Alain Badiou accusation: "I was not thinking." Franco Buffoni novel in dialogue- already reviewed replied: "the state must not think." In Badiou the meaning of concepts such as politics, democracy, the rule, are something very special. The state, as the actual policy or Alain Badiou singular or not. And here they make their way even more striking aspects of his thought and literary interesting that last spring I have touched upon reading some of his lyrics and his appocciando some questions including the questions: "Lenin is not the prosecutor or of Marx, Mao or is the continuer of Lenin, the Thermidor is or is not the French Revolution? "Badiou no doubts: the sequences never put political leader in a consistent and continuous scans, are increasingly affected by a radical discontinuity. It's the same issue on another site that Badiou has placed about St. Paul that Paul's relationship with Jesus? Is not approachable, says Badiou in Saint Paul. The Fondation de l' Universalism (1997) maintains the relationship with Marx and Lenin? It's the same question, that Gramsci was placed in his Prison Notebooks but Badiou addresses the opposite way, pointing out, that is, the inaugural function of Sao Paulo, and thus "saving". Badiou has a horror of democracy merchant, electoral democracy, that which takes place with an electoral vote that is how to choose the market. In this way, politics, democracy and equality are nothing more than appendages of the state as well, forms of manifestation of that figure which suppresses the collective thinking in the event that the State is parlamentare. C’è un altro modo, invece, per ricongiungere democrazia e eguaglianza ridando nel contempo significato ad entrambi i concetti: si tratta di intendere la democrazia come pura esposizione del collettivo sulla scena pubblica; un’ esposizione che non tollera che si applichino ad esso prescrizioni particolari, vale a dire enunciati non egualitari. Insomma, per Badiou la democrazia è egualitaria nel suo senso più profondo proprio perché permette di sfuggire alle codificazioni particolaristiche cui è costretto a ricorrere lo Stato come entità. In Metapolitica (Napoli, Cronopio, 2001) egli propone la dismissione delle categorie di “immigrato”, “arabo”, “francese”, in the words "necessarily refer to the State policy and the state itself in its most essential function and lower extremity: the non-egalitarian group of men" (p. 110). At this rate, it also comes with the reasons for the deletion of the name, as a guarantee of anonymity and defense policy stance. And yet I think it will still take a long time for a "White man pimp" is perceived as a racial slur and not punishable as a historical truth. So I think with anxiety of Achmed the stick pointed at the audience, the aesthetic consequences of neglecting the strength of Western archetypes, the recent problems of the African pavilion, and not Only the Biennale of Storr, problems related to the fact that we have nothing else to think that history. The history, the curriculum unpresentable the world, not to be confused with its beautiful and mysterious ruins. The art is to the story after drunken formal and deconstructionist, but Pascal and Pirandello, for different reasons, though the laugh. The first discrediting the story with the usual question of Cleopatra's nose, the second opposing a more effective history of masks nude. Badiou speaks of Heidegger was like calling the event "timpaneggiato" in The être et l'événement ( 1988) but does not quote him directly, and even if he does not, I think understand that prejudice S. Paul instill in the name of the form. I then think to Achmed the philosopher (Genova, Costa and Nolan, 1992) as a follower of Ubu past to Beckett - but some part is really nice as the one on what a "good false alarm" (p. 34 -37. I am surprised, however, that little is known ironically perhaps involuntary nostalgia that evokes all this masquerade masks. Yet in the century (Milan, Feltrinelli, 2006) Badiou also wrote valuable things about Pirandello ... but perhaps the conscience of the mask, which has acted so well in him, not worn because the time is renewed and that, over the Sicilian nel suo teatro c’è molto di Brecht. Ma qualcosa del suo pensiero e del suo teatro, o meglio del rapporto che trascorre tra i due, lo devo ancora definire, e mi disturba. Da meditare e leggere ancora.
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