This is merely a footnote to an exchange in light of the short talk “Immanence and Institution” that I delivered yesterday in Mexico City under the generous auspices of Professors Benjamin Mayer Foulkes and Andrés Gordillo (the recording should be available soon in the audio archive). In the rich discussion that followed the hypothesis regarding the triumph of the dominance of the civil concept today, Andrés Gordillo noted that a practice of “discernment” was required to confront the ongoing condition of planetary catastrophe that has only intensified in the wake of AI automation processes that orient the optimizing and unifying the totality of world-events. Alluding to his historiographical research on early modern epoch, Gordilo alluded to the mysticism of the seventeenth century’s “science of experience” (following Michel De Certau’s The Mystic Fable but not only this work) as an existential practice to retreat from the dominium of confession, but also to refuse the Protestant unification driven by the ends of predestination and grace. And unlike the early Christian mystics of the void and releasement, the proponents of a science of experience favored a discernment with God that was vested in every creation of possibilities and modalities exterior to life.
The mystical defense of a science of experiences, then, refuses the concretion of the social subject: being a subject of sin through the postlapsarian condition, but also reflecting the Protestant subject of election that will give birth to the secularization of consciousness and will. The science of experience is the exposure of the soul to the possible transformation with the exteriority as prefigured in transcendental exteriority. A transfiguration of the foundational unity of theological revelation. I find it fascinating that these mystics of the seventeenth century (some of them marranos or facing the problem of conversion) were already aware that an epoch of total dominium and absolute collapse against life requires a transformative nexus with the temporality of experience.
When Erich Unger in 1921 contemplates the rise of a catastrophic politics in his Politics and Metaphysics, he retorts to a politics of exodus that, precisely, affirms the experiential dimension of existence and communication through what he would call the elevation of the imaginative capacities. In the face of a subsumption of politics into catastrophe, for Unger the immediate task was to elaborate the praxis of experience from the psychic imbalance of the corrosive effects of the subject. In other words, the science of experience names an interior exodus against every instance of rhetorical and mimetical fabrication that seeks to hold the plan discernment of life into a regime of administration and accumulation of plain historical time.
I agree with Gordillo that perhaps the diverse experiments of the “science of experience” could very well be understood as experiments in transitional thought against historiographical closures. The notion of experiment could be extrapolated from Saidiya Hartman’s usage, in a minimalist sense: ways of living on the other side of the rhetorical assignment of the fictitious life of the subject. But perhaps the very term “science of experience” today is a misnomer, in the same way that the proto-concept of “experiential politics” deployed by Michalis Lianos during the cycle of the Yellow Vests runs into an aporetic threshold to name the crisis of the soul’s attunement in the face of the conflagration of the world. Precisely the errancy of experience (and its non-sacrificial relation to pain) is what cannot be subsumed – and for this reason the invisible fleeting gradation – neither to a science nor to a politics.
At his rubric at Quodlibet, Giorgio Agamben has recently reflected on the famous Goethe-Napoleon exchange on the destiny of human beings as entirely political. This theme is central to any observer of contemporary geopolitics, which as Carl Schmitt noted towards the end of The Concept of the Political (1932) was realized through the indirect powers of economy and war. During the interwar years Schmitt wanted to preserve the autonomy of the political at all costs, although he will soon conclude in his postwar writings that it was no longer possible given the full extent of a global police management (as he notes in the Italian prologue “Premessa alla edizione” to the 1963 Mulino edition).
What does it mean that politics has become the only destiny of Western Man? One could only imagine Goethe’s surprise at Napoleon given that he was the poet that most passionately reflected on the demonic opening towards destiny. Now, the fact that politics is destiny is a way to emphasize the dislocation of character from destiny as the search for one’s own freedom.
It is no surprise that it was another poet, William Butler Yeats who, in the dark hour of 1939, confronted this issue in his poem “Politics” published in his very last book. The poem in question is a sort of farewell to the eclipse of life of the soul constituting the releasement of destiny. It is also interesting that Yeats does not cite the Napoleon-Goethe scene recorded by Eckermann, and rather uses an epigraph from Thomas Mann to reiterate this preposition. The poem should be considered in its totality:
‘In our time the destiny of man presents its meanings in political terms.’ – Thomas Mann
How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics,
Yet here’s a traveled man that knows
What he talks about,
And there’s a politician
That has both read and thought,
And maybe what they say is true
Of war and war’s alarms,
But O that I were young again
And held her in my arms.
