posterior afterlives (one thinks of the Stefan George Circle, and Max Kommerell’s Der Dichter als Führer) gave birth to a notion of “culture” that hinged upon the separation of the aesthetic and the religious spheres that had to sacrifice the appearance of beauty in order to attest for the dialectics of objective and subjective forms of the “Spirit”, and thus leading to the triumph of the grotesque and the aesthetic imperative of uniformity and museification. For Ferrando the German spirit of genialismus had as a mission the overcoming Latin, Mediterranean and Mesopotamian forms of life where the distinction between beauty and life never understood itself as a “culture” or objective project of enlightened intellectuals and artists on the mission to transform the contingency of poesis into the realization of the Idea [8].

Displacing this aesthetic dimension to the present, for Ferrando the intrinsic disconnect between appearance and substance of art’s truth emerges today in the predominant social morality of today’s global bourgeoisie: hypocrisy. It is in hypocrisy where today one can see the inflationary hegemony of discourse over the true organization of life that is proper to the dominant metropolitan class of the West, and its maddening obsession with identity politics or “race” oriented discourse as a moral inquisitorial abstraction (it is in this process that the notion of election appears in the least expected of places: sky color, language use, demands for inclusivity, and hyperconscious towards an invented past). The work of hypocrisy, in fact, appears as a secularized form of the dispensation paradigm that aims to normalize and domesticate every form of life that challenges its specular regime. This is why according to Ferrando – and I do not think she is incorrect in saying so – the possibility of art (especially that of “painting”), as the undisclosed of truth will disappear from human experience, as it has no place in the moral functionalism of ‘contemporary art’ nor in the discursive struggle over global communication and opinion battles (the so-called ‘cultural wars’) [9]. The aesthetic museification of the world liquidates the possibility of art’s truth. Paradoxically, in this new scenario everyone must declare himself “an artist” of their own emptiness: the nowhere men that stroll in the works of Robert Walser or Franz Kafka – who never declared themselves to be anything – in our present are flipped on their heads becoming informers of the regime of a universal politics of recognition and moral judgement [10]. These ‘bloomesque figures’ confirms in the last epochal dispensation of the Reformist revolution that the premises of subjective freedom, economic gain, and autonomy of value have culminated in a new aesthetic imperialism that is anthropological and rooted in the triumphant religion of immanence and the sacralization of ultimate values. The endgame has been dispensed in the creation of a “new man” through the sacrifice of every exteriority in man, that is, of the invisibility outside the fiction of his personality.

The paradigm that Ferrando is describing vis-a-vis the operative force of “election” is also one of profound irony, since the mechanism of predestination and election, by betraying prophetic dilectio (love), the “free election” of the moderns entails that everything can be elected at the expense of losing dilectio: the only path towards the mystery of life. This is what the epoch of irreversibility and the arrogance of historical progress has foreclosed and it is incapable of considering. But for Ferrando life remains an ethics, which she links to Eros, whose appeal to the law of the heart is neither religious nor political, but rather an instance to the disclosure of truth. As she beautifully writes towards the end of L’ elezione e la sua ombra (2022): “Occorre osservare che qui si tocca una sorta di grado zero teologico, che scivola nel mero «biologico» solo a patto di esautorare la sapienza della madre o, detto altrimenti, la sapienza come madre, custode di una legge non scritta, di un nomos del cuore, che non necessita di alcun mandato esterno per esercitare la conoscenza che gli è propria. Si apre insomma quello spazio, costantemente e variamente negato, ma imperturbabile, di cui solo la madre, in virtú di una sapienza propria della natura umana, può custodire la legge.” [11].

The foreclosure of the acoustic relation to prophecy documents the recurrent political interest in the subordination of music to the moral captivity of the reproduction of humanity [12]. On its reverse, the law of eros, prior to the moral domain of natural law and the authoritative domain of positive law, is the protection of the indestructible region of the human soul where no political, moral, or economic dispensation can exert its force. This is confirmed today by the monstrous techno-scientific interventions and dysphoric alterations in the life of children as the last utopia in the long dispensation of the anthropomorphism of capital legitimized by rhetorical force of an unending sermo homilis [13]. In this sense, what Ferrando accomplishes in this wonderful essay is to remind us that the event of theology remains outside the dominion of priests and bureaucrats and situated in the prophetic dimension of Eros (love) that guards the inclination towards beauty and the disposition to attune oneself to the prophecy of the world’s fulfillment [14]. Hence, it is not in the community or in an integralist Christian traditional family order where the sacred dimension of humanity can be retrieved; rather, for Ferrando it is in the non-knowledge reserved by the eros of the mother who never decides nor choses before law, whose nonverbal “tacit authenticity” (“tacita autenticità del legame materno”) unconceals a true experiential depth away from the the delirious cacophony of our world.




