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Steam Punk



In Victorian times there were punks and wore a top hat. Could be introduced as the book published da XBook, Guida Steampunk all’Apocalisse (di M. Killjoy, 126 p., 11,50 euro). Da qualche anno nel mondo cosiddetto underground e delle sotto culture, l’estetica e la cultura Steampunk stanno gradualmente prendendo piede, talvolta guadagnando consensi nell’ambito più noto del Cyberpunk.
Una rapida definizione del fenomeno ce la fornisce un articoletto inserito nell’Appendice: «Steampunk è rimmaginare il passato con le percezioni ipertecnologiche del presente». A differenza della letteratura e del cinema Cyberpunk (Blade Runner, Johnny Mnemonic, Matrix), in cui la rappresentazione di mondi distopici, cupi e alienanti, serve da monito contro la tecnologia, lo Steampunk non rifiuta le tecnologie, ma immagina piuttosto che lo sviluppo tecnologico della rivoluzione industriale e dell’era vittoriana abbiano raggiunto traguardi in realtà mai visti, e che il vapore sia la principale fonte d’energia di enormi mostri meccanici. L’approccio steampunk alla tecnica non è di tipo luddista, guarda al passato per vedere un’epoca in cui era ancora possibile credere nei benefici diffusi delle tecnologie. Ecco quindi che la tendenza culturale che fa del vapore (steam) una peculiarità, diventa soprattutto uno stile ed un’estetica che unisce abiti e accessori retrò a qualcosa di meccanico: monocolo e orologio da taschino affianco di computer portatili coperti in legno pregiato e integrati da meccanismi a rotelle. "So it's very special post-modern aesthetics, which tastes a bit 'for Central European and reactionary clothing combines the position of the coarse and rebellious punk urban airships and Ramones. Steam engines extraordinary shapes and capabilities unimaginable, Zeppelin, ships and other massive mechanical mischief.
The steam and mechanical technology have a specific sense: compared to electrical circuits and silicon, wheels and components manageable have something to live with them can make a contact and almost seem to breathe in their puff. It is an approach that ", referring to an age where machines could still be built in the tool shed and anyone could in suo piccolo diventare un grande inventore, si spinge oltre il software libero per rivendicare un hardware open-source». I materiali con cui si compone un nuovo marchingegno acquistano una grande importanza, e già circolano in rete foto di chitarre elettriche, macchine a vapore funzionati e altro, modificate e manipolate secondo l’estetica Steampunk.
Il “punk a vapore” assume così le fattezze dello scienziato pazzo, chiuso nel suo laboratorio tra viti, pistoni e martelli, a dare libero sfogo alla sua immaginazione. Quasi la realtà trascolorasse accompagnata della fata verde dell’assenzio, la bevanda dei dandy e degli esteti ribelli dei quartieri malfamati, geniacci col monocolo e la mano meccanica. La fantasia festosamente straripante e sognante ha d’altra parte preso forma in un film che è un must per ogni buon Steampunk che si rispetti, Il castello errante di Howl (2005) del grande Miyazaki, l’immaginifico regista amatissimo dai giovani non conformi e un anno prima nel costosissimo lungometraggio di animazione del portentoso Katsuhiro Otomo, Steamboy (2004). La prima è la storia di un castello “vivente” che si muove su gambe meccaniche grazie a un fuoco che continuamente ne alimenta la vita. La sua porta si apre su tempi e luoghi diversi, proiettando lo spettatore in un mondo di sfrenata fantasia, a cui peraltro il “Disney nipponico” ha abituato da tempo i suoi numerosi estimatori.
Otomo, autore della saga del “ragazzo steam "and a cartoon remake of Metropolis, anticipated somewhat the times, giving the there in 2004 to a new" cult "after the worldwide success previously obtained with Akira, extraordinary and intricate work of animation typically cyberpunk . Steamboy is set in London in mid-nineteenth century, tells the avvenutre Ray, the son and grandson of celebrated scientists, which is delivered to a mysterious sphere containing high-density compressed steam that many want. Joints between flights at breakneck speed and whirling horse steam capsule, the film is spectacular. The special
Otomo film is that the machines designed and put on the screen are all designed engineers and potentially functional. There is a big book for collectors of the feature film project that collects all of the machines appeared in the film shown in detail, in case some punk with a top hat and spats wanted to build his own bike steam! In addition to graphic novels and Special Editions strictly limited edition of routine. Until then, Steampunk is experienced in the books, starting in 1979 with the novel Morlock Night by KW Jeter, set in mid-Victorian London 800 beset by a steam-art technology, as fundamental to the industrial revolution era. Then to remember Paul Di Filippo Steampunk (North 1996, North Pocket, 1998) and infernal machines (1987, Urania, 1998) by Jeter.
In the recent past interest in the Steampunk phenomenon has been growing. If Otomo places for years, in his animated films as in his comic books, hoping the problem is not a rejection of the technique, but a different approach, Miyazaki is instead set at positions and in some cases markedly environmentalist Luddites. However, more recently, the Steampunk is staged in the anime series Last Exile, and not insignificant aspect of this aesthetic can be found in the film The Golden Compass, in which flying machines and mechanisms of various kinds, as well as a clothing " retro, strongly reminiscent of the suggestions summarized in the volume of Killjoy. Meanwhile flourish online magazines and spaces in Second Life.
The inspiration of the style in question is clearly that Jules Verne, with its late nineteenth-century technology and a passion for fantastic journeys provide the shape of the Nautilus gentleman punk, mysterious ship that has all the features of a city foreign to any pirate-mobile law, if not that of his captain. Thus we find the attitude of punk do-it-yourself, this is a laptop that becomes legnatile to build a tree house, the steampunk treehouse, of which there is a site that deserves to be visited (www . steamtreehouse.com). In this case, the creativity and planning have taken shape in a house meccanica nel deserto americano. Tutto nell’ottica della modificabilità del prodotto, e soprattutto assemblato in osservanza dell’estetica vittoriana fatta di ferro e meccanica. Uno squat postmoderno e postatomico.
È stato chiamato fantascienza vittoriana, romanticismo scientifico, fantasy industriale, ma lo Steampunk è un genere e uno stile che immagina il passato per modificare il futuro: «siamo una comunità di maghi meccanici incantati dal mondo reale e avvinti dal mistero della possibilità. Stiamo ricostruendo il passato per assicurarci il futuro». Un futuro che la Guida Steampunk all’Apocalisse si prepara in tutta evidenza a considerare anche tra i peggiori. Con una buona dose di ironia l’autrice ci spiega tactics for survival in the post-apocalypse, how to build a shelter and how to grow fruit and vegetables, how to purify contaminated water and how to defend themselves from hungry rivals. It looks more like a Mad Max situation in which the Steamboy, but on the other hand, the anarchist movement Steampunk is as typically American to be, open to all influence and sometimes too dreamy. Utopia or not, it's an aesthetic that has an undeniable charm and that if only the merit of placing the issue of technology without rejecting a priori, but lively with imagination and vitality.