No destinial politics, however, can totalize the experience of language and thought. This is the crux of Yeats’ poem, it seems to me. In the opening of an epoch of catastrophic politics (as Unger would register it), it was a poet that resisted the metaphysical valence of political destiny working through the imaginal remembrance through the appearance of a “girl standing there”. The last poetic apostrophe of a caducous time could only be redeemed erotically; forever disentangling the fictive conflation of life and politics.
There is no surprise that the growth of social fragmentation runs parallel to appeals to community and communitarian affirmations. For anyone today in the university (at least in the United States, but I am told that the trend is similar across parts of Europe and elsewhere) it is easy to see that all initiatives and justifications for actions (an art curatorial project, a library event, you name it) is almost always done in the name of the community. The communitarian affirmation emerges to help cure the otherwise too crude and unbearable wounds of the social bond and the community of the species (Gemeinwesen). A friend was on point recently in defining these communities of obligation, participation, and self-valorization as a minima societas; a mini society that helps to create the illusion that “Society”, somehow, is still here.
As we know, this is not far off from Edmund Burke’s famous theory of “little platoons” meant to orient humanity towards the virtues of public affections. The collapse of civil-society and state mediations realized the Burkean predicament to its integral idealization, which is why today radical Marxist, academic bureaucrats, postliberal nationalists, experts in mental health and psychiatric treatments, contemporary art curators and even special units of the police can all agree that community is the highest value that must protected and sustained. In this framework, there is no outside to the community, and every outside becomes integrated into the community as a value.
The community lodges the artificial allure to retract from catastrophe, but it does so by reproducing the catastrophic it seeks to avoid: that is, by negating the possibility of exteriority of every community sustained by the affective transmission of vanity and recognition. This is why to speak of community of friendship is a misnomer at best, which introduces a great amount of confusion between these two forms of contact. In a fabulous moment in his Il dialogo della salute, Carlo Michelstaedter goes as far as to write that: “In the communities of friendship that are born from a common vanity, every life off the death of those who are already outside the community. Everyone in its own solitude swallows with an empty stomach the sour implications of these lethal conversations. But these are the companies that please men”.
It is a remarkable passage that exposes the irredeemable position of a community of friendship, which ultimately subsumes the friend into the logistics of debt, obligation, and recognition and satisfaction. As in Mary McCarthy’s novel The Oasis (1949) about a group of disaffected antinuclear intellectuals who form a community in the mountains of New England, every community of friendship is destined to the worst catastrophe imaginable sacrificing both friendship and the world through the circulation of value.
Precisely, if friendship means anything, is that it is on the other side of valorization that permanently conflates language and directives of action. What happens in McCarthy’s The Oasis is precisely that language becomes a medium for directives and exchange, and friendship a hellish reality of ‘those who belong’ but now have nowhere to go.
The impossibility of separating community and friendship will only perpetuate the politics of catastrophe that has colored the entire course of Western political modernity. The Spanish political leader Pablo Iglesias recently captured the bad faith of our times: “Puede que la manifestación no tenga un impacto político inmediato pero del mismo que los católicos se encuentran en misa nosotros nos encontramos, nos abrazamos en las movilizaciones. Somos parte fundamental de una comunidad.”
For sure, a magnetic secularized religious liturgy lives on Iglesias’ candid heart. But we know that the partition of friendship is neither an offshoot nor a declension of a substantive community; it is what takes place on the other side of pathetic valorization.
I want to thank Lucia Dell’Aia for putting together the PAN Group, which she describes as a natural garden composed of different voices already constituted and dispersed around the world. The group’s initial inspiration springs from Giorgio Agamben’s Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), a beautiful and important book. Pulcinella is, prima facie, a book about a puppet (the famous Napolitan puppet that I remember first encountering years ago in an Italian pizzeria in New York Upper West Side without knowing much about him), but it is also something else. As it is already common to Agamben’s thought, these figures are depositary of arcanii of the western tradition, and Pulcinella is no exception. I want to suggest to all of you something obvious: Pulcinella stands for the arcana of blissful and happy life in the wake of a catastrophic civilization. It should be obvious that the thematics of happiness have always occupied a central place in the Italian philosopher’s work, and every book is a way to measure up to this latent sensibility proper to the mystery of anthropogenesis. In a way, then, Pulcinella rehearses an idea that has been present since the early books, although restated in new garments that have remained unsaid. In this short intervention I want to address these two dimensions, and perhaps contribute to the already rich discussion on Pulcinella in the intersection between philosophy, poetry, ethics and politics, which Lucia suggests it should be the way that we approach the field of forces of thought.
