A reading of Ruben Östlund’s Triangle of Sadness throughFascist and Aberrant Leadership Abstract. In this piece, we puzzle about the social logic of leadership through the lens of the movie Triangle of Sadness (2022), directed by the Swedish filmmaker Ruben Östlund. We flesh out a distinction between two modes of leadership, which we call, respectively, fascist and aberrant, and elaborate on how these are seen at work in the film. Phenomena of leadership, we suggest, illustrate the workings of social logic ex vivo, and offer exquisite examples of how intensities intervene in social interaction, giving rise to the tensive states in which the local protagonists of interaction are caught.
Keywords: social theory, social interaction, social logic, social intensities, leadership
Following the law of separation of the old Herbert Spencer, the selection of heterogeneous talents and vocations was bound to take place of its own accord. In fact, at the end of a century there was already underground in course of development and continuous excavation a city of painters, a city of sculptors, a city of musicians, of poets, of geometricians, of physicists, of chemists, even of naturalists, of psychologists, of scientific or aesthetic specialists of every kind, except, strictly speaking, in philosophy. For we were obliged after several attempts to give up the idea of founding or maintaining a city of philosophers, notably owing to the incessant trouble caused by the tribe of sociologists who are the most unsociable of mankind.
Abstract. This piece explores ‘domesticity’ as a social territory defined by the relationship it entertains with the conceptual and material space of ‘the wild’. The leading research question can be framed as follows: do these two spaces stand in opposition to each other, or are more subtle relations of co-implication at play? As we enquiry into the domestic and the wild, a richer conceptual map of notions is drawn, which also includes the public, the common, the civilised and the barbarian. The case study that illustrates this dense intermingling of categories is offered by the case of Daniza, a wild brown bear introduced in the Brenta Natural Park on the Italian Alps in the 2000s, who repeatedly came into unexpected, accidental contacts with humans. Declared a ‘dangerous animal’, Daniza was controversially killed by public authorities in 2014, officially in an attempt to capture her with anaesthetising bullets, but in a way that still leaves doubts about the degree of voluntariness of the killing. The piece argues that the domestic and the wild constitute two semiotic-material domains constantly stretching into each other without any stable or even clear boundary line, and elaborates a series of corollaries for studying animals in urban contexts.
The vegetative stratum is a layer of existence that is inherent not only in plants. Here, I propose to look at how vegetative life – or, the vegetative mode of existence – affects cities. The vegetative mode of existence is not focused on activities, routines, achievements. Here appears a city that is not industrial or industrious. When the industrious city retreats, or falls apart, the vegetative stratum becomes visible. The vegetative city is a city without any central nervous system. I suggest the interpretation of the vegetative city as a hopeful manifestation of the urban that only takes place when the time is ripe.