#pharmakon — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #pharmakon, aggregated by home.social.
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Mercredi jour des enfants tendus. Pharmakon / Maggot Mass. #pharmakon #maggotmass #transatrecordshop #confortmoderne #poitiers
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Went to see this Sound (/experience?) installation ZYX, Anna Barham https://www.mattsgallery.org/exhibitions/zyxv. The actual experience is an almost hallucinatory journey for 15 minutes.
I also appreciate the ideas behind the misunderstanding of speech to text synthesis and text as medium which changes you similar to Stiegler’s (taken from Aristotle) Pharmakon of the techne of writing.
#art #london #pharmakon #STT -
:stargif: 𝑬𝒍 𝒐𝒑𝒊𝒐 𝒆𝒏 𝑹𝒐𝒎𝒂: 𝒆𝒏𝒕𝒓𝒆 𝒓𝒆𝒎𝒆𝒅𝒊𝒐, 𝒑𝒐𝒅𝒆𝒓 𝒚 𝒅𝒆𝒑𝒆𝒏𝒅𝒆𝒏𝒄𝒊𝒂 :stargif:
En el corazón del Imperio Romano, donde la medicina avanzaba entre la observación y el misterio, hubo una sustancia capaz de aliviar… y de matar.
El opio.
No era un descubrimiento nuevo.
Pero en el siglo I d.C., un médico griego al servicio de Roma intentó comprenderlo con una claridad poco común: Pedanio Dioscórides.En su obra Sobre la materia médica, dejó una descripción que aún hoy sorprende por su precisión:
En pequeñas dosis, calmaba.
Inducía el sueño.
Aliviaba el dolor y la tos.En dosis mayores…
entorpecía los sentidos,
sumía en un sueño profundo
y podía causar la muerte.No era solo un remedio.
Era una frontera.Con la expansión romana tras la conquista del mundo griego, el opio se integró en uno de los preparados más enigmáticos de la historia: la Teriaca.
Su origen se vinculaba a Mitrídates VI, obsesionado con los venenos y con volverse inmune a ellos.
Pero fue Andrómaco el Viejo quien refinó la fórmula en la corte imperial.Setenta y cuatro ingredientes.
Entre ellos, algo que hoy resulta casi incomprensible: carne de víbora.Y en el centro de todo… el opio.
No cualquier opio, sino el de Tebas, considerado el más puro.
De ahí deriva el nombre de uno de sus alcaloides: la tebaína, un eco químico de la antigüedad.La lógica detrás de la víbora era simple y profundamente simbólica: aquello que contiene el veneno debía contener también su antídoto.
No era ciencia en el sentido moderno, pero sí una forma de razonamiento coherente dentro de su marco mental.Siglos después, la Teriaca alcanzó su máxima relevancia con Galeno, que la convirtió en el eje de su práctica médica.
No solo la heredó. La perfeccionó.
Ajustó dosis de forma individualizada, algo excepcional para la época.
Su paciente más célebre, Marco Aurelio, la consumía a diario.
Según sus propios escritos, el emperador se quejaba de somnolencia, y Galeno redujo la cantidad de opio hasta encontrar un equilibrio entre lucidez y calma.También realizó experimentos con animales, intentando demostrar su eficacia frente a venenos, en lo que hoy podríamos considerar una forma muy primitiva de ensayo.
Y convirtió su elaboración en un acto público, casi ritual, para garantizar su autenticidad en un producto que era, al mismo tiempo, medicina y símbolo de estatus.
Porque la Teriaca no solo curaba.
Representaba poder.
Control.
Y, en cierto modo, protección frente a un mundo lleno de amenazas invisibles.Aquí es donde surge la pregunta inevitable:
¿Era esto una forma temprana de microdosificación?
La respuesta corta es no.
Aunque el uso diario en pequeñas cantidades pueda recordarlo, el contexto es distinto.
La microdosificación moderna busca efectos sutiles sin dependencia.
En cambio, el consumo continuado de opio, incluso en dosis controladas, genera tolerancia.Y donde hay tolerancia… aparece la dependencia.
Lo más probable es que Marco Aurelio no estuviera “optimizando” su mente, sino gestionando un equilibrio delicado entre alivio y necesidad fisiológica.
Eso no resta valor al conocimiento de la época.
Al contrario.Los médicos romanos no entendían la química como hoy, pero observaban, probaban y registraban.
Y en ese proceso llegaron a una idea fundamental:Que una misma sustancia puede curar… o destruir.
El opio no fue solo un medicamento.
Fue una lección temprana sobre el pharmakon: el remedio y el veneno en un mismo cuerpo.
