International Law in Action. 2016 ICC ruling regarding the destruction of historical and religious monuments in Timbuktu

The ICC 2016 ruling as means of development of International Law. First case focused solely on cultural heritage destruction as a war crime.

Introduction.

In order to articulate a discussion about the future of International Courts we must develop an enquiry about their current situation and functionality. In their relatively short history, the extent of their decisions, sentences and procedures have reach consistently jurisdictional relevance. A new stream of interpretation has spread admitting their modus operandi under a new ethos: «international courts can promote legal certainty, maintain the credibility of the legal undertaking of states, raise the costs of non-compliance, and defuse intra-regime tensions.»[1] For the sake of brevity, we will focus on the International Criminal Court[2] as a case of study. In terms of international law, as we will argue, the Court has contributed to a significant development of International Justice and ultimately clarified the role of such international tribunal in the current geopolitical situation.

Reaching understanding of a new international judiciary.

Even when the ICC has emerged relatively recently, many sectors of the international landscape, as well as in academic and policy circles continue the tendency to question its ultimate impact, considering it among the aftermath of other ineffective international justice tribunals, as an inefficient polarizing exercise or simply characterise it as biased institutions.[3]

Nevertheless, one of the most prominent principles of justice that rely under the Court’s jurisdiction is the notion of equality under the law. The Rome Statue, ratified by the Assembly relies on the consideration that the Court will pursue justice independently of considerations of political power and interest of specific actors involved. In first instance, we could argue that while journalists, human rights activists, members of the civil society or even scholars tend to see and establish dichotomies over genocide and atrocity trials, the Court focuses on finding truth strategies that could assess the discrepancies that come about and overall generate an instance for judiciary settlement, that eventually conducts into a transition towards peace and justice. 

During this brief essay, our intention is merely to shed some light into the intricacies and complexity that characterize international courts systems, specifically the ICC credited for specific jurisdiction, practices and results without denying the fragile equilibrium between them. We simply intend to frame a query as in which measure, the present behavior and reception of the International Courts somehow determines their future? Since conducting a diagnostic on the efficiency and utter purpose of the ICC certainly far exceeds the length and aptitude of both, this paper and its author, we simply aim to bring the ruling against Al FaquiAl Mahdi delivered in 2016 as case of study to set in context, and not necessarily as unequivocal example of the Court’s success.

Almost four years ago on the 27th September 2016, the ICC delivered a sentence for its first trial focused solely on cultural heritage destruction as a war crime. It was also the first prosecution of an Islamic militant and meant overall, a tangible contribution to the development and clarification of the rules and principles of International Law in an absolutely groundbreaking case.Mainly, I would like to approach the mentioned ICC sentence from the perspective of a persuasive legal precedent[4] to recognize it among the most recent developments of the rules of international law. Although the Court itself –like other international courts and tribunals– frequently emphasizes that it has no power to legislate, we can view the decision of the Trial Chamber VIII unanimously declaring Ahmad Al Faqi Al Mahdi guilty of the war crime of attacking historic and religious buildings in Timbuktu and sentenced to nine years of imprisonment, as a proper precedent that emphasizes the importance of dispute settlement and plays down a substantial impact on the process of legal judiciary development.

Our intent then, is to recognize the actual impact of the Court’s pronouncement as an unavoidable legal development in order to assess its decision’s legitimacy as a form of judicial activism[5] of the caliber of international public authority. Therefore, I propose to acknowledge how this particular ICC decision among other pronouncements, has shaped specific aspects of international law finding a middle ground in conceptual debate, exploring its impact and contribution to advancing peace, security and well-being, including the fight against impunity for atrocious crimes.

During the mentioned trial, the attacks in 2012 perpetrated in Timbuktu were compared to other Islamic State’s cases of destruction of cultural monuments in the Syrian cities of Aleppo or Palmyra and also the Taliban’s wrecking of the Bamiyan Buddha statues in Afghanistan in 2001. Although, it is unlikely to open an investigation into such crimes and charge responsibilities upon any individuals from Iraq and Syria any time soon, the sentence delivered by the ICC versus Al Mahdi – a top commander of the Ansar Dine jihadist group– carries a symbolic weight. Neither Syria nor Iraq are signatory countries to the Rome statute, therefore without a mandate from the UN Security Council, an ICC investigation into such crimes is not yet possible. It is possible to recognize, nevertheless the broadly influence of the Court’s decision on certain areas of international law such as human rights, state responsibility and jurisdictional immunities. By identifying the Court’s ruling as a main contribution against the destruction of cultural heritage, a measure of terror that renders impossible the transmission of knowledge, ethical and moral values to the next generations, the influence of ICC pronouncement becomes an exempla of corregendi iuris that concerns the development of rules of international law, demonstrating an essential function[6] of the Court.