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Revealing the mind and capitalism



www.mirorenzaglia.org/?p=5070 of by Luke L. Rimbotti
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But we say that another myth of the "left"! True psychedelia (from the greek psyche, mind, and Delos, show = detector of the mind), that is not a scam but a bourgeois fascination with heroic races, knew her well Zarathustra, Empedocles, Shiva, Dionysus, and the Tibetan shamans Native Americans: the ability to open a drunken top lighting, such as to bring the man to a semi-divine power, through the use of natural substances, such as mead, hemp, the Ahom, peyote, the mescal. The "Clouds" of Aristophanes were flying high, when Athens was reading the very ancient nobility of blood ... initiatory knowledge of ethnic culture ... from East to West, it was never other than the traditional form: elite, priestly and mystical, hierarchical, traditional warriors of the greatest civilizations of all time. Libertarian? Egalitarian? Only the "marked" by destiny, through this powerful doors of perception, was allowed access to the visionary powers, and knowledge so they picked through them became a acquis communautaire. It is no coincidence that the "drug" is designed so that characters are always concerned with the imaginary egalitarian weakened and the "left" have nothing in common: from Blake to Poe, from Baudelaire to D'Annunzio Pound, from Benn in a Jünger Evola

... The sheep psychedelic globalist knows nothing of all this: now sheared by major U.S. commercial companies, after decades still produces an avalanche. But beware: the sheep could not wait to be mowed. And 'liberal law acid: the smart money should be integrated to other illusion. The bogus "revolution" American psychedelic exploitation is the result of a chemical product, is the subversion of the archaic shamanic power, arising from the use of natural substances of initiation.