As early as in the gloss “Idea of Happiness” in Idea of Prose (1985), Agamben thematizes the problem of happiness inscribed in the relationship between character and destiny that will reappear in a central way in Pulcinella: “In every life there remains something unlived just a s in every word there remains something unexpressed…The comedy of character: at the point when death snatches from the hand of character what they tenacious hide, it but grasps a mask. At this point character disappears: in the face of the dead there is no longer any trace of what has never been lived…” . Against the metaphysics of eudaimonia and the theological tribulation of happiness as a reflection of property (“in pursuit of happiness”, Thomas Jefferson will define civic life within the organization of the goods of the res publica); the idea of character is what traces the unlived in every life; and, more importantly, what neutralizes the tragic dimension of the narrative of destiny. Narration is the point of fixation and representation transcendence; it creates order and irreversibility, it hold us accountable. This is why character is a parabasis of destiny, thus its comic axis: “Character is the comic aspect of every destiny, and destiny is the tragic shadow of character. Pulcinella is beyond destiny and character, and tragedy and destiny” . Pulcinella breaks aways from the prison of the metaphysics of destiny and character posited as “substance” for action. This is why, radicalizing the relation to death in the gloss on happiness, Agamben will introduce the theatrical figure of the parabasis to define the desertion from the conditions of fixation and historical time . In other words, there is happiness when there is a possibility of parabasis in the face of catastrophe. And catastrophe is nothing but the integral adaptive operation between character and destiny that regulates legal fictions, political mediations, and ultimately the opposition between life and death. If Søren Kierkegaard understood Pulcinella as a figure of privation in opposition to the knight of faith; for Agamben, on the contrary, Pulcinella does not depend on fides or the persona, but rather on a comic intensification that allows “life itself” to move beyond the theological conditions dispensed by sin, guilty, or fear of death – all guarantees of the economy of salvation . Pulcinella heresy is to move within and beyond the world, as Agamben writes in a remarkable orphic moment of the book:
“Che Pulcinella abbia una speciale relazione con la morte, è evidente dal suo costume spettrale: come l’homo sacer, egli appartiene agli dei interi, ma appartiene loro così esageratamente, da saltare tutt’intero al di là della morte. Ciò è provato dal fatto che ucciderlo è inutile, se lo fucilano o impiccano, immancabilmente risorge. E come è al di là o al di qua della morte, cosí è in qualche modo al di qua o al di là della vita, almeno nel senso in cui questa non può essere separata dalla morte. Decisivo è, in ogni caso, che una figura infera e mortuaria abbia a che fare essenzialmente col riso.” .
The comic dimension in Pulcinella’s expressive character, then, has little to do with an anthropological laughter automatism that would reveal the species proximity to animality (but also its outermost distance and alienation). More specifically, Pulcinella’s character is a lazzo or medial relation that exceeds life and death fixation. At the same time, Pulcinella (like Hölderlin, Pinocchio, to recall the other figures in Agamben’s most recent books) irradiates a new type of existence; in fact, an existence against all reductions of subjectivity and personalism, which could very well defined by the pícaro motto “vivir desviviéndose” . If we grant this, we are in a better position to grasp that death is not finality to “a life”, but rather a limit of caducity of experience that those in possession of character can breach in order to affirm the releasement of happiness. In a fundamental way, life is always unto death, so it is through his character that one could accomplish resurrection and become eternal. It is obvious that Pulcinella’s character has important consequences for a novel characterization of freedom; a freedom beyond the attributes of the person (be the ‘harm principle’ or the ‘non-intervention’) and the modern legitimation through the rise of interests as a way to suppress the passions. One could say that the politico-civil conception of freedom always stood on the firm ground of the fiction of the person, which Pulcinella destitutes by emphasizing the unlived reminder: the soul. And it is the soul that renders – this is not explicit in Giorgio Agamben’s book, and could perhaps be a theme of discussion – a new principle of differentiation within the logic of immanence of nature. Towards the end of the book, Agamben appeals to Plato’s Myth of Er, which speaks to the penumbra or zone of indetermination between life and death, character and destiny; while preparing the ground for a different conception of freedom. A freedom defined through a very important term: “adéspoton” or virtue – which he designs as without masters and beyond adaptation, and it has been taken as one of the earliest affirmations of the notion of freedom as a separate intellect (a rendition elaborated by Plotinus’s Enneads VIII) – but this, I think, could be fully assessed in another ocassion. This is what Agamben writes:
“Nel racconto di Er il Panfilio alla fine della Repubblica, Platone ha rappresentato le anime che, giungendo dal cielo o dal mondo sotterraneo “in un luogo demonico” davanti al fuso che sta sulle ginocchia di Ananke, scelgono la vita in cui dovranno reincarnarsi. Un araldo le mette in fila e, dopo aver preso in mano le sorti e i paradigmi di vita, proclama che sta per cominciare per esse un nuovo ciclo di vita mortale: “Non sarà un demone a scegliere, ma voi sceglierete il vostro demone. Chi è stato sorteggiato per primo, scelga la forma di vita [bios] a cui sarà unito per necessità. La virtù invece è libera [adespoton, “senza padrone”, “inassegnabile”] e ciascuno ne avrà in misura maggiore o minore a seconda che la’- miola disprezzi. La colpa è di chi sceglie, dio è innocente” (617e).” 