Acknowledging this ruling as a nuanced assessment of the Court’s impact on contemporary international legal development, that precedes from its role of law enforcement, condemning the destruction of Timbuktu’s mausoleums and Sidi Yahia Mosque supporting by consequence the UNESCO’s role. Interestingly, the ICC has no endeavor to provide a definition of the notion of cultural heritage, since it relies in the framework by the UN’s agency that provides extensive rights for protection of proclaimed cultural sites. Is it possible therefore to identify factors of success on legal development by the Court, since the ruling against Al Mahdi might established a deterrent for similar war crimes, concerning attacks against historic or religious monuments.

ICC permanent premises in The Hague

Conclusion.

Addressing this subject, hopefully we have acquired a better understanding of the process of international legal development and the ICC’s role in it. Tracking the influence of such international law-making processes as well as on the case of law of other quasi-judicial bodies the discussion turns to the Court’s contribution to interpreting and developing peremptory norms protecting the rights of peoples, namely the protection of cultural heritage as a vehicle of knowledge and cultural identity, strengthening a global culture of justice and serving as an advisory input to prevent the destruction of relevant world cultural heritage.


[1] 2009, Shany, Yuval, «No Longer a Weak Department of Power? Reflections on the Emergence of a New International Judiciary» in EJIL, Vol. 20, No. 1, 82.

[2] From now on referred as ICC or the Court.

[3] 2011, Arieff, Alexis et al. International Criminal Court Cases in Africa: Status and Policy Issues. Washington DC: Congresional Research Service, July 22, 2012 Luckscheiter, Jochen, Kirsten Maas-Albert, eds. A fractious Relationshipç Africa and the International Criminal Court. Cape Town, Heinrich Böll Stiftung.

[4] A. Boyle and C. Chinkin, The Making of International Law (Oxford: OUP,2007) 268.

[5] F. Zarbiyev, ‘Judicial Activism in International Law –A Conceptual Framework for Analysis’ 2012, 3 JIDS 247; Terris et al (n. 12) 121 et seq.

[6] C. de Visscher, Theory and Reality in Public International Law, Princeton: PUP, 1968.

Other sources:
https://www.icc-cpi.int/Pages/item.aspx?name=pr1154&ln=en
https://www.icc-cpi.int//Pages/item.aspx?name=otp-stat-08-04-2015-1

Del ideal femenino (R)omántico

Las raíces del Romanticismo, que se manifiesta entre las últimas décadas del siglo XVIII y la primera mitad del siglo XIX, durante una época de efervescencia cultural, duros conflictos políticos, y fuertes ataques  al sistema patriarcal y, análogamente, al absolutismo genera el paradigma de los “derechos naturales” basados en la libertad individual, en el valor de los sentimientos, y en la igualdad de derechos para las mujeres. La afirmación de los “derechos naturales” encuentra su lógico complemento en la denuncia de la hipocresía moral dominante, que se muestra intolerante a cualquier alternativa  moral. 

Es posible rastrear la transgresión a la ley patriarcal – ya sea la del rey o la del padre, figuras que se sobreponen – en nombre del derecho a la búsqueda de la felicidad individual y de la libertad política y personal, idealmente inseparables. 

En América latina, se abre camino una nueva conformación del modelo de familia y de sociedad: la pareja, que se pretende liberar de ataduras con respecto a los padres, pero se ve afectada por los papeles desiguales de esposa y marido, madre y padre. En consonancia a esta iniciativa de emancipación, se desarrolla el Positivismo, que proporciona una legitimación científica de las jerarquías de género, de raza y de clase, fijadas en rígidos paradigmas que las “naturalizan” a partir de estatus culturales de carácter  reaccionario. 

El discurso emancipador del Romanticismo como época de libertad individual, opuesto al patriarcado, se ha entrelazado en épocas sucesivas con complejas dinámicas de desigualdad social, que a veces han contrastado al menos en apariencia, pero que a menudo han parecido apoyar y hasta fomentar la violencia contra las mujeres y los roles y estereotipos tradicionales de género.

Seria interesante reflexionar sobre la relación entre el concepto actual de romanticismo y los mecanismos económicos, sociales, del mundo contemporáneo. En concreto, el amor romántico y su idealización e influencia. Cuál es el rol de las instituciones y procesos educativos, en contraste  consonancia  .

