In The City "Social Contract", Rousseau had kept distinct from the bourgeois citoyen. The nickname was given to Alceverde, the City, indicates a substantial overlap of the two concepts in their transmission, in particular the identification of the second with the first. When it comes to talking Alceverde Profile of bourgeois today. Responding to the question of which is Alceverde, inevitably means providing one of the possible answers to the question about how the middle class survives to this day. Borghese is now simply a comfortable posture in the middle of the existing, and the resulting ideology that makes this attractive posture. There are many variations of this fit in the current half. Represents a Alceverde.
Language idolatrous
The whole concept than on finely woven material, is expressed in the language with a crystalline purity. The Alceverde language, spoken, coming immediately from his body, and not writing, he still manages to mediate a good deal of reflection, is that the current educational system, dell'intelighenzia down from television, publications, cultural petty bourgeois, the bookish culturalame and film of the toy industry for educated-and not least, the language of ' information, masterly synthesis of all these trends. Alceverde use as soon as it can, acronyms, abbreviations, new coinages. Willingly cites, under a fragile veneer of irony, a vocabulary filled with imports outside world, mostly for short-lived. In particular, no more than he contradicts the commandment "You shall not make any likeness." He tasted it with delight, as if they had names and items of mass consumption, each with its own aesthetic taste of art from office clerk, names that belong to a technical language, whose referent can be known only to those who are immersed in actuality. And 'the jargon of the front pages of newspapers and, in spite of, not only considering that belongs in most inelegant form just too tabloid, Advertising, and comedy shows. In this language the reflection is cut off, the concepts used in their hardness of things, by the omission of the joint and the cut would only logical that such a language. Expressions like "gag-law" are the language of mourning. They arrogantly assume that the referent is known to the recipient as belonging to the sad community information. It 'true that these expressions luccichino; are images, idols, fetishes forged in the speed and guile rather than gold. Pronunciations given the appearance of the possession, ownership cosalismo pseudo-concepts. We know that the fact that the bourgeois can not live without the property, he is his property. Its language is that of the individual mass, confident, cocky and cunning enough to claim the right to use a language free to ignore the tradition, remaining so completely dominated, as the myopia of his language his horizons have significantly contracts.
The fetishism of culture
The deeper truth of Marx's doctrine of the distinction between structure and superstructure is to have reported that the second is an unfair and violent isolation of an element from the totality in which it is inserted, and which takes its only real significance. Never before today has kept its totalitarian culture of its autonomy from the dialectical movement globally. The compactness of the false history of culture, in spite of Marx, Benjamin, Debord, has been further consolidated. The culture believes superb hovering above the mass cultural products, while only a moment in the dialectic of cultural poverty. It has failed so to form a false opposition between mass cultural products and cultural products of the author. It is not difficult to see that the latter are very effective sentinels of the first. This appearance is completely soaked Alceverde. I do not think it is very far from his belief that a large-scale reading of Stendhal, that maybe you could replace the Harmony or "Visa" the hairdresser, have a good part in the emancipation of humanity. Nothing could be more supportive of the status quo. The employee can read, if there are still a bit 'of energy between his stupid job, his wife, vacations, and purchases for the home, the legacy of "great cultural tradition" only because the worker is totally alien to this culture. This Alceverde not see it. The culture has become a fetish for him that someone does not bow before it, and perhaps continues to live football and magazines engine, is not explicitly considered unworthy of his company, but in each case for different lineage and fabric, or at the most relevant for a fun evening of his (and often of me). Then that person is someone who has nothing to do with him. But culture is not a plaything for drawing-room, as well as conscious or not, will Alceverde. The culture is the field of a fight. Even the great culture, could be born and will continue to do so only on the shoulders of servitude of millions of men. "There is no document of culture without being set document of barbarism" (Benjamin, Theses on the Concept of History, VII claim). Culture belongs to the great always a great pride, a reminder of the injustice on which it builds. Those who drank from the source of the material seen at every turn, in every great cultural product, traces of oppression. A society in which culture reached heights of excellence is a society where injustice reigns undisturbed evidence of cultural excellence not any of its conciliation with the other. A book of Marx will always be more harmful for the proletariat than a transmission Barbara Durso, until weigh on his shoulders and unsympathetic. This horrible truth is not known to Alceverde, for lack of materialism. The museum, a place of culture archetype of separation from the masses, where the real treasure is collected all the beauty that has been expropriated, there is no problem for him. He did not fully understand the essay on Benjamin's' work of art in the Age of Mechanical Reproduction, because it sees the expectations for him unbearable, the collapse of the great bourgeois culture, from whose perspective he speaks. He is not dialectical enough. He sees that the ageless beauty promised in the cathedral of Florence, is nothing but a cruel and cynical parody of beauty no more promise of happiness, but attainable in society reconciled, and without artists.
