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The land as homeland, the power and the mad

08 Aug

Foucault in History of Madness addresses the work The Nau of the Fools by the Dutch painter Hieronymus Bosh (1450-1516), which is in the Louvre collection in Paris, where he arrived on 1918.

The important point is that before the empire of reason, in Foucault’s prophetic view of the refugee boats of our time, these “crazy” people could stop in various places, and even the people who steal the food on the table. , are barely noticed, while today’s vessels suffer numerous embarrassments.

The face of madness was for that normal time, today it is in focus at various borders and the refugees, those that Agamben calls “homo saccer”, and who is a good “microphysics” (Foucault) or “psychopolitics” (Chul Han) of power.

This is not the case only within the framework of the state structure, although Hegel is the great precursor of the defense of ‘normality’, but it is also the rejection of everything that is ‘strange’, ‘different’ or in a more up-to-date language. It belongs to the “Other”, it is also rejected.

Small and large communities, as a form of prejudiced defense, accuse what is not proper of crazy, abnormal or any other form of “expulsion from the other” (Chul Han).

Modern subjectivity, precisely because it seeks normalcy or what is socially considered normal, eliminates the possibility of the different, the “mad” or those who escape a certain standard, this is the argument of “modern” legalists and fundamentalists.

Foucault goes to the extreme in referring to the eighteenth century as the one who built man’s “subjectivity”, since the “Cartesian” subject of the sixteenth and seventeenth centuries cannot in any way be committed to any form of the “different” of “ “strange”.

Finally something that is not the ideal subject imagined by modernity, so the “crazy” has nowhere else to dock, the ship of the crazy is destined to sink on the high seas, dying for various kinds of deprivation, this is the idealistic model taken to the extreme.

In terms of art is what Byung Chul Han calls “smooth”, “polished”, the absence of deformity, arises an art with no negativity in the broad sense of the word.

Thus ethical values ​​are also aesthetic, it is a whole culture that goes from politics to art, through religiosity, cyberculture and the culture present in everyday life.

In a rather rare interview, German philosopher Fons Elders prepares for the debate between Foucault and Noam Chomsky, made for Dutch television on November 28, 1971.

 

 

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