¿Existen aun elementos que permiten la emancipación individual, en concreto de l femenino, en el marco del amor romántico? ¿Cuál es la relación entre romanticismo y ámbito  laboral? ¿De qué manera el romanticismo ha influido en la división de genero del trabajo y la doble jornada de las mujeres? El concepto de “emancipación a través del trabajo” no domestico ¿resulta un ideal romántico? Cuales serian ls vínculos entre los mitos del amor romántico y la violencia de género?

Existen, en los siglos XX-XXI, figuras de mujeres que persiguen desde la autonomía objetivos indómitos e insólitos (viajeras, militantes, artistas, reporteras). ¿Las podemos considerar las “verdaderas” románticas de los siglos XX-XXI?

Workshop notes 24.08.19, Chassé Dance Studios, Amsterdam.

Notas a propósito del taller: Theater & dans 24.08.19

Apenas doblo la esquina sobre Chasséstraat aproximándome a la sede indicada para el taller al que C. Salazar me invita, se yergue ante mis ojos una iglesia desconsagrada. Dedicado en un principio a Nuestra Señora del Perpetuo Socorro, este edificio construido en ladrillo durante la segunda década del siglo XX alberga hoy día un espacio cultural laico. Mi mente, seguramente demasiado habituada a generar analogías, busca comparar este recinto al ExTeresa en la Ciudad de México. La diferencia evidente está en que este espacio pertenece al sector privado. El inmueble ha quedado despojado de toda connotación católica, la referencia que lo denomina hoy día obedece a la zona donde se encuentra, cuyas calles están todas nominadas en referencia a aristócratas de la milicia decimonónica holandesa.

Llego temprano, así que deambulo a modo procesional al interno del recinto, hoy día acondicionado con varias aulas de danza. Dos anfitriones me sonríen –una joven que me hace pensar a Saraswati, la diosa de las artes hindú y un hombre con perfil Togo- como si fueran iconos sacros situados al ingreso de un recinto -no puedo que denominarlo así- dedicado hoy día a la enseñanza de la danza clásica occidental, contemporánea, afro y urbana, donde encuentro integradas decorosamente en la sociedad personas de distintas proveniencias geográficas y étnicas.

El taller da inicio presentándonos los unos a los otros, hay otros dos chicos además de Cesar, otra chica y yo. Cada participante proviene de distintas disciplinas y por lo tanto es emocionante entrar en juego con ellos. Un chico proviene de San Francisco, otro es oriundo de Amsterdam, la otra chica no recuerdo si especifica de que ciudad proviene en los Países Bajos. Cesar y yo nos conocimos hace tiempo cuando éramos estudiantes en el Colegio de Teatro y nos entrenábamos con Rodolfo Valencia, en su método actoral. Reconozco en su vocabulario y en su propuesta puntos clave de ese espacio epistémico que compartimos. Me alegra tanto distinguir de manera especular esa dinámica con problemáticas especificas, bien delimitadas a partir de un cierto lenguaje estético y filosófico que nos vinculan en la experiencia de nuestros años universitarios, que constituye una fuente gnoseológica de gran valor, tanto profesional como personalmente.

Durante los primeros ejercicios me mantengo atenta a seguir en los espejos del aula los ejemplos y secuencias de movimiento que Cesar propone, intuyo que las posturas provienen de un universo iconográfico y literario muy especifico, el universo de los antiguos mexicanos. Un universo que en mi identidad de mestiza resulta en cierta medida ajeno pues se trata de una cultura obnubilada en una larga noche de quinientos años. Curioso pensar que justamente en 1519 Hernán Cortés inicia su avance hacia el centro de México. También fue el tiempo en que los portugueses emprendieron su expansión hacia la India a breve dominada por los persas y cuando el príncipe Zhu Chenhao se rebela contra el emperador Ming mientras Japón atraviesa el periodo Sengoku de guerras cruentas entre clanes medievales. Es el mismo año en que Carlos V se convierte en emperador del Sacro Imperio de Occidente mientras Martin Luther se une al debate contra la autoridad papal en Leipzig.

