{"id":125046,"date":"2021-04-21T17:11:11","date_gmt":"2021-04-21T15:11:11","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/?post_type=opera_digitale&#038;p=125046"},"modified":"2022-10-20T23:26:22","modified_gmt":"2022-10-20T21:26:22","slug":"leonardo-caffo-is-the-public-a-neutral-notion-what-about-the-gender-audience","status":"publish","type":"opera_digitale","link":"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-is-the-public-a-neutral-notion-what-about-the-gender-audience\/","title":{"rendered":"Leonardo Caffo. Is the public a neutral notion? What about the gender audience?"},"content":{"rendered":"<section id=\"section-block_63519e6f233ab\" 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_63519e71233ac\" 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 class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/www.castellodirivoli.org\/en\/opera_digitale\/leonardo-caffo-what-is-the-public\/\">First Episode<\/a><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><strong>Fourth Episode<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><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 class=\"wp-block-paragraph\"><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_63519e71233ad\" 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\">Fourth 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=6249708372001\" allowfullscreen webkitallowfullscreen mozallowfullscreen><\/iframe>\n        <!--IUB-COOKIE-BLOCK-SKIP-END-->\n    <\/div>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Transcript of the fourth&nbsp;episode of&nbsp;<strong><em>The Disappearance of the Public<\/em><\/strong>, 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 class=\"wp-block-paragraph\"><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: is the public a neutral notion? What about the gender audience?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Leonardo Caffo:<\/strong>&nbsp;Let\u2019s start immediately with the answer: no, the public is not a neutral concept. The idea of the public is full of prejudicial bias, and is somehow gendered and non-neutral in itself, and so I can answer \u2018no\u2019 right away. Let\u2019s summarize a little what we covered in the first podcast: we tried to define the audience as something that had in some way disappeared even before its actual disappearance with COVID. Then we said in the digital-audience episode that the audience itself creates the scene while watching it. So it\u2019s never a passive audience. We also talked about monstrous otherness, and that, paradoxically, given the definition of a strong audience, the only real audience is the animal audience. This fourth episode is dedicated to the gendered audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Let\u2019s try to understand how the monstrous, as the different, as uncontrollable otherness, isn\u2019t only something within the sphere of the non-human\u2014that is, the animal, mineral, and vegetable, or divinity or death. As we tried to say in the third episode of this podcast, somehow we can find the monstrous even within the human. Even within the definition of humanity there are a number of monstrous othernesses that we can\u2019t consider neutral because of the prejudice of the perfection-centric, phallocentric, white-centric male, which has governed the history of philosophy, the history of art, from the beginning. For millennia, we only had the masculine point of view in the production of European thought, beginning with Plato and Aristotle, and then medieval and modern philosophy was a long succession of white males, sometimes heterosexual and sometimes homosexual, but always a male perspective that claimed the point of view of the public as analogous to his own. The definition of love that Plato gives in&nbsp;<em>The Symposium<\/em>, despite being interpreted as a definition of universal love, of the search for one\u2019s own other half etc., is a definition in which perfect love is always seen from the perspective of the male. Even if we think about the definition of the human, the prototype body, we think of Leonardo da Vinci\u2019s Vitruvian Man. This is not a neutral human, but a white man, perfect in his bodily dimensions. And this is the basis of the various modules that have guided architecture, the construction of space and the idea of life. Therefore these are anything but neutral concepts. For millennia, therefore, the public\u2014and we said last time that this includes the animal public as per the definition of Artaud\u2014has been connected to authorship and with the idea that it somehow exists only in the moment of genuine aesthetic experience. It\u2019s an audience in which gender bias is hugely prevalent.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contemporary art has a complicated relationship with contemporary philosophy. The feminist point of view\u2014and this isn\u2019t something that I say for mere gender-washing\u2014is a reality today. The most interesting philosophies are coming from philosophers like Donna Haraway, Rosi Braydotti, Karen Barad. They\u2019re all authors whom we\u2019ve already mentioned, and along with contemporary art curators and artists, they\u2019re contributing to the deconstruction of the previous millennia that gave us what the so-called continental philosophers have rather obscurely referred to as&nbsp;<em>\u201c<\/em>carnophallogocentrism,\u201d &nbsp;that is, the idea of the centrality of the penis, of the masculine, of the carnivorous predator\u2019s flesh.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In short, there\u2019s pandemonium behind the question you asked me this time, Manuela, and today there are artists who are trying to deconstruct all this. I think, for example, of Juliana Huxtable, an artist who challenges Cisgenderism. We\u2019re talking about a total artist because she\u2019s also a DJ, a cultural organizer, a photographer and a performer. And this is an essential point: we\u2019re currently living in the dimension of a shift from m to f, of emphasis on different ethnic groups, and in which gender has become above all a performative element. In philosophy, this idea of performing gender was introduced by Judith Butler, one of the most important living philosophers, who deconstructs Hegel\u2019s legacy. She writes that he was one of the great philosophers, who gave us everything and also the opposite, in the sense that from the tools of Hegelism come the tools of anti-Hegelism. This was also the great contribution of Carla Lonzi, when in 1970 she wrote her fundamental essay \u201cLet\u2019s Spit on Hegel,\u201d which was the result of her work within the feminist collective Rivolta Donne. That text marks the awareness of a whole field of feminism, not just in art, but regarding the condition of women in the world. In \u201cLet\u2019s spit on Hegel\u201d Lonzi proposes a philosophy of art that challenges and distances itself from a society that has been dominated by the masculine model.