{"id":125037,"date":"2022-10-20T21:44:29","date_gmt":"2022-10-20T19:44:29","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/?post_type=opera_digitale&#038;p=125037"},"modified":"2022-10-20T23:27:44","modified_gmt":"2022-10-20T21:27:44","slug":"leonardo-caffo-what-is-the-public","status":"publish","type":"opera_digitale","link":"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-is-the-public\/","title":{"rendered":"Leonardo Caffo. What is the public?"},"content":{"rendered":"<section id=\"section-block_6351a49780c02\" class=\"section  wpb-margin-top wpb-margin-bottom wpb-padding-top wpb-padding-bottom\" data-aos=\"fade\" data-type=\"mst-two-columns-content-section\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t\n<div id=\"block-block_6351a49e80c03\" class=\"col offset-0 offset-lg-1 col-12 col-lg-4 align-text-left align-content-top\" data-type=\"mst-column\">\n\t\n\n<p><strong>First Episode<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-is-the-digital-audience-a-real-public\/\"><strong>Second Episode<\/strong><\/a><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-is-the-human-public-the-only-public-we-can-aspire-to\/\">Third Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-is-the-public-a-neutral-notion-what-about-the-gender-audience\/\">Fourth Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-about-audiences-not-aligned-with-a-dominant-culture-audiences-from-other-cultures\/\">Fifth Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-does-it-mean-to-be-observed-by-historical-memory\/\">Sixth Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-arent-objects-and-artworks-themselves-a-form-of-public\/\">Seventh&nbsp;Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-does-it-mean-to-do-something-for-an-audience-of-the-future\/\">Eight Episode<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-i-robot-sono-una-forma-di-pubblico\/\">Ninth Episode<\/a><\/strong><\/p>\n\n\n<\/div>\n\n\n<div id=\"block-block_6351a49e80c04\" class=\"col  col-12 col-lg-7 align-text-left align-content-top\" data-type=\"mst-column\">\n\t\n\n<h2 class=\"wp-block-heading\">First Episode<\/h2>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n    <div class=\"iframe-wrapper\">\n                <!--IUB-COOKIE-BLOCK-SKIP-START-->\n        <iframe src=\"\/\/players.brightcove.net\/745468061001\/default_default\/index.html?videoId=6245664741001\" allowfullscreen webkitallowfullscreen mozallowfullscreen><\/iframe>\n        <!--IUB-COOKIE-BLOCK-SKIP-END-->\n    <\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Transcript of the first episode of&nbsp;<em><strong>The Disappearance of the Public<\/strong><\/em>, a new podcast in which Castello di Rivoli Philosopher in Residence Leonardo Caffo investigates the notion of the public, its disappearance, its different characteristics and qualities.<\/p>\n\n\n\n<p><strong>Manuela Vasco<\/strong>: Welcome to our weekly podcast with Castello di Rivoli Philosopher-in-Residence Leonardo Caffo, who\u2019s investigating with us the idea of the public, its disappearance, its different characteristics and qualities. I\u2019m your host Manuela Vasco from Castello di Rivoli \u2013 Cerruti Collection Communication Office. I welcome Leonardo Caffo and I\u2019d like to ask him: what is the public? In the frame of the current pandemics, has the public really disappeared?<\/p>\n\n\n\n<p><strong>Leonardo Caffo<\/strong>: First of all, thank you for your question, which seems to be a fundamental one when approaching the notion of the public\u2014think about the disappearance of visitors from museums such as Castello di Rivoli, where I\u2019m currently in residence. This podcast is spurred by a stimulus that director Carolyn Christov-Bakargiev very kindly offers me each week. The works she invited me to reflect upon when approaching the disappearance of the public are emblematic. On the one hand, she suggested that I should talk about Lampada Annuale (Annual Lamp), an unusual Conceptual work by artist Alighiero Boetti [Turin, 1990 \u2013 Rome, 1994], dated 1966. It\u2019s a box made of wood, metal, and glass with an electric device inside\u2014a light bulb. It\u2019s designed in such a way that once a year it lights up for a few seconds. No-one has ever seen it lit up. What does the idea of the work rely on? Is it on our waiting for enlightenment? Is it on our hope of seeing it light up, or on the impossibility of this? Again, no-one has ever seen it illuminated. The next work the director invited me to reflect upon is Sergio Lombardo\u2019s [Rome, 1939] Progetto di morte per avvelenamento (Project of Death by Poisoning). The work was made in 1971 and in this case is a small cardboard box, signed, dated, and numbered with a marker pen and containing a sealed poison, which might be nicotine. There\u2019s also a leaflet inside with the description of the effects of nicotine. This box can only be opened after the death of the person who has taken the poison. It\u2019s obviously an emblematic choice between life and death. No-one has ever read the leaflet because no-one has ever chosen to die\u2014or to let someone else die\u2014in order to open the box. So, in some ways, these are two works that seem to have been conceived for no public\u2014or at least, their function is not really access to the work as such, but is related to the idea of the work or to a conceptualization of the work. When we talk about the disappearance of the public, we\u2019re thinking of what, by way of example, has happened with the pandemic.