The adéspoton is a strange and sui generis virtue, since it does not appeal to a moral conception of the good. Of course, this allows for something very subtle: retreating from the tribune of morality, the adéspoton belongs to the access of a life in happiness. I think this complicates the picture of Agamben’s insistence through his work on “beatitude” – and in large measure, Spinoza’s conatus essendi – since adéspoton is not a form of absolute immanence, but rather of a soul that is always inadequate in relation to the assigned preservation of its nature (perseverantia in suo esse). In other words, the adéspoton is the intensity that allows for a relation between interiority and exteriority through an acoustic attunement with the world. The adéspoton refuses the conditions of possibility for “freedom”; since it conceives freedom as emanating from the non-objective conditions of the contact with the outside.
At this point I will reach a preliminary conclusion in my intervention picking up on this last problem: the outside. Of course, to speak of the outside – the “transmigration of souls” as in Plato’s quintessential myth – already announces an imaginary of flight. And it is no coincidence that Pulcinella is a sort of half-bird creature: a chicken that cannot flight, but nonetheless experiences the outside thanks to its adéspoton. Agamben reminds us of the etymological proximity of Pulcinella with “pullecino” or chicken like creature like the Donald Duck . It is also no coincidence that Agamben closes the book recalling how Giandomenico during his last years of life was fascinated with all kinds of birds that he painted in the Palazzo Caragiani in an effort to radically dissolve the human form . I think that birdly nature of Pulcinella is to be taken seriously, given that in the mythical register of the Hebrew bible, the large bird, the Ziz, is the third mythic creature along with the Leviathan and the Behemoth, the creates of the sea and the land that have marked the world historical opposition of appropriation. And it is more strange that, in The Open, Agamben mentions the Ziz without thematizing its potentiality for the flight from the nomos of the earth that today expresses itself as a civilizational conflagration. The Ziz, very much like Pulcinella, prefers “not to” to participate in the geopolitical confrontation between land and sea undertaking a flight of its own from life towards freedom.
The arcana of Pulcinella resonates with the Ziz mythic figure, but it is not dependent on myth or allegorical substitution. The parabasis is the exposition of every life here and now. Although the figure of the bird disappeared from Agamben’s mature work, one should not dismiss his first publication, the poetic short-story “Decadenza” (1964), which he wrote while a law student at Sapienza, and which tells the story of a depressed community of birds with eggs that do not hatch and species that have lost the contact with the external world . I think it’s fair to say that Agamben’s Pulcinella finds the ‘exit’ to the oblique and impoverished world of “Decadenza” through Pulcinella’s adéspoton: a new capability is imagined to flee from the catastrophe of the world, against nihilism and the global conflagration (think of the fetichistic avatar of political destruction), but rather to dwell in the non-event of happiness in the mystery of every life. If as Agamben writes, metaphysics is always the production of a dead-end – always arousing a feeling of “being-stuck”, always in need of “catching up” at the expense of suppressing our ethical freedom – one could very well see how Pulcinella’s flight of freedom is the path against metaphysics par excellence . As Agamben writes at the closing of Pulcinella: “Il segreto di Pulcinella è che, nella commedia della vita, non vi è un segreto, ma solo, in ogni istante, una via d’uscita” . One can imagine him being a truly unforgettable anti-Sisyphus.
1. Giorgio Agamben. Idea della prosa (Quodlibet, 2002), 93.
2. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 4
3. Ibild., 35
4. Søren Kierkegaard. Fear and Trembling (Penguin Classics, 1985), 79.
5. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 65.
