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"?

…come su un nastro magnetico vuoto, bianco… Medium, memoria, testimonianza.

FIMIANI, Filippo
2017-01-01

Abstract

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"?
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11386/4681260
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