Utopia

A critical, comparative analysis of the exhibition project Utopia Station, mounted by Hans-Ulrich Obrist, Molly Nesbit, and Rirkrit Tiravanija at the 2003 Venice Biennale, against Hardt and Negri's 2000 treatise, Empire. This essay was written in 2006 and originally published online in the journal PART (no. 12, 2007), which is now defunct as far as I can tell. I wrote this piece in my first year of grad school, but it has been cited by a number of scholars so I share it here in case it may be of further use to others.

Este trabajo aborda aspectos del trabajo intelectual llevado a cabo en colaboración entre los escritores Adolfo Bioy Casares y Jorge Luis Borges. Esta tarea de intelección compartida gira alrededor de algunos temas referidos tanto a cuestiones estéticas como a posicionamientos políticos y les permite, como resultado de esa labor, la producción de obras ficcionales y no ficcionales de  autoría individual.  El marco de lectura de este objeto estará constituido por una reflexión acerca del fenómeno de la utopía, a la que le es inherente un doble carácter: cuanto atañe a la tradición de relatos de viajes a lugares inexistentes, tanto como la condición de que ese mismo relato revista un carácter político en la crítica solapada que el autor realiza hacia la sociedad en la que vive y a la que propone un ideal de organización política.
La relación intelectual y estética entre estos dos escritores ocupa, en gran medida, una preocupación acerca de la discusión que se producía en la escena nacional en torno al rechazo o no de las formas realistas en el arte y también sobre un modelo de identidad nacional. Frente a esto, producen relatos breves, novelas, prólogos y ensayos en los que explicitan una nueva estética fundada en el reconocimiento de algunas tradiciones literarias europeas que, reformuladas en algunos casos en tono de un homenaje paródico, terminan por conformar una novedosa concepción de literatura y de modelo político de comunidad.
A. Bioy Casares y J. L. Borges recuperan rasgos de los relatos de utopías, pero al mismo tiempo rescatan aspectos propios de la ciencia ficción, lo fantástico y el policial. El interés compartido por las cuestiones nacionales acerca de planteos estéticos así como su voluntad de producir un cambio en las convenciones de la literatura argentina y fundar un nuevo nacionalismo ha sido estudiado por la crítica. Este artículo se propone, en cambio, unificar esta tarea intelectual y estética compartida bajo el enfoque del pensamiento utópico.

Ütopya gerçekte var olmayan ancak tasarlanmış bir yeni dünyayı, Platoncu anlamda ideal toplum yapısı ve devlet düzenini temsil eder. Yunanca "var olmayan", "ideal olan" ve "konum, yer" kavramlarından türemiş, felsefe, edebiyat, sinema ve sanat alanlarında önemli yansımalara sahip olmuş, yeni yaratım biçimleri ve düşünce modellerinin ortaya çıkmasını tetiklemiştir. Bu kapsamda araştırmada Platon'un idealar teorisi olarak görünürlük kazanan ve ideal bir devlet modelinin açıklamasını sunan idealist felsefe sisteminde ilk olarak karşımıza çıkan söz konusu olgu, devam eden süreçte gerek felsefe alanında daha kapsamlı yeni ideal toplumların ve ütopik dünya modellerinin ortaya çıkmasına gerek kültür alanında söylem biçimlerinin ulaşılması arzulanan yeni dünyalara yönelimini tetikleyen yaklaşım biçimlerine zemin hazırlamıştır. Bilim alanında dahi yansımalara sahip olan ütopya düşüncesi, öte yandan bilim ve teknolojinin gelişmesinde de etkili olmuştur. Araştırmanın örneklemini tanımlanan farklı alanlardan düşünür, yazar, bilim adamı ve sanatçı oluşturmaktadır ve son aşamada ütopya düşüncesinin ve tasarlanan ideal dünya yansımalarının sanat ve genelde kültür alanına yansımaları karşılıklı ilişkilendirilerek analiz edilmektedir. Bu anlamda gerçeklik ve yanılsama, somut ve soyut gerçeklikler ile var olan ve yeniden tasarlanan gibi diyalektik unsurların vurgulanması amaçlanmaktadır.
Utopia represents a non-existent but designed new world, the ideal social structure and state order in the Platonic sense. Derived from the concepts of "non-existent", "ideal" and "location, place" in Greek, it had important reflections in the fields of philosophy, literature, cinema and art, triggering the emergence of new forms of creation and thought models. In this context, this phenomenon, which appeared for the first time in the idealist philosophical system, which became visible as Plato's theory of ideas and presented an explanation of an ideal state model in the research, in the ongoing process, the emergence of more comprehensive new ideal societies and utopian world models in the field of philosophy and discourse in the field of culture. It has laid the groundwork for approaches that trigger the orientation towards new worlds that are desired to be reached. The idea of utopia, which has reflections even in the field of science, has also been effective in the development of science and technology. The sample of the study consists of thinkers, writers, scientists and artists from different fields defined and in the last stage, the reflections of the idea of utopia and the reflections of the ideal world to the field of art and culture in general are analyzed by correlating them. In this sense, it is aimed to emphasize the dialectical elements such as reality and illusion, concrete and abstract realities and existing and redesigned.