1. Monica Ferrando’s L’ elezione e la sua ombra: Il cantico tradico (Neri Pozza, 2022), 8-9.

2. Ibid., 22.

3. Gerhart B. Ladner. The Idea of Reform: Its Impact on Christian Thought and Action in the Age of the Fathers (Harvard University Press, 1959).

4. Monica Ferrando. L’ elezione e la sua ombra: Il cantico tradico (2022), 24.

5. Karl Barth. “The Great Dispensation”, Interpretation, V.14, July 1960, 311.

6. Monica Ferrando L’ elezione e la sua ombra: Il cantico tradico (2022), 30.

7. Gianni Carchia. “Modernità anti-romantica”, in Il mito trasfigurato (Ernani Stamptore, 1984).

8.  Monica Ferrando. L’ elezione e la sua ombra: Il cantico tradico (2022), 60.

9. Ibid., 91-92.

10. Ibid., 94.

11. Ibid., 106.

12. On the controversy of music as a tool to tame human’s passions, see John Finnis’ “Truth and Complexity: Notes on Music and Liberalism”, American Journal of Jurisprudence, Vol. 62, 2017, 119-124.

13. Gianni Carchia. “Eros y Logos: Peitho arcaica y retórica antigua”, in Retórica de lo sublime (Tecnos, 1990), 29.

14. Gianni Carchia. “Dialettica dell’immagine: note sull’estetica biblica e cristiana”, in Legittimazione dell’arte (Guida Editores, 1982), 21.

Universidad, Humanidades, Cibernética. Para una conversación con Rodrigo Karmy en la Universidad de Chile. Por Gerardo Muñoz

I. Universidad – El agotamiento epocal de la universidad contemporánea exige una mínima arqueología que no coincida con la historia de la institución. Urge una arqueología de los paradigmas de la crisis no moderna de la universidad. Podemos programáticamente apuntar a tres momentos que guían el devenir de su crisis civilizacional: a) un primer momento de la universidad ilustrada del proyecto de Humboldt, en la que predominó la subjetivación y domesticación de los saberes para la construcción de la autoridad. A escala civilizatoria no habría diferencia alguna entre el proyecto de Sarmiento o el de Simón Rodríguez, o en la campaña de alfabetización total de la Revolución Cubana. La universidad quedaba puesta disposición de un sujeto para la Historia. b) Un segundo momento es la transformación que aparece con el ascenso de la universidad corporativa a raíz del neoliberalismo y de la crisis de legitimación del proyecto ilustrado. En efecto, pudiéramos decir que la universidad neoliberal es parte de la nueva racionalidad que ofreció una salida al estancamiento del fordismo y de la de-contención de la economía en la nueva valorización total. El único lastre de la civilización ilustrada ahora quedaba reducido al dispositivo del contrato entre transmisión de saber y subjetivación del estudiante en consumidor. c) El tercer momento es el que atravesamos ahora y que me gustaría llamar de metástasis cibernética, en el que se busca la destrucción subjetiva de la figura de estudiante con respecto a los procesos contractuales previos. Aquí es muy importante la propuesta programática de Eric Schmidt – escrita en el Wall Street Journal muy tempranamente al comienzo de la pandemia – en la que sugirió que lo importante de este momento era desplegar una verdadera revolución de la infraestructura digital en la que el “estudiante” aparecía como la figura de la mutación. Aunque es demasiado temprano para saberlo, ahora podemos ver que la crisis de la universidad no es meramente relativa a los modos económicos de la organización de la vida, sino que es el sobrevenido de la crisis de la dispensación del logos tras la clausura de la época del Hombre en un nuevo horizonte de la domesticación de la especie. 