A rebuttal against the notion of enemy frequently hinges on conflating the enemy with total enmity. It usually takes the form of a hypothetical: once an enemy is declared as such, is there anything that can deter the escalation into total enmity? The historical record provides analytical reassurance to the hypothetical, but it does not eliminate its generality, since its ultimate probe is conditioned by an ideal of conceptual purity. Not every hypothetical is idealistic, but every hypothetical exerted from purity is. This concerns any understanding of politics, given that the notion of the enemy presupposes an impure origin of conflict, threats, disorder, or unjustified propensity towards evil. If the enemy is best understood as an operative principle between repression and totalization of enmity, it also entails a rejection of purity as sacralization of the political.
The argument from purity has been deployed with equal force by both Liberalism and Marxism, although they are not the only two contenders. Whereas the first suppresses the enemy from civility and economic utility; for the second, there are no necessary enemies given that politics is a process that will culminate in moral emancipation. For both Liberalism and Marxism, the problem of separation is fixed in two opposite poles: for Liberalism the separation is originary and consubstantial to the genesis of modernity as the separation of Church and State; for Marxism, the separation comes to end in the future collapse of the alienation of ideal and manual labor, and state and civil society. The argument from purity liquidates the enemy as the operative function because it doesn’t consider conflict intra muros on its merits. It is always surpassed or to come.
From the argument of impurity, the notion of the enemy demands that the political be understood as here and now (more than temporal it is topological: externality). Let us consider Shakespeare’s Hamlet. It is a tragedy that stages the friction between the suppression of the political enemy in medieval society and the not-yet autonomy of the political of the moderns. In an old essay Leo Lowenstein noted that Hamlet is an existential limbo as to whether to judge and execute his father’s murderer, or to desist in his decision of revenge and become paranoid crossing the line into madness . The world of Hamlet’s indecision is no longer that of imperium theologiae where the enemy is an entity to be deposed of; but rather it vacillates because it knows the fracture between wrongdoing and action, legality and legitimacy. The malaise of Hamlet condition is the impossibility of enemy mediation: “Shakespeare’s theatre, in general, and his Hamlet, in particular, are no longer ecclesiastical, in the medieval sense. On the other hand, they are not yet a political state theatre, in the concrete sense state and politics acquired on the Continent as a result of the development of state sovereignty.” . The intrusion of historical time reminds us that original separation will not be enough in the face of a concrete conflict.
The tragic dimension in Hamlet is given negatively: the paralysis of not being able to establish the proper mediation to deal with political enmity. This paralysis – or the inconceivable regicide of naturalist theologians – can only amount to madness. Indeed, one becomes one’s enemy, because the enemy (the usurper King) lacks the mediation with its exteriority: “Hamlet is of the faction that is wronged / His madness is poor Hamlet’s enemy…That I have shot my arrow o’er the house / And hurt my brother” . What does it mean to be one’s own enemy, and who could decide here? The incapability of generating an external hostis will prompt bad consciousness and perpetual resentment.
From the side of impurity, the enemy as “one’s own form” means a depersonalization of the political and the neutralization of the stasiological force that places reasons, justifications, and actions as primary ends. But a civil war waged on internal reasons do not imply mediation. From the argument of purity the dismissal of the enemy is no longer Hamlet’s negativity; it turns itself into subjectivism and unfettered self-autonomy that will require not the judge but the priest, and not political form but the police.
1. Leo Lowenstein. “Terror’s Atomization of Man”, Commentary, 1946, 7.
2. Carl Schmitt. Hamlet or Hecuba: The Intrusion of the Time into the Play (Telos Press, 2009), 51.
3. William Shakespeare. The Tragedy of Hamlet (Signet Classics, 1987), 168.
These are further notes on the mini-series of interventions within the framework of the course that I am teaching at 17 instituto on contemporary Italian political thought. In this third installment we engaged with Francesco Guercio and Federico Della Sala around the notions of comedy and tragedy in Italian theory, and the development of political reflection in Italy from the sixties onwards. Della Sala facilitated an excellent paper entitled “Tragedy and Comedy in Italian Theory: Notes on the intersection between literature and politics” (for the moment unpublished), which was extremely suggestive, elegant, and comprehensive in terms of its critical take on the horizon of Italian theory. These notes are by no means representative of the richness of Della’s text: rather, it just wants to highlight a few checkpoints to further the discussion of the seminar. Francesco Guercio participated in the conversation as a commentator who provided important insights on several of the essay’s critical movements.