A brief analysis of the work "We" written by Yevgeny Ivanovich Zamyatin in 1921 is presented.
Corresponding to the science fiction genre, the work is recognized as one of the fundamental texts
in the descriptive approach of social dystopia. For this purpose, a summary presentation of the
author's life, with the aim of understanding the historical context of his work; Elements that are
characteristic of dystopia are identified as a derivation of a utopian society built under
technological fiction. Contrasting the elements present in the work that qualify it as a dystopia
novel. Special consideration must be given to the fact that reference is made to the constructive
mode of the work in which the official reality differs from the reality perceived by the characters
by drawing the true plot of the novel as the reader identifies with the reality of the characters

CEZARY WAS (University of Wroclaw) / The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future

The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led
to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products.

Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad? À travers les expositions universelles récentes et passées et plus particulièrement les expositions de Milan 2015 et de Port-au-Prince 1949, nous rappelons que cette pratique touristique du voyage d’agrément dans une grande ville remonte au XIXe siècle, elle accompagne les origines de notre tourisme moderne, tout en devenant un instrument de géopolitique et de marketing touristique de première importance pour les villes et les pays hôtes. Les expositions peuvent être considérées comme un levier urbanistique, mais aussi un moyen de faire voyager et de comprendre notre monde à travers un système de représentation des identités locales et mondiales proposant toujours une mise en valeur de la découverte scientifique et de l’expérience culturelle à travers les pavillons nationaux. Ces manifestations géantes reposent sur une mise en scène et en récit à partir d’un thème universel questionnant généralement le concept du développement durable et de l’attractivité touristique renouvelée de la destination. Notre analyse porte sur la plus récente des expositions universelles et une exposition oubliée appartenant à l’aire culturelle des caraïbes permettant de dégager trois dynamiques associant le tourisme de méga-événement et l’utopie des voyages initiatiques, à savoir : les expositions universelles se réinventent et retrouvent un certain succès de fréquentation impliquant une redéfinition des champs et des usages d’une utopie contrariée. Faire voyager est un acte à la fois scénographique et symbolique à travers le pavillon impliquant des artifices et des déclinaisons de plus en plus numériques, la quête de cette pratique durable du voyage se confronte à son héritage et à son souvenir à différentes échelles et temporalités. Through the recent and past universal exhibitions and more particularly the world’s fair of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries. Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. These giant events are based on a staging and narrative based on a universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Our analysis focuses on the most recent of the universal exhibitions and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia; to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities. A través de las exposiciones universales recientes y pasados y, especialmente, la Feria de Milán en 2015 y Puerto Príncipe en 1949, recordamos que esta práctica de turismo de viaje de placer a una gran ciudad se remonta al siglo XIX, que acompaña a los orígenes de turismo moderno, mientras que convertirse en un instrumento geopolítico y comercialización del turismo de las principales ciudades y países anfitriones. Las exposiciones pueden considerarse una palanca urbana, sino también una manera de viajar y entender nuestro mundo a través de un sistema de representación de las identidades locales y globales que todavía ofrece el desarrollo de los descubrimientos científicos y la experiencia cultural a través pabellones nacionales. Estas manifestaciones gigantes basados en una puesta en escena y la narrativa de un tema universal en general, cuestionando el concepto de desarrollo sostenible y renovada atractivos turísticos del destino. Nuestro análisis se centra en las últimas exposiciones universales y una exposición olvidado que pertenecen a la zona cultural del Caribe para identificar tres dinámico entre el turismo mega-evento y la utopía de los viajes iniciáticos, a saber: las exposiciones universales reinventar y encontrar un cierto éxito de asistencia que implica una redefinición de campos y utiliza una utopía alterada, para viajar es un acto tanto teatral y simbólico a través del pabellón y declinaciones cada vez más digitales, las la búsqueda de este viaje práctica sostenible se enfrenta a su artificialidad y su memoria en diferentes escalas y marcos de tiempo. Index géographique : Europe, Caraïbes, Italie, Haïti, France, Milan, Port-au-Prince, New York, Osaka Mots-clés : exposition universelle, utopie, tourisme, architecture, urbanisme Palabras claves : expo, utopía, turismo, arquitectura, urbanismo Keywords : world’s fair, utopia, tourism, architecture, city-planning Patrice Ballester, Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad?, Études caribéennes 37-38, Août-Décembre 2017 Tourismes, voyages, utopies, pp.1-26.