Body care
Alceverde is not one of those who follow in perfect sync to the frenetic pace of technological innovation. However, his body is the perfect intersection of all the technologies put in place by the bourgeoisie to massively increase the distance between himself and others, between himself and nature. In addition to the spell of art and culture that remain in torpor, he is the victim of a far more invasive, whose magic formulas consist of a number of scientific myths, legends and hedonistic at the same time fears hygienistic. The elk green just does not understand why you should suffer the heat when the torch victorious advance of technology with its air conditioners. Already does not see outside, and his body is fully invested (like the one of the most), a second nature that looks like the first and immutable. It also deals with the pain as well as the middle class is everything he encounters: utilitarian and finalistically. At that suffering in the heat? What good to give up something that gives us pleasure? What would be the end, now that the technique holds us up in his arms of her dead mother, a physical pain? The body is the tank instead of our whole being. What the middle-class calls are free or unnecessary suffering the blows of the chisel that mold. I am not referring here to the ideology of hardening steel typically fascist. Rather, Alceverde should learn to see technologies that prevent us from reminding us of our bodies, so many devices to a spiritual level. The spirit is not affected by the body, the spirit is the body, without mediation. His mania for the integrity of the food, his attention (albeit with modest capacity) with the distinction and the selection of flavors, his obsessive prophylaxis, almost exclusively psychological, because in the end rarely practice, fortunately, an extreme hygiene are part of the same inability to stand in front of the question of the body with a look that is different than utilitarian. This view extends to the very swampy propagini of his concept of death, that death is always a alceverde of death or leper hospital. But I think this is the side against whom he is impotent. For those, like the end of paid leave granted from above, grows in a series of attention and pleasure seeking in every possible way to foreclose a genuine relationship with your body and time-consuming, their termination becomes untenable, as well as what that is exciting in its not pander to the whims of spoiled children is known and felt as painful.
"What I may hope?" (1)
Those who speak of revolution and class struggle without referring explicitly to everyday life, without understanding what is subversive of love and positive elements in the radical rejection of all the constraints, fill the mouth of a corpse.
Committee Enrages - Internationale situationist
Paris, May 1968
It is tempting to answer this question with "love" in the sense in which the pregnant used Jesus of Nazareth, in the wake of what Marx and every philosopher who conceived of the liberation of the revolution, and that the Situationists have taken up the call in the text "The town is not dead (who's afraid of town?). Except that Alceverde not appear to have any knowledge about this love and revenge unravels the oppressed from their sufferings. When he speaks of love, the love between two covers, of which the highest ideal that is able to achieve is to enjoy the other in an aesthetic cultural entertainment, the petty bourgeoisie can think of as an exchange of souls, and communicative. Alceverde sometimes speaks of liberation, revolution, or whatever concept you want to instances fastened her emancipation. But his supreme confidence in the technique prevents him to draw on a credible happiness. He inherited the worst of Marxist historical materialism: the naive dialectics that sees in increasing technical capitalist production and the resulting change in the relationship between productive forces and relations of production, the necessary first step which preceded the emancipation of the proletariat. E 'at the bottom of this dogma of the left main current in this fully compatible with the existing production system. According to this dogma emancipation from nature and hard work is already in itself outright emancipation. But not only without a radical destabilization of the means of production remain in the hands of the class that oppresses, the speed and convenience of production and consumption supported by technology, have in themselves a potential destructive of nature and man. The man needs a transformative practice on. Automation expropriation man of his activities, makes simple function of the overall process, and worn-out altering the quiet rhythms of nature. The complete socialization of the work called for by Marx through the spatial pattern of large industry has proved full of expropriation man, that today could only survive potentially manipulating his mobile, while his right hand tied to the movement of the material it encounters are inexorably shrink.
But happiness is not something original, new, totally revolutionary, a cultural heritage. The wind always blows of salvation already the spaces between the meshes of coercive social fabric tight around the throat. Where a fifteen blurts out a rare irony of rice among the poster idols vampires, where the housewife plunges into the breathing passages of a more coarse Renato Zero, in the lightning-fast for the eye contour happiness clerk office purchase of his new television, there is the nucleus for the release. If you keep waiting for her in an alleged movement of augmentative and cultural treasure of the "mental horizons," is collaborating with the enemy without knowing it, which perpetuates the hierarchy of aesthetic values \u200b\u200band "taste" the class division.
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