II. Humanidades – Para Rodrigo Karmy las Humanidades son el resultado del experimento de la res publica. Desde luego, esto es consistente con el momento ilustrado y sus misiones civilizatorias que hoy ya no avanzan sino a un proceso de abstracción genérico bajo el dominio de la tiranía de los valores. Ahora la funcionalidad efectiva de las “Humanides” es compensatoria en el reino del valor: la única diferencia es que el libertarianismo neoliberal busca limar el polo del valor-negativo (pensemos banalmente en el no-valor que puede tener un curso sobre la pintura de Ticiano o sobre la poesía provenzal); mientras que el progresismo ‘humanista’ defiende un régimen valorativo en la cultura que va mutando, dependiendo de la declinación flexible integra al registro del valor. Por eso es por lo que, como ya en su momento vio con lucidez Gianni Carchia en “Glosa sobre el humanismo” (1977), el debate sobre el humanismo y el anti-humanismo es insuficiente para pensar un verdadero éxodo con respecto al imperii del intercambio, pues en ambos extremos hay un proceso de atenuación de la valorización en curso. En el momento de la impronta cibernética, las humanidades no solo son “residuales” (diagramadas desde la identidad y la intensificación de discursos de la agresión subjetivista), sino que operan como el reducto de la producción técnica del saber. En otras palabras, las Humanidades da un semblante al hecho de que ya no hay una época del Hombre, sino fragmentos que se constelan y que producen encuentros en el mundo.

Las humanidades ahora ejercen la función de domesticar y unificar la an-arquía en curso en las propias mediaciones. Esto genera una mutación en las élites: por eso ya la empresa no es producir “civil servants” de la Humanidad como en la vieja aspiración kantiana; sino más bien en una nueva estructuración medial que domestica la propia potencia experiencial del saber. En un importante ensayo escrito en la última fase de su vida, “Texto y Universidad” (1991), Ivan Illich habló de la pérdida de los contactos sensibles y experienciales con la lectura y las páginas del libro en el experimento del saber. Pero todavía Illich hacia la clausura del mileno, podía pensar que la universidad podía preparar una reforma en línea de la ecclesia sempeter reformanda, capaz de extirpar lo peor de lo mejor de su misión (la corruptio optimi) para renovar el reino de las sensaciones y del gusto en el estudio. Pero ¿es tal cosa posible hoy? En cualquier caso, la fractura de las humanidades nos confronta con la incapacidad de tan siquiera imaginar la forma de otra institución capaz de albergar las condiciones del pensamiento. 

III. Cibernética – El presente pandémico ha mostrado con claridad el ascenso de la cibernética en su eficacia de organizar el mundo de los vivos. Obviamente que esto no es una invención reciente de Silicon Valley; aunque, desde luego, Silicon Valley sea la metonimia de la nueva espiritualización técnica del mundo. En una importante conferencia “La proveniencia del arte y la determinación del pensar” (1967) sobre la relación del arte y el destino de Occidente, Martin Heidegger se refirió la cibernética como la unificación de las ciencias y la hegemonía de la “información” como nueva forma de organizar el mundo de la vida de los existentes. En realidad, la cibernética no es un dispositivo más; sino que llega a suturar la relación entre experiencia y vida, inmiscuyéndose en la noción misma de “distancia”. Por eso es por lo que la cibernética es siempre enemiga de la forma de vida, y es incapaz de crear un destino en el singular. A su vez, la cibernética ya no es un proceso de subjetivación, sino que, mediante su “recursividad”, ahora puede constituir la espectralidad de los vivientes a través de la colonización de la medialidad de los vivos. En este sentido, no hay una oposición entre experiencia y cibernética, sino que la concreción de la cibernética es una organización de las descargas experienciales del mundo psíquico.  

De ahí que en un mundo ya desprovisto de los viejos principios (archein), ahora aparece como la superficie que debe ser optimizada desde la mediación absoluta de la información. La cibernética no es reducible a la tecnología ni a la invención de aparatos, sino a la infraestructura subrogada de la optimización de los fragmentos. Ahora las bases ontológicas de la economía de la acción quedan fisuras ante la crisis de la distancia y la sustitución de la virtualidad por la crisis de la apariencia. Y, sin embargo, la cibernética es incapaz de integrar la irreductibilidad de la existencia. La existencia busca un afuera, desertar de la equivalencia contingente de lo Social, separase asintóticamente con el mundo. Todo pensamiento hoy solo puede acontecer ex universitatis: en otras palabras, el pensamiento es la fuga del vitalismo de una experiencia cuya estrechez política tiende a la negación de la apertura de sus modalidad inexistentes o posibles. En este punto es que podríamos comenzar a pensar una defensa del entorno (Moten) fuera de la vida, que es también una detención de la cibernética que hoy se impone como nueva configuración de un poder en el que experiencia y vida comienzan a constituir la zona invisible que debe ser recogida por la tarea del pensamiento. 