Pensar en el desempleo como una categoría de análisis para el estudio de la realidad contemporánea conlleva una atracción, arriesgada y pertinente, para repensar la historia de la humanidad a través de las tensiones que subyacen a la idea abstracta de producción en general. Una hipotética historia del desempleo arrojaría luz sobre cómo han evolucionado o involucionado –desde las sociedades antiguas hasta nuestros días– las formas originarias de relación entre el trabajo necesario para vivir y el cuidado del medio ambiente.

Este ensaio procura a atualidade na História do Futuro de Padre António Vieira. Como é que uma obra escrita há mais de três séculos pode falar tanto dos desafios que hoje atravessamos? Propomos um percurso eminentemente ontológico. Primeiro, e tomando a futuridade na ficção enquanto um dos disparadores da modernidade, revelam-se impulsos de reconfiguração humana. Seguir-se-á a própria futuridade enquanto exercício ontológico – como o tempo em Vieira, enquanto processo em curso, revela um futuro a remeter para o presente. Daí a pertinência de ficcionar mundos fora da ciência, porque o futuro que nos chega é inimaginável: o planeta a reagir ao agenciamento humano com mutações climáticas e geológicas nunca antes vistas. Eis o Antropoceno, estando ainda por perceber as suas consequências. Mas é também este o momento em que o projeto fraterno do Quinto Império ganha renovada relevância política.
Palavras-chave: Futuridade, Antropoceno, Apocalíptico, Ficção fora da Ciência

Taking as its starting point the argument that obsession with Utopia has begun to decline, this paper considers what might replace the concept in the twenty-first century. The paper continues by drawing on the important work of Peter Sloterdijk and Tony Blackshaw to accentuate the point that the good life is less about following grand narratives than it is about inventing oneself through a process of self-creation that
has been referred to as anthropotechnics. With this idea in mind, the paper goes on to unpack how a group of urban explorers find various substitutes for utopia in the subterranean space of the Paris catacombs, substitutes that deliver inimitable feelings of identity, togetherness and freedom. As it is argued, forms of leisure such as ‘urbex’ emerge as ‘primary spheres’ of anthropotechnics that instigate the formation of
intertwining and interpenetrating ‘topias’ which have been referred to here as ‘reterotopia’, ‘heterotopia’ and ‘scotopia’