The great American delusion is this: the drug is that "psychedelic culture" that makes millions of dollars to the elite profit, well integrated musicians, promoters, publishers "alternative" world agencies to show pop-rock, disco rave international management, multinational record ... a machine that produces the usual "collateral damage" of the system a capitalist welfare monitoring: masses of waste from human sacrifice to Moloch
... ...

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The end of philosophy



philosophy and metaphysics. Metaphysics is the history of thought that thinks the being of but forget to think Being in its truth as clear dell'aprentesi / hide. Forget that the institution can only be because originally there is an opening where it can be. Metaphysics is the real nihilism in the sense that metaphysics is the concealment of Being with the truth (αλήθεια) of the same. The decisive issue is that metaphysics can not think the essence of metaphysics and therefore can not reach its fulfillment. So the story of Being comes to fulfillment of nihilism as the oblivion of obscurity: metaphysics, can not understand it in its essential truth, believe the Being of thinking but forget it, primarily, to question its truth. Only
abandoning the philosophy metaphysics as it is then possible to bring fulfillment to the metaphysical and overcome it. You need a recollection of thought that out of the metaphysical perspective prepares the momentum to the coming-in the authenticity of Being. Heidegger says that the philosophy of simplicity has to replace a thought that ask only about what is worthy of being heard. "Thinking ahead is no longer philosophy because he thinks more originally of metaphysics" (Heidegger, Letter on Humanism ). Only by overcoming metaphysics can help overcome nihilism. It is at the end of metaphysics that has finally understood the forgetfulness of Being and then return can be a genuine request.
The end of philosophy means the realization of all its possibilities, the end is the recollection of his extreme possibilities. The end of metaphysics is realized in the organization of scientific and technological civilization euro-western. But in the end there is only a last resort, it also draws the first and initial possibility that philosophy, as such, could not take upon himself.
Throughout the history of philosophy up to Hegel, Nietzsche and Husserl, the thing that turns the thought is the subjectivity through which it becomes the present. In reference to what remains, however, something unexpected that can not be questioned by the philosophy. The body is shown in a light, light which in turn implies a clearing (Lichtung) that it crosses. The opening is what we give and receive grants, but also what is hidden and guards. Despite the beginnings of philosophy as the clear-this may be appointed (φύσις), this remains unthought as the light of reason illuminates only what is already open, but can not create the conditions of opening svelante.
Yet already in the Parmenides αλήθεια meets the "well-rounded svelatezza" understood as a surround where the beginning coincides with the end. "The first makes it possible to clear the path that leads to the presence and gives them to present" (Heidegger, The End of Philosophy and the spelling of thought ). The αλήθεια, but it is mentioned at the beginning of philosophy, it is still not well thought out because of his performance with "truth", which should then coincide with the concept of certainty and fairness in representation. In reality it is only the meaning of svelatezza that returns the true meaning and can be traced to the fact that any decisive certainty is part initially and necessarily in the clear presence. Experienced and is therefore thought that the only clear opening of the grants. What is the s-velatezza remains hidden. Not only because of the inadequacy of reason, but mainly because the veil itself belongs all'αλήθεια. The thought was essential
then, in the era of nihilism and made the completion of metaphysics in his last chance, the task of asking what remains unthought and is the simplest. In doing so the thought reconstructs the link to the source without which a people does not know its historical truth. "When we put again the fundamental question of Western philosophy on the basis of a beginning more original, are at the service of that task that we defined as the salvation of the West. It can be accomplished only as a reconquest of reports originating with the institution itself, and as a new foundation of all the actions of the peoples with respect to these relationships' (Heidegger, Europe and the German philosophy ). The report
that thinking must interweave with the truth of Being has nothing to do with the subjective approach. This return to be a metaphysical condition and unable to take ac-Being in its unveiling. Being a true knowledge-stand in which the Being open and gives the condition in which Dasein is always reduced, and is under-stand why there in his time he listens to the call of Being, is addressed to him by allowing him to open up in there. "Interrogation in an authentic way is to enter into harmonious agreement with what is being questioned" (Steiner).
The end of metaphysics, of course, does not involve itself in giving oneself to the truth of Being and his grasping. The end of metaphysics shows the first possibility which remains unfulfilled, and then to-be in the future as historical dimension of the authenticity of destiny. "The end of metaphysics can not in any way mean the end of oblivion dell’essere nel senso che l’essere diventi finalmente come tale oggetto di pensiero esplicito» (Vattimo).