* Estas notas fueron escritas para preparar la conversación sobre universidad y la crisis de las humanidades en la serie de “Diálogos Permanentes” organizada por Rodrigo Karmy en la Universidad de Chile y que podrá ser vista el viernes 30 de Abril en la página de la Facultad: https://filosofia.uchile.cl/agenda/174490/dialogos-permanentes-humanidades-universidad-contemporaneidad

A gloss on the “element” of love. by Gerardo Muñoz

It might be the case that the self-evident nature of love as an affection proves itself lacking mediation in thought, insofar as it is a resource of mediation between thought and the world. In this sense, it is true that what one “loves” resists to be grasped as an object of representation or exposition; it is a question of limits, and those limits posit the question of the world. Now, love gives form, but it is not in itself a form or a mandate or an object. This means that love is outside of reality; indeed, it is the absolute indifference between object and world.

The question perhaps is one regarding proximity and distance. The problem of “nearness”, which is why in the text one reads the orphic inscription: “When we are in nearness to which we love we then go through the other side of the mirror.” Of course, what is interesting it not the “other side”, but rather to have become transformed by something without ever being entirely dissolved. Amor fati? Perhaps. In the transient path of the night one is opened to the condition of the “moon hunter”, in which one path reveals itself as the question of destiny (“one life”). The trick is that no path is ever ‘obligatory’, but rather validated by an access to an experience. Now, it is obvious that love cannot exhaust an experience, but there is no experience that is not affected by love, since it is this affection what inscribes the limit of a world without the fantasy of possession and abuse. 

Another moment: “In abusing something we no longer love; and even in the pleasure that were invested in we do not love”. Here the exotic (extemporaneous) nature of love becomes visible: no love is exhausted in materiality and form. Love is ex-scription: it demands exodus as homecoming. However, no fundamental fantasy of love can validate what is granted to us by the irreducibility of an experience. Perhaps this is after all what Gianni Carchia, reading Schelling called the “transfiguration with the divine”. Or, as I would like to call it, the intromission with the invisible [1]. In the invisible we carve out the limits of our deconstitution with our world in which our existence is possible through separation. 

There might a rebuttal, although it might not be one after all. It is a recent suggestion by a friend who claimed in a psychoanalytic speculation that: “Perhaps after all ‘love’ is a Christian invention, a compensatory and necessary one for the fact that we do not communicate”. There might be a few ways to respond to this claim; the first one being that the task of the transfiguration of love responds, precisely, to the subordinated status of love as mere compensation to the subject of sin and thus of the pleasure principle. The existence that can traverse the pleasure principle of the subject could be said to have gained reentry into a happy life capable of outsourcing the succession of infinite deaths while in life. 

Contrary to life or death, love might be another name for the orphic passage between the two states of potentiality; that is, of pure affection and the opening of the impotential in every life. To experience the death of what is possible as transient to the time of existence opens the path towards a “life to come…in underground streams” (Auden). If love is to be taken as compensatory to the impossibility of communication, then there is a love of thinking, but not necessarily a thinking of love. It is strange that philosophy – just as “liberty” for political thought – fails when measuring itself up to a thinking of love, a vertigo before the immemorial attunement to the state of mousikos. Such is the taking place among the things that we have surprised in the world, but only accessible to those who “seek” outside reality. 



1. Gianni Carchia. “Indifferenza, eros, amore: la critica dell’essere spirituale nella “filosofia della libertà” di Schelling”, in L’amore del pensiero (Quodlibet, 2000), 101-121.

Photogenesis and the invisible: on John Cassavetes’ Shadows (1959). Notes for a seminar presentation. by Gerardo Muñoz

i. What is your name? Every time that I have watched John Cassavetes’ Shadows (1959) I end up facing the same question: what is taking place in this film? Perhaps it is the incorrect question insofar as Shadows (1959) is, first and foremost, a film about the event; about “what takes place”. Unlike Hollywood’s telic form over conflict, the whole premise of Cassavetes’ method of improvisation is a way to liberate the event in the moving image. This is what I would like to call here a photogenic event. The whole structure of Shadows is, to this effect, the bringing-fourth of appearing without narration or naming. Hence, what takes place is the way in which characters or figures emerge from light, retracting from the plunge unto theatricality. The photogenetic effect in Cassavetes is a way out of the logic of naming: remember “what is your name?”, as Bennie asks very early in the film (the café sequence). Indeed, the naming is always what emerges after the event, once boredom has kicked him and the separation from light and shadow, human and animal, theater and theatrically have taken place. The taking place in Shadows is a return to an abysmal site predating naming, faces, or intentions: it is absolute proximity. 

