Papers by Marco Accattatis
IL PONTE, 2020
first D Marco Accattatis I falsi profeti del populismo nativista D Massimo Jasonni Platone in sof... more first D Marco Accattatis I falsi profeti del populismo nativista D Massimo Jasonni Platone in soffitta d Mario Monforte Fuori dalla matrix del covid e non solo D Luca Baiada No alle camerette, vogliamo le Camere D Francesca Farruggia Intelligenza artificiale e irresponsabilità umana: il caso delle armi letali autonome Roberto Barzanti Su «L infinito»: l'idillio senza figure D Laura Fotia I periodici degli esuli latino-americani nella biblioteca della Fondazione Basso D Silvia Segafreddo La multiculturalità francese attraverso la lente del mondo letterario D Antonella Bisardi Ancora nel postmoderno? Note sulla cultura nell'epoca dell'iperspettacolo Ernesto Rossi Il nostro XX settembre D Sergio D'Amaro Il pianeta Olivetti e la memoria imperfetta D Mario Pezzella Gomorra: un genere cinematografico? D Andrea Amoroso C'era una volta a .
At a time when transnational capital is closer than ever to achieving full spectrum dominance in ... more At a time when transnational capital is closer than ever to achieving full spectrum dominance in world economy, there are also signs indicating that its accompanying neoliberal ideology is resting atop a growing sea of glaring contradictions: supposedly rational consumers randomly choosing among an increasing glut of services and commodities; a geopolitical system increasingly engulfed in both low- and high-intensity conflicts over resources, markets, and global hegemony; a developing climate catastrophe which national and international political institutions, captured by financial and corporate interests, are seemingly unable to address. Still, amidst such and other ominous signs, it is also possible for the careful observer to identify the emergence of new social, political and cultural formations which are beginning to challenge the capitalist mode of production and its related hegemonic apparatuses.
The primary aim of this paper is to assess the significance of fossil fuels and, particularly, of oil, not only within the logic of capitalism but, most importantly, as possibly one of the major contributors to its undoing. In this regard, it is the belief of this and other scholars that the unfolding climate crisis, coupled with the persisting Second Great Depression (GDII), has created the conditions for a radical rethinking of both the economic system and its cultural superstructure. Yet, as the institutional response to GDII already indicates, it is also apparent that the forces of capital are starting to view the climate crisis as another opportunity for systemic regeneration. Within the dialectic of such maneuverings, I will finally look at existing avenues of resistance and explore potential sites of disjuncture ripe for creative and meaningful forms of cultural penetration.
The unique kinship between music and power – as originally outlined by Kant in the Critique of th... more The unique kinship between music and power – as originally outlined by Kant in the Critique of the Power of Judgment and more recently by Attali in Noise – can be observed in how the former has been put at the service of the latter throughout the history of warfare. In recent times, with her seminal 2006 study Music as Torture / Music as Weapon in the “global war on terror,” Suzanne Cusick has brought the use of music as an instrument of warfare to the attention of the musicological community and beyond. By contextualizing Cusick’s research within a broadened historical, cultural and social context, this essay explores connections between the increasing militarization of American society and the normalization of violence in its cultural production. The circular nature of this relationship is put into focus through the analysis of the song and music video “Bodies” by heavy metal band Drowning Pool, as well through the examination of such non-musical productions as the Fox TV series 24 and Burgess’s novel A Clockwork Orange, with its controversial American debut.
The relationship between music and power, war and heavy metal is traced through the progressive democratization of music-as-weapon beginning with the introduction of high-fidelity sound systems in the late 1940s and continuing in recent times with the use of mp3 players by U.S. military personnel. Related manifestations of the growing synergy between the military and the culture industry at large may be seen in songs such as “Soldier” by Drowning Pool and “Citizen Soldier” by rock band 3 Doors Down. The process of assimilation of a lexicon of war into mainstream popular music is analyzed in the recent dance hit “Titanium” by David Guetta and Sia. Examples from TV (Stars Earn Stripes), film (Act of Valor, Zero Dark Thirty) and videogames (America’s Army) underscore the rise of a new “military-entertainment complex.”
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Papers by Marco Accattatis
The primary aim of this paper is to assess the significance of fossil fuels and, particularly, of oil, not only within the logic of capitalism but, most importantly, as possibly one of the major contributors to its undoing. In this regard, it is the belief of this and other scholars that the unfolding climate crisis, coupled with the persisting Second Great Depression (GDII), has created the conditions for a radical rethinking of both the economic system and its cultural superstructure. Yet, as the institutional response to GDII already indicates, it is also apparent that the forces of capital are starting to view the climate crisis as another opportunity for systemic regeneration. Within the dialectic of such maneuverings, I will finally look at existing avenues of resistance and explore potential sites of disjuncture ripe for creative and meaningful forms of cultural penetration.
The relationship between music and power, war and heavy metal is traced through the progressive democratization of music-as-weapon beginning with the introduction of high-fidelity sound systems in the late 1940s and continuing in recent times with the use of mp3 players by U.S. military personnel. Related manifestations of the growing synergy between the military and the culture industry at large may be seen in songs such as “Soldier” by Drowning Pool and “Citizen Soldier” by rock band 3 Doors Down. The process of assimilation of a lexicon of war into mainstream popular music is analyzed in the recent dance hit “Titanium” by David Guetta and Sia. Examples from TV (Stars Earn Stripes), film (Act of Valor, Zero Dark Thirty) and videogames (America’s Army) underscore the rise of a new “military-entertainment complex.”
The primary aim of this paper is to assess the significance of fossil fuels and, particularly, of oil, not only within the logic of capitalism but, most importantly, as possibly one of the major contributors to its undoing. In this regard, it is the belief of this and other scholars that the unfolding climate crisis, coupled with the persisting Second Great Depression (GDII), has created the conditions for a radical rethinking of both the economic system and its cultural superstructure. Yet, as the institutional response to GDII already indicates, it is also apparent that the forces of capital are starting to view the climate crisis as another opportunity for systemic regeneration. Within the dialectic of such maneuverings, I will finally look at existing avenues of resistance and explore potential sites of disjuncture ripe for creative and meaningful forms of cultural penetration.
The relationship between music and power, war and heavy metal is traced through the progressive democratization of music-as-weapon beginning with the introduction of high-fidelity sound systems in the late 1940s and continuing in recent times with the use of mp3 players by U.S. military personnel. Related manifestations of the growing synergy between the military and the culture industry at large may be seen in songs such as “Soldier” by Drowning Pool and “Citizen Soldier” by rock band 3 Doors Down. The process of assimilation of a lexicon of war into mainstream popular music is analyzed in the recent dance hit “Titanium” by David Guetta and Sia. Examples from TV (Stars Earn Stripes), film (Act of Valor, Zero Dark Thirty) and videogames (America’s Army) underscore the rise of a new “military-entertainment complex.”