The study of the religions and cults of the Late Antiquity was based mostly by the Theological Schools on the characteristics of Gods, the theological teachings, the rituals or the ethnic tradition. Those elements werent always helpful in order to understand the development and the institution of the several religious traditions in the provinces and the social groups of the Roman Empire. We can find a lot of studies about the cult of Isis, Mithras, the Christianity and Judaism that are completely isolated by the social and religious context and as a result of this the researchers conclusions are generalities. Im going to present a different methodology for depicting the religious development of Roman Empire by categorizing the cults of this era according to a) the expansion of the religious community, b) the methods of promotion and establishment in several areas of the Roman Empire, and c) how a cult or a religious tradition is depended on a topos (religious place); especially, the topic/utopic depiction of the world (ecumene) can give us a lot of answers about the formation and mobility of these new cults. Those theoretical characteristics can help us form a new taxonomy for the cults of this particular era based not only on the factor of mobility but also on how people adapt and act after they have settled down on a new place.

A radikálisan decentralizált szerveződésű kriptovaluták sikerei a 2010-es években felkeltették a politikai szféra érdeklődését is. Jelen tanulmány keretei között azt tételezzük fel, hogy a kriptovaluta mint technológia egy eredendően politikai jellegű igényre való technopolitikai válaszkísérletként értelmezhető. A decentralizált, bármilyen központi monetáris hatóság je-lenlétét nélkülöző privatizált pénzrendszer igénye megjelenik a libertárius politikai filozófiá-ban évtizedekkel a kriptovaluták feltalálását megelőzően. Friedrich August Hayek a Denatio-nalisation of Money című 1976-os tanulmányában a központi bankok szerepét háttérbeszorító, magánkibocsátású pénzformák mellett érvel. Méltán nevezhetjük a korai huszonegyedik századi kriptovaluták egyik legkorábbi elméleti előzményeként. Az 1990-es évek információs forradalma új lendületet adott a libertárius és anarchista elgondolásoknak, ekkor jelentek meg a "kriptoanarchisták." Ezen irányzatok képviselői szerint a kibernetika, különösen robbanékony politikai lehetőséget kínál a radikális mozgalmak hívei számára. 2008-ban dolgozta ki egy Satoshi Nakamoto álnevű programozó a Bitcoin elméleti alapjait egy ta-nulmányban, majd ugyanebben az évben tette közzé a Bitcoin szoftver forráskódját. Ezt köve-tően robbanásszerű fejlődésnek indultak a kriptovaluták. Fontos elem a kriptovaluták esetében a titkosított jelleg, a harmadik felek és központi hatalmi szereplők lehetőség szerinti kizárása a rendszerből a közvetlen kereskedelem megvalósítása révén. "Kriptoutópikus"-nak is jellemez-hetjük a kibernetikai termelési módba mint emancipációs tényezőbe vetett anarchista ideoló-giai bizalmat, tanulmányunkban pedig igyekszünk felvázolni ezen szerteágazó irányzatnak egy lehetséges genealógiáját.

How to cope with the end of utopia? How to move from making history on a day-to-day basis to capitalizing on a legend? That is the dilemma Russian veterans of the Donbas insurgency have faced since the exalting atmosphere of Novorossiya faded away. In this article, I trace the transformations of the Novorossiya utopia from the point at which Russian volunteer fighters began to return to Russia and found themselves compelled to reinvent themselves in a new context. I first look at the difficult reconversion from war to politics of Donbas heroes such as Igor Strelkov and Aleksandr Borodai and how their efforts to launch new structures based on their war legitimacy have succeeded or failed. I then turn to investigate the birth of new heroes, such as the writer Zakhar Prilepin, who wave the metaphorical flag of Donbas at a time when exaltation of the war has declined. After that, I explore how Novorossiya has become a literature genre that occupies the shelves of Russian bookstores, spa...

Автор книги рассматривает проблемы быстрой автоматизации производства и кризиса капитализма. Он исследует пространство возможностей и размышляет о видении будущего, представляя две утопии и две антиутопии.

