Mimesis International

Roberto Marchesini presents a timely proposal within post-human philosophy in order to overcome the centuries-long separation between human beings, non-human animals and technology. This book highlights the inspiring nature of the relationship with non-human beings – what Marchesini calls “Epiphany” – and how its enhancement can open new existential dimensions. Technology is also reinterpreted, no longer as a performative tool, but as a virus that infiltrates the human dimension and changes its predicates. Technopoietic events are not just the product of human intelligence, but they arise from an epiphany (a becoming alterity), thus positioning technology well within the ontological and somatic dimension of human beings. This book lays the foundations for a new and non-anthropocentric Humanism, which is able to recognize the essential role that non-human alterities have had throughout our history.

This book offers a sustained study of Hudinilson Jr.’s Cadernos de Referên-cias, more than 130 notebooks produced in São Paulo between the early 1980s and 2013. Rather than treating them as personal objects or marginal artefacts, it approaches the Cadernos through the lens of low theory, consid-ering scrapbooking as a generative practice situated between visual culture, media, and contemporary art. By introducing the notion of scrapscape, the book describes the Cadernos as unstable terrains emerging from the circula-tion and residue of mass media. Within these terrains, cutting, photocopy-ing, collecting, and tactile handling operate as ways of thinking with images. Scrapbooking is not approached as a genre, but as an undisciplined method rooted in proximity, repetition, and minor gestures, where attention, desire, and practices of self-imaging take form across surfaces, reopening the ques-tion of Narcissus beyond the logic of mere reflection. Situating Hudinilson Jr.’s practice within the Brazilian cultural landscape of the late dictatorship and the political period of abertura, the book reads the Cadernos in relation to xerox art, mail art, underground publishing, and urban interventions that re-configured the uses of the body and mass media. Rather than approaching them as an archive of images, it frames them as a practice of dis-production: a daily, haptic, and intimate labour through which fragments of visual and material culture are reworked into a slow process of self-design, resistance, and becoming.

This book explores how digital acceleration and algorithmic mediation have trans-formed the temporal structure of modern journalism. It considers journalism to be a temporal institution that must balance speed with reflection and automation with human interpretation. Drawing on sociological theories, the book examines practices such as slow journalism and local storytelling, which seek to resist the culture of immediacy. Through qualitative research and case studies, the book puts forward the “downbeat” as a metaphor for reclaiming journalistic time — an alternative rhythm through which depth, resonance and ethical awareness can once again define the meaning and public value of news in the digital age.

This book explores how design shapes and is shaped by communities across diverse physical and digital, urban and rural, local and transnational contexts. Bringing together scholars and practitioners from around the world, it investigates how design fosters interaction, identity, and belonging. From grassroots initiatives to global networks, COMMUNITY (&) DESIGN examines design for, in, and by communities, revealing how shared spaces, tools, and practices shape collective life – and how communities, in turn, design their own worlds. Crossing disciplines and geographies, it offers fresh insights into how design redefines what community can mean today.

XXVIII Convegno Internazionale di Studi sul Cinema. Università degli Studi di Udine – DAMS/IMAC.