Metropoli d’Asia, the next dystopia by Paolo Perulli

Ricordate Blade Runner by Ridley Scott, the Los Angeles of the future fatta a strati, sopra elites e chi commanda e sorveglia, e under la neoplebe dai tratti asiatici que si affolla negli spazi inquinati e perennially piovosi della metropoli mescolandosi ai replicanti? Ebbene ci spega Andrea Berrini in her last book Metropolis of Asia. Sguardi his an other future (EDT, 2022) that is this dystopic city, only that is in Asia. Great connoisseur of the Asian metropolis, and of the creative class of this city that is going to frequent (publishers, artists, writers), Berrini offers an impressive freshness.

That if he left tutto d’un fiato, now he has started to visit, live and think about that new city (Pechino, Bombay, Kuala Lumpur, Hong Kong, Singapore). Here is one guard, from the urban anthropologist, who explores the Asian city and shows it around, in order: the skyline, the architecture, the quartieri, the environment, the person. Going from macro to micro. With a richness of particolari and a capacity to fissare with empathy that the urban volte, quei volti umani.

Questo Altro ci assomiglia, says Berrini, e va più in fretta di noi. Che si tratti della smisurata Pechino con i suoi anelli semper più grandi e peripherici e al centro la città del politico del Partito-Stato; From the Kuala Lumpur of the highway and the unimaginable perimeter legati of the metro and autostrade, we plan to realize the architectural utopia of Wright and Mies on an immense scale; di Bombay che mescola in un ristretto spazio peninsulare i grandi ricchi ei grandi poveri, i compound e grattacieli e gli slum; di Hong Kong and Singapore, finance and freedom repress communism the first, freedom vigilant gives an oppressive potency the second: we ritroviamo tratti ‘altri’ rispetto a noi continuously mescolati a tratti ‘nostri’ che sono qui portati all’estremo, capitalist egoism ed esthetic kitsch, middle class anchor in crescita and costumi sessuali e consumi consumi che erodono la morale ufficiale dell’Oriente.

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Photography by Michael Wolf.

As the modernization carried out in the West, prima per via militare-colonial poi economico-culturale, Avese volto experimente qui tutte le contraddizioni, build in laboratory tutte le alchimie e le mescolanze possibili, che da noi in the Occidente sono limited da fattori como la democracy, pluralism, public opinion. Eppure if he reads this book with the great feeling that he has, in that Asian metropolis, if he is doing anything that surrounds him.

We took up the architecture of that metropolis, to which Berrini dedicates an attentive esame: we are our forme architettoniche replicate and ingrandite! As the headquarters of the tv di stato progettata a Pechino da Rem Koolhaas, the Dutch architect who has cynically voluntarily imitated what the potere cinese aveva fatto a Tienanmen negli anni ’50: the bigness of Koolhaas has trovato que spazio di expressione illimitato che Xi Jinping perfectly exclaimed: weird (strana), gave fronte to this architettura. Or the infrastructure for mobility, the railway and the port and the autostrade and the metro, that we are the stesse our porte lì dai nostri ingegneri e developer urbani, except that it is very più estese. O i sobborghi di villette che sono la riproduzione enlargata dei suburbs del sognoamericano, except that lì stanno accanto agli slum. E forse perfino i ghetti, li abbiamo inventati noi e lì si riproducono a macchia d’olio per milioni di poveri, di immigrati dalle campagne in continual crescita.

The most beautiful part of the book is in her person, and the protagonist is her own parrot, that Berrini is against and against her. Creativi inquieti alla perennial ricerca di esprimersi come to Kuala Lumpur. Giovani che lottano per la libertà como quelli del movimento degli ombrelli e poi delle rivolte harshly repressed Hong Kong. Intellettuali that resisted the change – urban, social, cultural – imposed by the regime like Pechino.

Militanti who eat Bombay hold the omosessualità parrot. Etc. Tutti si muovono contro a new form of oppression, that if it treats of cinematic communism or of induist “fascism”, in the midst of high technological intensity and rises to modify individual behavior, with social control through digital technology, censorship is rete, “the dittatura within the other segment of the society”.

This dystopian universe is assimilated by the image of Orwell, Huxley cent’anni fa in the West, except that it is in Asia if it realizes oggi ad opera di Grandi Fratelli, di Uomini Alfa che hanno i contour del potere politico e militare cinese, della repressione cultural and razziale indiana, cioè hanno nomi e cognomi noti e non sono affidati a sistemi impersonali come nei romanzi distopici del Novecento. Which has sustained that Duemila is a secolo that is within the Novecento, that carries all the cultural, social, and political contradictions of the secolo of totalitarianism and of the world war. E se avesse ragione? Is the future ‘else’ in Berrini’s book dedicated to the ‘future alle spalle’ of Walter Benjamin and Hannah Arendt?

We want to say thanks to the writer of this short article for this outstanding content

Metropoli d’Asia, the next dystopia by Paolo Perulli


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