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So when we talk about the public as a non-neutral concept of gender bias, we have an infinity of levels that we need to understand. There\u2019s an art, there\u2019s a philosophy that tries to bring out, for example, the classical violence of man against woman. In the conversation with the director of the museum that I have every time I advance with my research and with this podcast, she suggested to me the Italian artist Marzia Migliora, whose very beautiful and delicate work is at this moment in the Castello\u2019s exhibition&nbsp;<em>Espressioni<\/em>. The work&nbsp;<em>Telefono Rosa<\/em>&nbsp;takes the form of a phone that we can listen to and hear the complaints of women who are undergoing domestic violence. We become aware of the constant domestic violence of the male against the woman, but also somehow enter this dimension and feel called into question, because as we\u2019re listening to the phone, we want to answer and have our say, to participate in blocking this violence and therefore this public cost that has created the work. This deep and intense work of Migliora catapults us into the idea that some people don\u2019t even have the possibility to rebel against the acts from which they constantly suffer. This is one of the great cases of gender-based violence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The point is that to talk about \u201cthe gendered public\u201d means to understand the complexity of \u200b\u200bpoints of view that make up the great conceptual essence of the idea of \u200b\u200bthe public. The audience always has a point of view: the point of view that the actor offers him, but also the point of view from which the public is positioned. It\u2019s one thing to be in the front row, another to be located to one side, or in the stands. It\u2019s always a question of \u200b\u200bobservation of the landscape. The landscape is this wonderful encounter that exists between the eye that looks and the portion of the world that is looked at, which exists only as an aesthetic phenomenon. The landscape exists only in the activation of the perceptual process\u2014in some way, it\u2019s activated by this complex relationship. The points of view of women, the points of view of Black people, of different ethnic groups, the points of view of transgender people, the points of view of transvestites, the points of view of different sexual orientations have been largely neglected and therefore the scenes produced for the public have always been understood as great neutral monoliths. Let\u2019s think for example\u2014and this is an essential theme of the gendered audience\u2014about porn. OK, we know that the most clicked-on site isn\u2019t the&nbsp;<em>Washington Post<\/em>, but sites like Porn Hub, like YouPorn etc. These sites offer porn videos that in their normal algorithmicity are designed from the point of view of heterosexual male pleasure: the female domination of men, oral sex on men. A director like Erika Lust has tried to build an industry of pornographic cinematography from the point of view of female pleasure. If you look at these videos, if you look at the direction of photography behind her filmography, you\u2019ll see a total deconstruction of the concept of pleasure as we\u2018ve thought of it for millennia: that it is built on penetration. We see this in the logocentrism with which philosophers such as Jacques Derrida spoke, who were building on the architrave of Freudian psychoanalysis\u2014this idea of \u200b\u200bthe phallus as the undisputed protagonist of the unconscious, subconscious and preconscious dimension of human life.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And speaking of gender information, the essential definition of gender that the philosophy of biology has given us in the last 20 years is the distinction between the sex one belongs to and the gender one belongs to. Sex is a biological dimension\u2014that is, the idea that one is born in a cage of nature with a penis or a vagina, with breasts or not. Gender, on the other hand, is a construct, a cultural dimension, our sense of spiritual, cultural and mental belonging to the female gender, to the male, to the third gender, to a queer gender, to transgenderism. And this difference between biology and culture is also an idea of \u200b\u200bthe victory of one\u2019s point of view over the cage of reality, of \u200b\u200bits victory against nature. The idea that nature is something neutral can no longer be considered a real point of view within certain philosophies of contemporary art. The human being is always against nature, and gender is something that we choose or that in some way brings us towards the direction in which we tend to go. As Rosi Braidotti says, we are liquid nomadic identities. This is the great feminist riposte to the philosophy of Gilles Deleuze that Braidotti calls becoming-human, becoming-animal, becoming-gender\u2014this idea that we\u2019re not static entities, we\u2019re not fixed material entities, but entities in continuous movement and that therefore gender is a landing point that must be performed. So it\u2019s not just about producing art that shows the female point of view, like the work of Migliora; it\u2019s also about performing diversity at the limits of what\u2019s possible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I think of an artist to whom I\u2019m extremely attached, whose work was presented at Castello di Rivoli through the curatorship of Carloyn Christov-Bakargiev and Marianna Vecellio: Anna Boghiguian. She\u2019s an artist who, among the infinite things she\u2019s has done in the fields of drawing and visual research, has also dealt to a degree with philosophy. She\u2019s dealt with the philosophy of Friedrich Nietzsche. At Castello di Rivoli, she defined Nietzsche in the moment of his alleged madness: when he hugged a dying horse in a moment of maximum lucidity in which he was able to be moved by absolute diversity to take the horse\u2019s point of view. It also comes to mind how, say, Caravaggio\u2019s work, by taking the horse\u2019s point of view and embracing that point of view literally, somehow overturns all the philosophy that has always been thought from the point of view of man. Boghiguian constantly performs the dimension almost of a sorcerer, of different, of alternative views.