ii. The vocation of the quotidian. The photogenetic image works through the texture of life: this is why in Shadows nothing truly happens in virtue that everything takes place. The difference between happening and taking place is an irreducible distinction; mainly, what happens is not provoked a mediation between subjects and objects, but rather at a moment when both subject and object coincide only to immediately suspend each other. What takes place is life’s destiny, which ultimately entails that we are figures of exposure before we are subjects of narrative and causality. As in a diary or a midnight party, what takes place is the clandestine life once it enters in relation with other bodies, languages, and gestures. In this sense, Shadows remains faithful to one and only one principle: how to transfigure the boredom of factical life into a vocation of a clandestine life. It is not too clear that Cassavetes arrives at a successful answer to this problem; almost as if, indeed, to remain clandestine is to insist on the “invisible” image that is always missing from every life. The promiscuity between shadows and light transpires the possibility of the living all the other invisible and nonexistent lives that are scarified within that which we call “life”. 

iii. Under the glorious sky. If the task of vocation opens to the invisible in life, then this means that there is always a dimension that is exterior the anthropological determination. In the solitude of the nocturnal splendor of the late modern metropolis – as in the instance in which Lelia is outside of a Manhattan theater lost in thought or contemplating the shimmering lights above – the existence of the human shines along with the embers of the sky. This most definitely an inherence of paganism in the sense of the medium in life as a mode of appearance without judgement. As one can still contemplate it from the frescos at Villa Fernesina, the pagan gazing towards the sky is not a flight towards abstraction or transcendence, but rather a releasement of life’s destiny as affirmed in the terrestrial presence [1]. Paradoxically, at the moment of the total subsumption of life into the Spectacle, the medium frees the possibility of the deconstitution of life into the modes and resources of appearing. From the photogenic perspective, this entails full saturation on the horizon; from the pagan perspective, the onwards unfolding of existence becomes a fragment in the exploration of the common sky. 

iv. Inharmonious tonality. Now, fragmentation opens a heterochronic disassociation between images and events. Indeed, all of Shadows unfolding bears witness to the way in which the tonality of life is always at odds with the attunement of the rhythms of the world. It is in this threshold where interiority of the self and exteriority of music point to the peak of prophecy. For one thing, because music is the medium through the residual mystery of the “inexpressive” becomes the process of traversing the ecstatic formlessness of the event. This disharmony dislocates the homogenization vis-à-vis the sky of cinematography.  Bresson says something very beautiful about this disharmony: the image of cinematography must be such that it puts in relation the voice and the steps of a person in a way that the protagonist themselves have not foreseen. This nocturnal knowledge between image and sound, rhythm and tonality of life, becomes the triumph of the photogenic medium in which life dissolves in a kinetic outburst without recourse. 

v. The invisible and intoxication. At a very superficial dimension, Shadows is about alcohol consumption; hence about what happens to a life under the stage of intoxication. The only knowledge is that of the oblique pedagogy in which the way of the flesh becomes a pathway for language, friendship, and violence among other bodies. There is no transgression as an intoxicated subject, since intoxication is already the violence against the substance of the subject. In other words – and this was suggested to me by the contemporary artist and designer Claudia Patricia – the logistics of errancy is being able to do otherwise from a site in which no other possibility could have emerged. This absolute necessity moves against reality and the future planning of the metropolis. And here I must return to the beginning: what takes place is what allows a relation with the invisible. Already in 1959, Cassavetes understood that intoxication redeems an ethical life against an epochal phase in which total anthropological exposure would become the concrete utopia of the socialization of capital. 




1. Fritz Saxl. La fede astrologica di Agostino Chigi. Interpretazione dei dipinti di Baldassarre Peruzzi nella Sala di Galatea della Farnesina (Bardi Edizioni, 2017).

2. Gianni Carchia. “Dialettica dell’immagine: note sull’estetica biblica e cristiana”, in La legittimazione dell’arte: studi sull’intelligibile estetico (1982). 

3. Bresson on Bresson: Interviews, 1943-1983 (NYRB, 2016).