Community Service Letter To The Court

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Stefano Pietrosanti

We start from the etymological sense of the word aesthetics: the ability to hear. Is to say, aesthetics is the first channel to enter into communication with the context in which it is immersed, to affect this and to respond to the pressures that this gives us. Forcing a while, you could say that laws like those Democrats who live dialogue between members formalized by law, legal systems are based on aesthetics.

In another sense, more narrowly, the word expresses the concept of aesthetic ability to feel beautiful. Assume then a relative size, because that feeling is subject to acceptance and development of a set of rules of thumb to follow. In this sense, one can easily see the political dimension of the concept of aesthetics are made of all social boundaries, as the political space is bordered on the strength of symbols, rituals, myths and shared reminiscences of sensations that form the common feeling of those who are part of any civilized community.

Now, we can say that Italy, from the sixties until the eighties, has lived through a period of anesthetic, a period that has deprived it of its ability to hear. Without specific projects of common life, his life was largely benefit the well-being ensured by economic growth modulated by a generous welfare state and the American shield that blocked the suffocating pressure of autocracy Soviet east. Personally I do not like generalizations, for that very reason I work in economics, a science that works well when and if he can distinguish the causes, contributing factors and hidden motives of a phenomenon, but I think that a language of symbols is most appropriate for this context. And what better living symbol of that period unless Mr Andreotti?

Net of all the darkest suspicions, the main fault is that I ascribe it was exactly that: a monument to anesthesia and at the same time the embodiment of great national anesthesia. Gray dress by the motto "to live better pull that kick the bucket", the visual representation of a world that is not compressed between the monstrous bomb, the helplessness of being caught between the two blocs, the tacit view of democracy as a to give as a compromise acceptable to the management of power, with the advantage of tone down any confrontation.

dint of little steps and phrases such poisonous to a trembling voice, all this has sterilized bedding the Republic, leaving the empty skin in spite of the efforts of a Pertini and other white flies that have lived liberal democracy and republican as what it actually is: one of many revolutionary ideals, in my opinion, the most noble.

Since gaps do not remain long in nature free, open space (anesthetized) of feeling was soon occupied by Berlusconi's clique and that this represented a level of morality. I do not want my criticism of sdilinquirmi quest'estetica now even more so new, I just goes to transpose on paper a concept ripe for some time: I consider myself a left-liberal, so progressive, but I am convinced that my distaste for Mr Berlusconi has a root of all conservative. Conservative thing? Republican and revolutionary aesthetics of the ideal public that this brings with it. For this I am convinced of two things: first, that my opposition all'andazzo of things is pre-political and trans-political, mostly aesthetic opposition, and secondly, that we can safely say, with a bon mot that Berlusconi is a continuation of Andreotti by other means.