La cultura mesoamericana es leída y percibida a través de las vicisitudes de un dominio colonial, reinterpretada desde un presente plagado de hipótesis más o menos plausibles, que encuentra dificultad a admitir contradicciones emanadas de documentos y reliquias arqueológicas de reciente descubrimiento, en el asombro y recurrente malentendido de una herencia extremamente plural e indómita a una escritura univoca de la historia. Mientras mi cuerpo se despierta al movimiento en el espacio, a la interacción con el Otro, me siento diletante y al mismo tiempo emocionada por la dimensión de la improvisación. La sensación de inseguridad me abandona a veces pero regresa, se hace presente en la tendencia a racionalizar fomentada por mi neurosis. Intento introyectar la mirada, acceder al espacio sensible y escuchar mis pulsiones pero encuentro resistencia. Hacia el final, después de varias horas de trabajo el planteamiento de trabajo se vuelve complejo, hay la propuesta de uso dramático de varios objetos y un texto de León-Portilla con el cual interactuar. Mi cuerpo en el espacio discrimina un poco ciertos aspectos para resolver la propuesta del ejercicio y encuentro muy claramente la gesta del método

Valencia, es como si mi organismo fuera inducido «naturalmente» a habitar el presente escénico y entonces percibo con claridad, esa sinergia orgánica fruto del entrenamiento técnico que proviene de una fuente originaria de estudio que vincula la lectura y construcción de especificas categorías de juicio, de registro y trabajo sobre mi propio material físico, intelectual y ontológico integrándolo a la emergencia del momento, del instante en el que convergen la imaginación y la interacción con el presente. Lo percibo claramente, el presente, se erige ante la mirada del espectador, crece en función al trabajo, de cierto modo depurado, vertido en esa dimensión diáfana que surge del dialogo con la alteridad, donde se pretende compartir sin demasiada pretensión, un ejercicio de creación escénica.

Axcanteotl: El agua que cae como el torrente del tiempo. El tiempo es como el agua. Es el ambiente vital de plantas, animales, mujeres y hombres. En las cabañas del tiempo habitan los moradores del mundo pero, en los templos no viven los dioses. Los dioses no estan en el tiempo, los dioses -si existen- muy lejos están  del torrente. Ellos no están ahí, no están ahora. Pero Yo si estoy ahí. Yo soy ahora. Ahora y ahora ahora. Mi nombre es Axcanteotl, dios del ahora. Ahora es mi nombre. Ahora, ahora y ahora.
Nederlans: Het water dat Walt is als de Strom van tied. Tied is as water. Het is de vitals omgeving, van plants, women and men. In de Hutton van de tied leven de bewoners van de were led, Mara in de temples leen de golden nite. De Golden besaran nite in de tied, de golden -als ze besaran -zijn verre van de strom. Ze zijn er nite, ze bestaan nite in het nu. Amar Ik bestia in het nu. Mijn naam is Axcanteotl, de god van nu. Nu is mijn naam. Nu, Nu en Nu.

Después de concluir el taller nos dirigimos al NDSM Fuse, un centro cultural que recupera una colosal fábrica de navíos, en medio del paisaje post-industrial de la zona norte de Amsterdam, en los últimos tiempos severamente amenazado por iniciativas de gentrificación y desarrollo edil. Tengo oportunidad de encontrar otros chicos mexicanos, artistas visuales y plásticos que realizan una muestr

a colectiva en colaboración con artistas holandeses. Cesar nos invita a Ilja –un chicho que participó en el taller- y a mí a colaborar en una improvisación de juego en el espacio. La invitación nos sorprende complacidos, en la oportunidad de profundizar ciertos aspectos del breve acercamiento de trabajo previo. El día termina socializando, compartiendo la velada amenamente, se me sacude un poco el connato de depresión que me asedia emotivamente. Nos abrazamos y despedimos, en unas horas más Cesar tomará el avión de regreso a México. Mientras que nosotros salimos del parque Vondel dirigiéndonos a la estación de trenes, para ir de regreso a Delft. Ya en el tren, repleto de jóvenes trasnochados me adormento brevemente, al despertar registro un cierto desconcierto, como en un sueño de Rosaura de Calderón de Pasolini, no reconozco mi entorno ni las personas que ahí se encuentran, excepto a mi hermana Estrella encarnada en Giuseppe, mi «compañero de viaje». Poco a poco me sosiega la planicie del paisaje que se asoma por la ventana. Pienso entre estos breve apuntes a mi padre, que en un sueño reciente me exhortaba a escribir.