<\/p>\n\n\n\n<p>The seeming disappearance of the public from museums, cinemas, theaters, stadiums, academies, and schools. And yet, the reason why I say \u201cseeming disappearance\u201d is because we need to completely unlearn and re-acknowledge the notion of \u201cpublic.\u201d I recall a poignant remark that Marina Abramovi\u0107 made in answer to Hans Ulrich Obrist during one of their conversations, reported in Obrist\u2019s book&nbsp;<em>Lives of the Artists, Lives of the Architects<\/em>&nbsp;(2017). Abramovi\u0107 states that her focus in art is on the public, and that we haven\u2019t focused on the public enough, which is a shame since it\u2019s the viewer who completes the works. Art is only made for the public: it must serve society and the public, and in a sense train the audience. This idea that works of art are completed by the publics\u2019 gaze closely resembles Umberto Eco\u2019s notion of \u201cOpen Work\u201d back in the 1960s. Therefore, far from being a minor matter, art\u2014as conceived by Hegel in The Philosophy of Art\u2014does not restrict itself to a limited meaning if compared with philosophy. In fact, as Eco stated many years later, art embraces multiple meanings and therefore it must somehow be mediated by its observers. What the Coronavirus has shown is the end\u2014or at least the deconstruction\u2014of the canonic notion of \u201cpublic.\u201d Lately, RAI (the national public broadcasting company) was looking for fake audiences to fill the void of seats at the Sanremo Festival. In the end, this didn\u2019t happen. But let\u2019s think about our behavior with social media, when we try to build a fake audience for our Instagram lives, or about the football matches that have recently been played in stadiums where the public was substituted with animations, mimicking the behavior of the absent fans in order to try to pretend that there is an \u201cotherness.\u201d Finally, think of the talent shows or TV shows that fill the unbearable absence of applause with recorded tracks and a virtual background audience. However, COVID-19 seems to have been just an accelerator of something that has already been going on for a long time. After all, anyone raised on a certain variety of Italian TV, such as programs on the courts, knows very well that most of these are fake programs, with fictional trials and actors. In the frame of the art scene, how \u201cnormal\u201d or \u201creal\u201d is the public attending museum public programs, academic panels and so on and so forth? They\u2019re often students, co-opted to participate. Or let\u2019s talk about stadiums: what is the stadium audience, if not a biopolitical mechanism for controlling the fans? The notion of the public has to do with the concept of recognition, that is, with the idea of being able to be known from the outside, because it\u2019s the gaze of the other that makes you exist as an individual, positions you, judges you, applauds you, challenges you. This is why Sergio Lombardo\u2019s and Alighiero Boetti\u2019s works are relevant. Both put up obstacles to the public gaze, and thus the conceptual dimension of these works is what makes them interesting. Historically, the public has been a concept to be broken and reinvented, certainly not something that we have to accept uncritically, obscured by some wall that cannot be negotiated. The public, however, is certainly not something anonymous, like what we nowadays experience with social media, where what matters are the numbers. We\u2019ll expand on this idea when talking about the digital audience in the next episodes. It seems to me essential when making the assumption of this alleged disappearance of the public to think about what a new public could be now that COVID-19 has accelerated this process, this impossibility of being spectators of things in the world as we were before. Some ideas come to mind, which maybe we\u2019ll develop in the next episode. I\u2019m thinking of the digital public, the non-human public, the public of the future, the public of cultural activities, the public of minorities, the public of the street, child audiences, adolescent audiences\u2014often considered less interesting by intellectuals\u2014or even object audiences\u2014think about the artworks as spectators\u2014or mineral audiences. The question about the disappearance of the public has to do with the fact that we miss the other\u2019s gaze.<\/p>\n\n\n\n<p>We replace it with its surrogates and yet these too are somehow surrogates for surrogates and we say, rather clumsily, that today we cannot do anything because of COVID-19. But in reality what has prevented us, I believe, is not so much being actors, but actually being spectators, which means being public. In fact, I\u2019d like to try to speak of the public as something active, not as something passive. The point is that we can do a lot. I\u2019m talking now, but who is really listening to me? I can speak, but I don\u2019t know who will receive my message. We don\u2019t know for whom we do this, and how suitable it will be for us to observe this doing. Many philosophical interpretations of this digitization, too\u2014or what we might call the \u201crecording society\u201d\u2014tend to see us as producers of archives. But Giorgio Agamben in his latest publication When the House Burns [2020], reminds us that an archive doesn\u2019t communicate the voice that changes, the relationships that words have in the pure, genuine, vital exchange, in the emotions. In a record, this immediacy is filtered. What Agamben says is that we\u2019re missing the \u201cdialect\u201d\u2014which, for me, is a very romantic word, because I think