The author of the book raises the problem of fast automation of production and the crisis of capitalism. He analyzes the space of possibilities and wonders about the vision of the future, presenting two utopias and two antiutopias

Read the works of Jules Verne (1828-1905) allows the reader to get in touch with a world model in scientific development and discovery, an ideal model designed by European evolutionists and technicist of the nineteenth century. Therefore, in this research, the question that going to guide our investigation on this huge literary production is: his works would be a utopian ideal model based on the exaltation of science and emerging technology or Verne would have questioned this model? We note that the French writer is best remembered by the conventional reading about his books, confirming the technological exaltation than the literary criticism that performs the scientific culture of the time, through its dystopian effects.

This compilation is based on the original report on a clinical survey conducted in Brussels (1905-1906) by Josephine Joteyko and Varia Kipiani with 43 vegetarians. Having advanced expertise in physiology and experimentalism, Joteyko (with Lithuanian and Polish origins) and Kipiani (with Georgian origins) discussed their findings at the Congress of the Belgian Society for Vegetarianism in 1906. For both children and adults, females and males, regardless of age, the findings demonstrated vegetarian dietary habits to be beneficiary for human development, the subjects’ physical and mental health, welfare, and physical and intellectual efficiency. Surprisingly, Joteyko and Kipiani confirmed C. Darwin’s observation across various nutritional cultures that vegetarian food would increase the energetic balance of the human body. Additionally, their focus on the moteur humain shows affinities with Taylorism, the modernist utopias of labor, the enhancement of human faculties, the protection of workers and their rights from automation, and applied social science represented by Joteyko and Kipiani as multidisciplinary investigators. The compilation was made on: J. Joteyko & V. Kipiani, Enquête scientifique sur les Végétariens de Bruxelles, Conférence donnée à la Société végétarienne de Belgique, le 4 décembre 1906, pp. 1–77, with no further correction.

Resumen El objetivo de este trabajo es presentar un breve recorrido por los principales ejes del pensamiento político anarquista, a través de analizar su influencia en ideas ligadas al pensamiento crítico contemporáneo, expresadas en las posturas anti-estatistas, de democracia directa, de organización comunitaria, las propuestas postdesarrollistas, la crítica de la economía política neoliberal así como de la lógica extractivista, y finalmente su cercanía a las ideas de subversión simbólica y cultural. Abstract The objective of this work is to present a brief tour of the main axes of the anarchist political thought, through analyze their influence on ideas linked to contemporary critical thought, expressed in the positions anti-statist, direct democracy, community organizing, the post-development proposals, criticism of neoliberal political economy as well as extractivist logic, and finally their closeness to the ideas of symbolic and cultural subversion.

Utopija počinje zamišlju svijeta koji je drugačiji a onda i bolji od našega. Vizije boljih svjetova  okupiraju čovjeka već tisućljećima, neovisno o tome imaju li one pritom religijski ili sekularni, politički ili književni oblik zbog čega su mnogi teoretičari, čijem se mišljenju ovdje priklanjam,
spekulirali o  postojanju  utopijskog  mišljenja  ili  utopijske  svijesti  kao  esencijalne  oznake ljudskosti.

The notion of utopia which is came from ancient to the present day in a historical perspective as an unreal place and which is intended to reach to perfection by the effect of social realities could not provide the critical environment necessitated for the 20th-century problems. Patriarchy, capitalism, colonialism and other realities which hold on in historical perspective touch the formations of gender, race or class consciousness off around feminist theory, and they make them the focus of the epoch. The narratives of the late 20th century rather than search for the ideal, achieve perfection, they destroy all positions not only search for those who are different from all positions but also aim to create a critical environment by seeing the irreducible together.