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To test these gender issues within the notion of the public, they must be understood first and foremost not as strictly connected to feminism. First of all there is no one feminism, but many feminisms\u2014there are different gender discourses. Feminism is not just for women or for human life in general, but has to do with the idea that we do not belong in a category that is precisely human, as opposed to animal, vegetable and mineral, as in the Aristotle\u2019s theory of categories, for example. We are within a human dimension that is itself a polyphonic symphony of voices in which the points of view are multiple. And therefore the public is also multiple. There are other forms of being in the world, other forms of seeing the world, and therefore there are other kinds of audiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What could it mean to rewrite the whole history of philosophy from the point of view of the excluded, from the point of view of those who have remained outside it? This is done very well by an exceptional contemporary philosopher, who at this moment has taken up a similar position to my philosopher-in-residence, at the Centre Pompidou in Paris. I\u2019m thinking of Paul B. Preciado, who was previously Beatrix Preciado\u2014she was a woman who then chose to become a man. He followed a transgender path that he describes in a majestic book called&nbsp;<em>Manifesto Junkie<\/em>, in which he talks about how he acted on his biology to level it with his own culture. And Preciado, trying to radically rewrite the history of philosophy not from the point of view of penis penetration, but from the point of view of anal pleasure, writes this wonderful book called&nbsp;<em>Anal Terror<\/em>, in which he tries to imagine what would have happened if the philosophers who have expressed themselves from the beginning on the meaning of life, on the meaning of death, on the meaning of beauty, on what reality is, etc., instead of orienting themselves in their path of dissemination of knowledge through the desire to penetrate the world had approached it with the idea of \u200b\u200bbeing penetrated by the world. And that\u2019s why he speaks of anal pleasure and the knowledge of the world that enters you and not of you who enter the world. It absolutely changes the vision we have of things.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So the answer I give today with respect to the question that was asked of me in the process of my research as a philosopher in residence is that no, let\u2019s repeat, the public is not only not a neutral concept, but we shouldn\u2019t even speak of the public in the singular. We should always talk about the disappearance of the public. We should always complexify it. And what about the gendered public? For millennia, there was no such thing. Over the last few decades, with the great revolutions in art, the great revolutions in philosophy, the great revolutions in fashion, the notion of the genderless etc., the idea has reappeared that there is no ordinary aesthetic production, but there are extraordinary aesthetic uses and productions. And until we manage to put ourselves in the multiple perspectives that characterize human life, we \u200b\u200bwill have no idea what it really means to be looked at. Not what we\u2019ve imposed on the eye, but what the eye has imposed on us. And this is the great discussion that we should constantly try to have. Preciado says one thing that I believe to be essential: what has lain more or less hidden throughout these hundreds of years of male-centred and anthropocentric culture is the seed of the revolution that radically transforms all the categories we\u2019ve used to orient ourselves in the world: the categories of science, the categories of culture, the categories of eros, the categories of art, the categories of curatorship. Making this seed emerge doesn\u2019t mean taking away space from the unique point of view that we\u2019ve had for millennia, but making it one of the many and multiple points of view that can describe us. This is the real revolution of the gender audience. It looks at you, it modifies you, but it also asks you not to be what you thought you were due to the categories or stereotypes that have been imposed on you. It reveals to you what you are beyond the good and evil that you\u2019ve been told is the only category in this society into which we\u2019ve all been thrown.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><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":0,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-125046","opera_digitale","type-opera_digitale","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Leonardo Caffo. Is the public a neutral notion? 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Is the public a neutral notion? What about the gender audience?"}]},{"@type":"WebSite","@id":"https:\/\/www.castellodirivoli.org\/en\/#website","url":"https:\/\/www.castellodirivoli.org\/en\/","name":"Castello di Rivoli","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.castellodirivoli.org\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/opera_digitale\/125046","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/opera_digitale"}],"about":[{"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/types\/opera_digitale"}],"author":[{"embeddable":true,"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/users\/730"}],"version-history":[{"count":0,"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/opera_digitale\/125046\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.castellodirivoli.org\/en\/wp-json\/wp\/v2\/media?parent=125046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}