The Present. That Can Be Futuriz or Not, a Contingent Vector That Can Alter the Path Towards the Future. Futurization Would Be a Postfigurative Remnant in Our Prefigurative Culture, Present in All Utopian Projects. That is Why Gatto is Going to Propose a Post-utopian Inventiveness, a Political Futureability . This Does Not Mean Giving Up the Futurization of Utopian Images, but Rather Projecting Oneself Towards the Future in a Contingent Way, Including Uncertainty, Multiplicity, Contradiction, Improvisation and Probability.
Friman and Jameson’s Network of
Possible Utopias and Gatto’s Post-utopias Can Be Understood as Some of the Many Forms of Utopian Realism. In the Words of Gregory Claeys, It is About Working With What Exists, “reappropriating It as a Way of Conceiving a Australia Mobile Database Feasible Future. “It Works Like a Map to Avoid the Least Desirable Results and Achieve the Best Ones.”. The Last Argentine Utopia is in a Small Room on Humahuaca Street in the City of Buenos Aires: It is a Model of the Hydrospace City by the Slovak-argentine Sculptor Gyula Kosice, Exhibit in His Workshop Now Convert Into a Museum. After Stating in That “Man Will Not End on Earth,” Kosice Dicat Himself to Modeling in Plexiglass a Set of Mobile Habitats That Would Be Suspend , Meters Above Sea Level.
That Project, With Which He
Intend to Solve Overpopulation and Free Man From Traditional Architecture, Kept Him Busy for the Next Years. By Then the Word “Utopia” Had Already Been Anathematiz as a Germ of Violence, Despis as Useless or Cri Harmlessly by Brazil Phone Number the Melancholic Left. Thus We Renounce Any Idea of the Future, While Capitalism Never Renounc Its Utopias. Contesting the Utopian Enclaves of Capitalism and Generating Our Own Without Fear of Their Reach Are Concrete Ways of Opening an Abstract Future. And So We Finally Return to Old Gyula’s Plan: «the Premise is to Free the Human Being From All Ties. This Transformation, Advanc by Science.