As opposed to traditional nomads, backpackers, or tourists, digital nomads are defined as Internet-enabled remote workers, who maintain a focus on connectivity and productivity even in leisure. This essay discusses the relationship between Instagram and the digital nomad from a theoretical perspective, proposing a critique of the aesthetics and urban politics that underlie this figure. Inspired by recent theories that combine geopolitical and technological insight with a speculative approach, the article positions the digital nomad as a cultural avatar of contemporary neoliberalism, which celebrates a depoliticized aesthetics of work and helps establish a material geography of globalization through social media. In particular, the essay leverages the concept of tagging (not only intended as the use of hashtags like #digitalnomad, #solotraveller, or #remotework, but also geotagging) as a tool for cultural critique, discussing Instagram as a key site of intersection between the imaginary appeal of the traveling entrepreneur and the material effects of globalized gentrification. The conclusion provocatively suggests that, with the increasing economic and geopolitical influence of digital nomadism, Instagram might become a site of negotiation of the figure’s culture and aesthetics, potentially steering them toward a more radical re-imagination of borders and life beyond work. By offering a cultural critique of the digital nomad, the essay contributes to critical discourse on Instagram as a cultural platform.

Resumen En este documento se expondrá el crucial y necesario papel que el conflicto ha tenido a lo largo de la evolución histórica colombiana, lo cual llega a ser pertinente para destacar las con-secuencias de hechos conflictivos, identificando que ellos crean un sinnúmero de sucesos que fecundan la transformación social y adoptan mejoras continuas de las condiciones sociales, perfilando al país con conductas distintas a las plasmadas por la élite dominante. Basadas en lo anterior se resalta la búsqueda de la utopía nacional como una intención de construir un con-solidado de un constructo social en donde todos estemos involucrados, la cual representa sin duda el cambio social ideal que pretende darse a través del conflicto. Para ello, proponemos tres apartados elementales para la comprensión conceptual y de realidades históricas donde se reflejaron aquellos ideales de nación: 1) Transformación en conflicto: correspondencia conceptual de las ideas y la práctica de la transformación, 2) Utopía nacional y recorrido histórico del imaginario de nación y por último, 3) Hechos internacionales; todo esto aprovechando que nos encontramos en una época propicia para investigar el devenir político-social colombiano. Palabras Clave: transformación social, utopía nacional, conflicto, élite estatal, imaginario de nación, recorrido histórico, constructo social. Abstract This document describes the crucial and necessary role that the conflict has had along the Colombian historical development, which becomes relevant to highlight the consequences of conflicting facts, identifying that they create countless events which enrich social transformation and adopt continuous improvement of social conditions, outlining the country than those reflected by the ruling elite behavior. Based on the above finding national utopia is highlighted as an intention to build a consolidated social construct where we are all involved, which is undoubtedly the ideal that seeks social change through conflict occur. To this end, we propose three basic sections for the conceptual and historical realities where those ideals of nation were reflected compression: 1) Transformation into conflict: conceptual ideas and practice of transformation, 2) National utopia and historical tour the imaginary of nation and finally, 3) International events; this advantage that we are at a propitious time to investigate the Colombian political and social evolution.

Taking up the challenges by literary heroes may be varied in nature and involve a variety of experiences. One of them, which places extraordinary demands before the individual, is the experience of limits, called - after Karl Jaspers - border situation.
Border situation is a moment in which there is a reevaluation of a whole life: according to Bartłomiej Dobroczyński it is coming to one’s own borders - mental, emotional, self-knowledge boundaries, the boundaries of your former world. Border situation makes it necessary to make a choice: surviving it is combined with the loss of original identity, so that places the individual before a special challenge - to build anew their life, bearing in mind what had already happened, on the "the ruins" of the existing, recognized as safe, world. It seems that the border situation appears particularly often in the anti-utopian novels - such are certainly We by J. Zamiatin, Brave New World by A. Huxley, R. Bradbury’s 4510 Farenheit, And came the blissful age by J. Mark, Face to the earth by M. Parowski, This wonderful day by I. Levin and Paradise, the World in Orbit by J. Zajdel. Their heroes at some point are being confronted with a reality other than they imagined it. They have to cope with the knowledge that their previous life was a fiction - in this moment they also have to make a decision, knowing that their whole life depends on that decision, and often - also the existence of others. Whatever they decide, their life changes forever. Regardless of the results of their efforts, their heroism is to build a new identity based not on the utopian (often built on fiction) but on objective reality. Regardless of whether they win this battle, or for their choices they pay the highest price - they win if only they remain faithful to what they had learned about themselves when they had experienced border situation.