Focus on Shakespeare's Rome: Coriolanus, 1.9.59-72

COMINIUS: Too modest are you,

More cruel to your good report than grateful

To us that give you truly. By your patience,

If ’gainst yourself you be incensed, we’ll put you,

Like one that means his proper harm, in manacles,

Then reason safely with you. Therefore be it known,

As to us to all the world, that Caius Martius

Wears this war’s garland, in token of the which

My noble steed, known to the camp, I give him,

With all his trim belonging. And from this time,

For what he did before Corioles, call him,

With all th’ applause and clamor of the host,

Martius Caius Coriolanus! Bear

Th’ addition nobly ever!

Coriolanus, 1.9.59-72 , Folger Shakespeare Library

This quote delivers to us the true dimension of a legendary figure, of Rome’s perhaps fiercest warrior. As chief warrior of Rome’s army, he has fought nasty and cruel battles. Since a very young age, fighting in every battlefield Caius Martius' has “earned” several wounds on his body as evidence that describe eloquently his honorable behavior. This crucial moment gives him an earned rebirth among laureate soldiers since he has defeated the city of Corioles. His goal, pursued through martial service has been finally fulfilled while his aspirations for divinity perhaps confirmed. Becomes irrefutable at this point that no man can compare to him concerning expertise and bravery in battle. Therefore the ‘war’s garland’ is to him, a deserved rebirth. While the hereditary nobility in Rome held not necessarily any monopoly of skill and prowess in war, because of his lineage, his mind and soul has been shaped into a classical hero archetype. Coming up to the character’s entropic line, Coriolanus at length will release his anger and this fact will force him to submit to his civic and familial bonds. Failing to fulfil the city’s custom showing his wounds to the people, he will be in fact be condemned for treason rejecting the modus operandi of the peoples’ tribunes, a sort of hybris in the tragic sense.

This moment gives the protagonist the confirmation he seeks from a very young age, the reciprocal bonds of fellowship and recognition from his peers. His tempered warlike character is immutable, and the new name confirms the moral and martial agency he has earned indeed. His narcissistic nature nevertheless connotes the inevitable fall from grace that will reshape him back to his man’s stature. While this moment seems to sublimate through both, his own merits and the humbling responsibilities he owes as a soldier to the members of his household and by extension the citizens of Rome. Paradoxically enough within the conception of Roman civiltas Coriolanus seems to strenuously strive to ‘author himself’ by doing so he denies his ties to Roman community and Roman posterity conception. Doing everything in his power to earn his current reputation, as the one who defeated Corioles’ forces, as a soldier he represented Romanitas values but he is not capable to accept his contingent relation to history and communitas. Coriolanus has reached at a man’s state, by serving his community simultaneously approaching the members of society who are forced to depend on others, he is not able to recognized this fact. The moral dimension of the ‘polis’ metabolized from the Hellenistic heritage rebuilt in the romanitas connotation of the play clashes its great anatomy as a political corpus and power has a significant connotation in this play that its protagonist fails to recognize when its most necessary. 

メキシコの皆さんのご無事と復興を心から祈っています。

I have received many  messages from my friends allover, where they communicate their moral support after the earthquakes in Mexico. I assured everyone of them that I was safe and my close family as well but that I feared for the sake of some friends and the whole population upon the aftermath of the quakes. A couple of them have communicated strongly their love and compassion for the harsh moment my country is going through but I tell them the truth, I trust completely that we will overcome this moment, dear friendsI thank you for every single line you've dedicated to me and my beloved country.

