In concentration and extermination camps, spaces of bio-political exception, "technique" is a disciplinary protocol inducing some corporeal techniques on bodies impaired, severely simplified in their practices, communication and expression, finally reduced in their humanity. "Art," however, is a planned art of memory, together terminal and elementary, purely reactive, imposed on such bodies emptied of all subjectivity and degraded to inanimate objects or animals forms of living, to a protocol of predetermined and required little actions, ordered and deprived of everything, including language. In Levi, I was struck by the similarities between this minimal operational memory and other devices and media supports: beyond any insufficient hermeneutic of this metaphorical topos and intertextuality, what it is at stake in such comparisons? What is the link between a basic mnemonics, adapted to survive in the camps, and analogic technologies of recording, both sound and visual matter? What is the relationship between living memory, techniques proxies - external or incorporated – of recording, white noise or an almost total loss of communication and information, and what Levi calls "full witness" of "submerged", opposite to the "real" one, of the "saved"?
|Titolo:||…come su un nastro magnetico vuoto, bianco… Medium, memoria, testimonianza.|
|Data di pubblicazione:||2017|
|Appare nelle tipologie:||2.1.2 Articolo su libro con ISBN|