This is an unusual book. Combining social science fiction, utopianism, pragmatism, sober analysis, and innovative social theory, the authors address one of the biggest dilemmas of our age – how to solve the problems arising from mass displacement. As early versions of the solution proposed by Robin Cohen and Nicholas Van Hear filtered out, their vision of a new, networked, transnational archipelago, called Refugia, was immediately denounced or met with scepticism by established refugee scholars. Others were more intrigued, more open-minded, or perhaps just holding their fire until this book was finally published. As it at least has the virtue of originality, why not judge the proposal for yourself? Read it and craft your own critique. The authors have initiated an openly pro-refugee vision that all can help to shape. Written in a clear and direct style, this book will appeal to scholars, students and practitioners, as well as to an informed public ready to engage with this pressing issue.

Compte rendu de l'exposition 'Rouge Art et utopie au pays des Soviets" (Grand Palais, 20 mars –1er juillet 2019) dans Histoire&politique, N° 37, Janvier-avril 2019.
https://www.histoire-politique.fr/index.php?numero=37&rub=comptes-rendus&item=706

El destino de Occidente se juega en su compromiso con las exigencias de la razón. La Academia, cuyo fruto más poderoso ha sido la Universidad, es el espacio donde la Razón puede desplegar todo su potencial. Sin embargo, esta potencia radical del pensamiento es, a la vez, un elemento al servicio de la organización política y una fuerza anárquica que amenaza con dinamitar sus estructuras mismas. Esta ambivalencia de la razón explica la ambigüedad de la relación entre la Academia y la Política, una relación de conflicto y tensión. La misión de la Academia, en última instancia, será la de velar por la dignidad irreductible de los hombres, en su sustracción respecto a las lógicas de la reproducción social y a las exigencias económico-técnicas de la Ciudad. El lugar ambivalente de la Academia, espacio por antonomasia de todo humanismo, es de alguna manera utópico, un lugar imposible tanto de arrancarlo de la ciudad como de inscribirlo en su centro. Pensar hoy el humanismo implica, por ello, pensar la Academia como la “extraña entraña de Occidente”, pensar el destino mismo del mundo occidental en el rescate del hombre respecto a su ineludible instrumentalización y sumisión al orden económico.

The destiny of Western civilization depends on its commitment to the exigencies of reason. The Academy, whose most prominent result has been the University, represents the place where Reason can explore all its potential. However, this radical potency of thought is, at the same time, an element that serves the political organization, and an anarchic force that threatens to detonate the very foundations of the State. This ambivalence of reason explains the ambiguity of the relationship between the Academy and Politics, a relationship full of conflicts and tensions. Ultimately, the mission of the Academy is to guard human dignity, irreducible to the social and technical logic of political organization. The ambivalent place of the Academy, the womb of humanism, is an utopic place, in between the margins and the centre of the State. To think on humanism, hence, implies to think Academia as the “strange entrails of Western civilization”, and entails the commitment to rescue humanity from its inescapable tendency to be instrumentalized and subjected to the economic order.

Resumo Apresentamos a tradução de Wolfaria, publicada em 1521 por Johann Eberlin von Günzburg, teólogo alemão que, no mesmo ano, havia abdicado o catolicismo e a Ordem Franciscana. O texto, composto no início da Reforma, trata de um mundo imaginário, no qual a religião e o Estado estão em perfeita harmonia e todos os cidadãos vivem bem, pois adotam princípios éticos e políticos conformes ao nascente luteranismo. Integrante do gênero utópico, a obra de Eberlin pode ser considerada a segunda manifestação desta corrente, composta apenas cinco anos após a Utopia, de Thomas Morus. As obras utópicas reúnem uma quantidade variada de particularidades, mas se caracterizam fundamentalmente por apresentar a descrição de um alhures em sua totalidade, e este mundo outro é na verdade a imagem invertida do mundo do autor. O utopista não busca o escapismo político, ao contrário: mergulhado nas contradições do momento presente, o autor deseja criar um mundo outro, onde os males sociais, religiosos e políticos são solucionados. Wolfaria está explicitamente vinculada à realidade histórica, e constitui importante discussão de tópicos fundamentais da Alemanha no período em que Eberlin viveu.