1. In his paper, Della Sala offers one of the strongest critiques of Italian theory that I have read in recent times (perhaps the strongest), and it does so by engaging its own premises on alterity and historical restitution, which he defines as working within the paradigm of political modernity. As it emerges in the projects of Massimo Cacciari, Roberto Esposito, Antonio Negri, but also in the commentaries of the so-called Italian difference paradigm by academics such as Dario Gentili, the common terrain is to sustain a paradigm of alternative modernization rooted in difference and conflict. In a way – and I understand I risk of simplifying Della Sala’s layered argument a bit – Italian theory amounts to offering a paradigm that remains within the metaphysics of power and governmental optimization, even when it speaks the language of contingency, errancy, or the outside. Here Della Sala’s critique of Italian theory differs quite substantially from the normativist accounts raised against Italian theory, such as that of P. P. Portinaro, whose discomfort is really against political excess and its allegedly revolutionary principles. For Della Sala, on the contrary, Italian theory is a betrayal of thinking the transformative politics at the threshold of the ruins of modern principles of authority and legitimacy. Indeed, Massimo Caccari’s return to renaissance humanism in his Mente Inquieta: saggio sull’Umanesimo (2019), or Esposito’s Pensiero istituente (2021) that ends up defending human rights and anthropology of rights, ironically self-serve Portinaro’s critique of the “radical excess” as if inadvertently admitting the irreversibility of political modernity. Of course, this doesn’t get out anywhere. In fact, it is regressive, instead of moving thinking forward.
2. Della Sala credits Italian theory – specially from the 1960s onwards, perhaps from the work of Mario Tronti and autonomia more generally – with bringing the question of politics to the center debate, showing the limitations of political economy in Marxist thought and the insufficiency of the negative. But, at the same time, it has done so by remaining within a paradigm of crisis in which the ideal of struggle defines the meditation between politics and life. And this can only exacerbate the administration of a catastrophic of politics. It is through the “krisis” of negative thought (Cacciari, Vattimo, and Esposito) that something like a literature of Italian theory becomes tragic, amounting to a sort of reverse nihilism. Della Sala does not it claim it explicitly – and I wonder if he would agree with my own personal translation – but this tragicity results to a compensatory wager to the sacrificial horizon of the philosophy of history opened by Hegelian dialectics or the imperial romanitas conception of politics. So the sense of the tragic in modernity can live comfortably within the paradigm of the sacrifice of modernity, and it does not get us very far.
3. As Francesco Guercio also suggested it, the abyssal ground of modernity becomes tragic when it places life in the site of death, which entails that existence can only be understood as something to be administered and protected. It goes without saying that this is the overall project of positive biopolitics and immunity in the horizon of democratic legitimacy, whose final utopia, according to Della Sala, is to live at least one day like a King. This rings true given the operative function of King and “archē” (principle) that are needed to legislate the creation between politics and life, history and the anthropological sense of reality. Under this paradigm there is no space – or it is always parasitic, always subjected to the enmity of the species– to the question of existence, which becomes a generic aggregate of civil community. But can one subtract oneself from the seduction of a demonic politics and its negative relation to the tragic politics in the face of nihilism? The strong thesis in Dalla Sala’s paper is that Italian theory has not been successful to the task and that we must begin from scratch putting aside, once and for all, the mythical paradigm of crisis.
4. It is here where comedy enters. And it enters obliquely, although in resonance with Giorgio Agamben’s most recent argument in his book on Hölderlin, where the comic is understood as a retreat from the conversion of the tragic into the sacrificial suture of modernity. And for Della Sala, but also for Agamben, comedy has little done with the anthropology of laughter or the psychic drive of the Freudian slip. Rather comedy becomes the possibility of imagining a life that refuses the promise of living like a future king. On the contrary, the motto of the comic can be the early Hispanic (it was mentioned by Francesco Guercio in the conversation) “vivir desviviéndose” of the pícaro existence that allows for the mystery of life without political subsumption. Della Sala concludes his paper with a provocative assertion: “after all there has never existed nor will exist a tragic or unhappy revolution”. But would a “happy life” be consternated about revolution, or should it forfeit revolution to the trash bin of the modern political concepts? Isn’t comedy the abdication of revolution, either as the return to the same (think of Saint-Just naturalism) or the overcoming of the temporal order of the day after tomorrow? Perhaps comedy as the texture of life is a thorough abandonment not only of the tragic, but also of the efficacy of revolution as a residual messianism. And it is against the closure of revolution (because revolution depends on a principle of authority the exact moment that it triumphs) where the ongoing stasiological present should be thought.