La Città del Messico è immutabile, poiché costruita come luogo mentale, è tuttora lo scenario di racconti mitici, talmente vividi da farsi sempre più reali, malgrado l’immane tragedia di 7.1 è impossibile sbiadirla ne come come luogo mentale ne come spazio concreto. Come luogo della propria memoria diventa vera in ogni successo coraggioso, in ogni persona che oggi si ritrova nell’ombelico tettonico del mondo. Qualsiasi persona che abbia vissuto a lungo a Città del Messico si renderà conto al andarsene che la distanza è relativa, non è altro che un’illusione, un gioco di specchi che riporta sempre alla propria mappatura sentimentale, quella interna che non esisterebbe altrove, perché si è creata dagli eccessi della percezione, dal vissuto iridescenti della città stessa e dalla memoria di quelli con cui si è convissuto. Ora ne sono convinta del fatto che il luogo dove si nasce è lo spazio dove ci si ritrova anche nella distanza. Ora da lontano riconosco che la mia città natale in rinascita continua e ciclica e riconosco nelle sue gestazioni storiche, estremamente laboriose, un tessuto di valori delicato eppure forte. Oggi in questa città approdo, provo a scrivere, o meglio, a descrivere questo riflesso intercontinentale, per riprodurre questa topografia interiore incespicando su ogni parola, a metà di ogni frase rischio di perdere la bussola e ritrovare in un angolo sconosciuto la fisionomia perenne della vitalità. Faccio e rifaccio, enuncio, cancello ancora, forse all’infinito, ripenso la mia città, la ricerco nel mio interiore per poter tornare… nel tornare non riesco a ritrovare altro che queste frasi, tanto simili a delle preghiere, che si ripetono nella mia testa, sempre uguali, una simile all’altra, magari perché la città dentro di me non cambia, risuona incolume, non è cambiata, la riconoscono nella voce dei suoi abitanti, nel tono evocativo de una fisionomia fatta di persone vere e i loro gesti affettuosi, rigenerati nella catarsi. Le imagini di Città del Messico, quella delle macerie e quella intonsa nell’evocazione del immaginario si sostengono l’una all’altra come se si trattasse di un recinto rituale che il terremoto ha fatto emergere a partire di una archeologia sentimentale, un luogo che non è materiale che precede tutti noi, un luogo primigenio per quanto amatissimo e dolorosissimo nel costante rielaborarsi, rifarsi, riscriversi. La Città del Messico risorge ormai dalla fatalità, come in una ciclica condizione storica che stende la sua patina sfiorando i suoi cittadini come un telo di imbianchino che lascia trasparire la loro luce, diffondendola, le loro sagome piene di forza vitale, di forza rigeneratrice si lasciano indovinare da lontano. La mia città natale ora è una ferita che si ricuce con fatica rivelando il sottile ricamo del tessuto sociale, un interstizio che si apre tra gli interni senza pareti e le stanze senza muri. Vorrei che questo momento sia soltanto una parentesi per la Città, vorrei ricucire subito quelle crepe aperte sull’asfalto, sollevare i calcinacci, riaccendere il colore delle facciate che adesso servono a smentire la morte, a sorridere in faccia al decadimento e a tenere in piedi la disobbedienza civile, l’indignazione spontanea e la generosità innata dei cittadini che tengono in alto il cuore, offrendolo agli dei delle macerie, assieme al pugno chiuso che eloquententemente esige il silenzio, il loro spirito è forte ancora, è forte sempre, risvegliato nel canto del cenzontle che offre la certezza dell’avvenire. La Città è carica di vita e anela al futuro riempito di un chiaro spirito e una chiara volontà politica.

in media res

separazione tra la natura universale e le culture umane contingenti, è solo una delle possibili modalità di descrivere le strutture del mondo e non può quindi essere preso come standard, al fine di comprendere come le altre culture concepiscono il rapporto tra gli esseri umani e non umani. Questi pregiudizi sono felicemente compromessi da antropologi: veri filosofi in campo, portano nei loro quaderni di altre note epistemologie, altri sistemi ontologici, altre filosofie politiche, altre teorie umane, le quali cominciano a misurare l'interesse ben oltre se stessi, sia come strumenti critici che di esperienze come alterità concettuale radicale

Le immagini sono utilizzate, tra l'altro, a stimolare e organizzare la memoria, per trasmettere informazioni e per esprimere le emozioni. Al di là di queste funzioni universali, essi hanno anche il potere di presentare quello che potrebbe essere chiamato ontologie, vale a dire, gruppi di qualità individuati nelle persone e cose. I quattro gioco principale di contrasti tra il corpo e gli stati di coscienza: totemismo (Australia, per esempio), che sottolinea il materiale e la continuità morale tra gli esseri umani e non-umani; analogie (in Cina, nell'antico Messico o il Rinascimento), che postula tra gli elementi del mondo una rete di struttura di discontinuità critica di conti di corrispondenza; animismo (Amazzonia o in Siberia), il che equivale per gli esseri umani per la loro intenzionalità  si differenzia nei loro corpi; Naturalismo (in Europa dal XVII secolo), che ci collega a continuità di materiale dalla capacità culturale. Queste ontologie sono espressi in immagini di natura molto differente da cinque continenti, tra cui una interpretazione non può che essere parziale

Always

Adesso. Sempre. Sempre qui, sempre secondo un intento di proseguire, in un percorso complesso ma ineluttabile se vuole dare spessore e respiro all'individuazione di una dimensione propria. L'attività in un territorio sempre emotivo che fino ad ora mi ha consentito un passaggio dove  poter fruire di contenuti, proposte, stimoli e condivisione di valori e di esperienze nel creare preziose attimi di scoperta del mio materiale ontologico. Sempre attraverso l'altro. Con l'altro. Sempre.