In 'Vloeibare tijden. Leven in een eeuw van onzekerheid' (2007) drukt Zygmunt Bauman een productie- en een houdbaarheidsdatum op de droom van Andersland: ‘Utopieën werden samen met de moderniteit geboren en alleen in de sfeer van de moderniteit konden ze ademen.’ De observatie van de Pools-Britse socioloog vormt het uitgangspunt van dit hoofdstuk. Eerst beschrijf ik het verband tussen de doorbraak van de vroege moderniteit en de verschijning van 'Utopia' (1516), de tekst waarmee Thomas More het genre uitvond en waarvan de titel zich tot een generische naam ontwikkelde. Vervolgens reconstrueer ik hoe de utopische verbeelding vanaf de vroege negentiende eeuw onder impuls van het romantische denken kwade faam verwierf en in de eerste helft van de twintigste eeuw door enkele invloedrijke literaire nachtmerries of zogenoemde dystopieën in de verdrukking raakte. In het tweede deel van dit hoofdstuk onderzoek ik hoe in onze zogeheten late moderniteit een acute vorm van ademnood uitbrak in Andersland. Is er vandaag nog leven denkbaar op de plek waar de moderne mens zijn eigen paradijs zou oprichten?

El artículo ofrece una reflexión acerca del lugar y las modalidades de la práctica docente en contextos de formación. La intención es articular notas de índole crítica que puedan abrirnos a otras acciones en los trayectos de formación de formadores, desde un pensamiento situado y singular, sin pretensión de generalización y atendiendo al ejercicio
docente como una praxis de recomienzos. A partir de un texto de Foucault que caracteriza las heterotopías como contraespacios, reales y posibles, el trabajo analiza las narrativas como modalidad de formación que incluye otras textualidades así como lugares compartidos de aprendizaje (comunidades de indagación).

The essay attempts to discuss the main interpretations of the Hegelian philosophy of history from the viewpoint of its utopian potential. Although it can be revealed in a conceptual, lexicological manner, it can be regarded by means of a semantic deconstruction of the sophisticated conceptual framework which constitutes the Hegelian “system of knowledge,” too. The clarification and explanation of the basic terms of Hegelian historiosophy (history, spirit, the State, freedom) allows to determine the basic threads of Hegel’s thought, which are the subject matter of intellectual disputes between the Hegelian Right and Left. It also allows – at least partially – to separate these elements of the concept of history of the author of The Phenomenology of Spirit secondarily, which when combined together seem to be comprehensible, unlike categories that are both ambiguous in terms of interpretation and fuzzy as well as ideologically marked. The analysis ends with the problem of perceiving the Hegelian philosophy of history as utopian despite the fact that it is based on the ideas that create historical determinism (rationalism, schematism and historical finitism), which seemingly overshadow the sphere of individual human freedom, excluding the 83 K. Popper, Społeczeństwo otwarte..., Tom 2, s. 78. 146 sense of any pro futuro forms of activities that are focused on a social and historical change. Any a priori solution leads to the problem of the relationship between theory and practice, which additionally begets the problem of author’s responsibility for both predicted (foreseeable) and unexpected social effects that the theory may generate.

Aunque política y ciencia constituyen hoy en día ramas casi antagónicas del conocimiento humano-acaso com-binables en ámbitos ficcionales como el cine y la litera-tura-, la relación entre filosofía política y astronomía es una constante histórica que alcanza especial fuerza en el pensamiento emancipatorio del siglo xix. El presente artículo sitúa en ese marco La eternidad por los astros (1872) y, asimismo, somete a contraste la peculiaridad retórica e ideológica de una obra en la que Louis-Auguste Blanqui propone una contigüidad entre orbe celeste y sociedad humana fundada, según él, en su análogo funcionamiento y su común atavismo.