a little differently from Agamben philosophically. But we miss meeting each other, we miss the other\u2019s gaze. We attempt to replace it with surrogates and in the end what comes out is what I would call\u2014and it\u2019s a concept to which we shall return\u2014a sort of \u201cprostitution of the public,\u201d since we use it whenever we need to. Since when have we no longer really been seen from the outside? When the world goes back to \u201cnormal,\u201d won\u2019t the small group of people who come to hear me when I give a public lecture be part of a bubble guaranteeing me what is in effect a soliloquy, not so different from a podcast? Can the reception of academic and scientific research in specialist journals read by very few people really be considered public? So the real question is: who are we really talking to? These are relevant questions when thinking of a possible hopeful post-COVID reality and in organizing what is to come. Who are we really talking to? Are we all pronouncing soundless words that travel through the ether as if we were already dead? I\u2019m thinking, for example, of the boundless field of contemporary art, on which I\u2019m called to reflect in this residency. It\u2019s a reflection on what it means to manage an audience in the era of the definitive disappearance of this phenomenon, according to the most genuine meaning of this word\u2014that is, the public as an encounter with a stranger, someone absolutely other and uncontrollable, who might boo Carmelo Bene or Antonin Artaud. In this sense, the subject of museums comes to mind, since they\u2019re often considered merely as databases. Think about what happened with the closure of museums during the coronavirus: they were closed more readily than shopping centers. In a time when it\u2019s increasingly rare and difficult to experience a moment of genuine enjoyment, what does it mean when a work remains unseen, or an exhibition is inaugurated and closed the next day? What is the meaning behind the emptiness of a museum? It is precisely this sudden, unmanageable and radical encounter, perhaps even an extra-linguistic one, that we really have to confront. The problem is conceptual and logical, not simply perceptual. It\u2019s not as if when we return to normal and people start attending concerts, stadiums, conferences or fashion shows, we can say \u201cOK the audience is back and the research project on the audience no longer makes sense because we\u2019re back to \u201cnormality\u201d and let\u2019s move on.\u201d On the contrary, we\u2019re likely to experience confusion. The hellish void will perhaps become a hellish fullness, like in the old days. But what will be the gaze of the other that really questions us? This is the fundamental question about the public.<\/p>\n\n\n\n<p>Who or what will take our voice and transform it into an action? Will we really want to relinquish the conditions of control, the feeling of being in our comfort zone, in which we constantly find ourselves nowadays, in which at the end of a meeting the most we can expect is applause? Perhaps it is with this truly sudden encounter that in the end we must try to confront ourselves. But like the question from which we started, this is an answer that in turn is a question. When everything returns to how it\u2019s supposed to be, which form of meeting would we like to confront? An unexpected encounter with another, or an audience that is no less artificial than the digital avatars that populate today\u2019s stadiums? The need is therefore in my opinion\u2014and I try to conclude\u2014that of articulating a new and more radical concept of \u201cpublic.\u201d And this can only be done by trying not to use old categories to deal with complex and explainable contemporary phenomena. This is the only way that will allow us to think, for example, about what\u2019s happening in the world of contemporary art or what is the real interest in producing and receiving things in the public world. \u201cPublic\u201d means the unexpected glance of the other. This is the first definition that I want to try to give: an uncontrollable, untamed glance. A look that observes us and really questions us. A look that somehow makes us feel naked and makes us ashamed and that obliges us to give an account, reason, and explanation of the things we\u2019re showing, the things we\u2019re talking about, the things we\u2019re working for. In the frame of Coronavirus, the public has disappeared. But hadn\u2019t it already disappeared, since the only public we were used to was already so distant from us?<\/p>\n\n\n\n<p><strong>Manuela Vasco<\/strong>: I thank you all for being with us. I\u2019d also like to thank Regione Piemonte, Fondazione CRT, Citt\u00e0 di Torino, Citt\u00e0 di Rivoli and our partners Fondazione Compagnia di San Paolo and Intesa Sanpaolo\/Gallerie d\u2019Italia.Our digital programs are also made possible thanks to Fondazione Compagnia di San Paolo. We look forward to welcoming you again next week for this exciting series of podcasts with the philosopher Leonardo Caffo.<\/p>\n\n\n<\/div>\n\n\n\t\t<\/div>\n\t<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":730,"featured_media":33781,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-125037","opera_digitale","type-opera_digitale","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Leonardo Caffo. What is the public? - Castello di Rivoli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-is-the-public\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Leonardo Caffo. 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