Una línea fina, peligrosa…
que dos mil años después, seguimos sin dejar de explorar.▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣
#historia #antiguaroma #medicinaantigua #opio #galeno #marcoaurelio #dioscorides #teriaca #historiadelamedicina #curiosidadeshistoricas #pharmakon
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O Manuscrito Voynich: Traduzido
O livro "Traduzindo o Manuscrito Voynich" propõe uma interpretação sombria do documento, descrevendo-o não como um tratado medicinal, mas como um manual de crimes rituais e magia transgressora. Em suma, o texto apresenta o Voynich como um "tribunal sombrio" onde a natureza é manipulada para executar sentenças de morte rituais. #Enharót, #Azazel, #Naibbe, #Pharmakon,
https://eternidade1.blogspot.com/2026/01/o-manuscrito-voynich-traduzido.html
Visite nosso Blog!😍
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O Manuscrito Voynich: Traduzido
Através da técnica de Hebraico Invertido, o autor decifra fórmulas que detalham a preparação de venenos, abortivos e invocações demoníacas ligadas à figura de Azazel. A obra mapeia as seções do manuscrito — botânica, astronómica e biológica — como etapas de um protocolo para destruir a vida e extrair essências espirituais. #Enharót, #Azazel, #Naibbe, #Pharmakon,
https://eternidade1.blogspot.com/2026/01/o-manuscrito-voynich-traduzido.html
Visite nosso Blog!😍
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I am the ambulance that never comes, the antidote you spill
https://www.youtube.com/watch?v=8ZkBA_YwMx8
I will be the razor, baby, I will be the pill
I am the ambulance that never comes, the antidote you spill
And in the accident, I'll be the failure in your brakes
I am the truth you couldn't take, I am the mistake
Worst you ever madeThe ancient Greek notion of the pharmakon refers to something which is both poison and remedy. It captures a sense that what can heal in the right amount and under the right circumstances might harm in the wrong amount and under the wrong circumstances. I understand Derrida’s interest in the concept to be a matter of the instability of categorisations of ‘good’ and ‘bad’ (‘healing’ or ‘harmful’) such that we can’t sustain a clear boundary between them. For a critical realist there’s a weaker version of the same point which stresses how much of the substance of these outcomes depends on the circumstances in which the object is drawn upon and what for what purpose.
When I first heard these lyrics I thought ‘pharmakon’. The person who resolves to be both razor and pill certainly has this status but the next lines refer to something quite different. These are about a failed promise, a thwarted rescue, an expected salvation interrupted at the last moment. There’s something of cruel optimism about this in the sense of an object that impedes or refuses exactly the hope underpinning the attachment. I don’t think this is quite right either, in the sense that I understand Berlant’s notion to pertain to a more diffuse sense of flourishing i.e. the thing that I hope will expand the parameters of my existence actually prevents that expansion. That’s more like a failure of Bollas’s transformational object. The point when we realise we have to let go of the thing we thought would make life better precisely because we still believe it can and should be better.
So what is the ambulance that never comes? The antidote you spill? It’s the moment of imagined rescue that fails to arrive at the last second. The sense that “all will be well, all manner of things will be will” thanks to this impending intervention. But then… it doesn’t arrive. Or you spill it. It fails. It’s not that it couldn’t do what you hoped it would do but that something about the circumstances or the timing meant that potential couldn’t be realised. It’s not that it was false, as much as that it was a truth that couldn’t be taken at that minute. This is far more tragic I think because it’s unrealised potential rather than misidentification or mislocation.
Tracy Chapman’s fast car is an object that once worked but now doesn’t whereas this is an object that could have worked but didn’t. The temporal structure of the experience is different because there’s nothing from the past to hold onto that can condense into the present. It’s more like smoke you tried too hard to hold, to use one of my favourite Brian Fallon lyrics. It’s harder to metabolise a counterfactual. It also means the declaration of that song is emphatically bleak: I will let you down in a profound, almost ontological, way. I will not be what you need me to be, even though I’m capable of it.
I wonder if we need a taxonomy of failed transformational objects. From the transformational object which no longer sustains transformation through to the conservative object misidentified as a transformational object (cruel optimism) and the missed transformational object which only exists in the future anterior.
#bollas #change #cruelOptimism #Derrida #music #pharmakon #transformationalObject
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“I’ve got a feeling that I could be someone”
I’ve had Tracy Chapman’s Fast Car stuck in my head for days and I haven’t understood why. Until this morning when I realised that the fixation was being evoked by these particular lines:
And I had a feeling that I belonged
I had a feelin' I could be someonehttps://www.youtube.com/watch?v=yvGfVdx-gNo
I’ve spent recent weeks deep into the psychoanalytical framework of Christopher Bollas who writes about transformational objects. As I understand the concept he argues that successful holding by the good-enough mother in Winnicott’s sense serves to create a sense of transformation: the environmental and then the object mother becomes the grounds for change because self-states are transformed through being embedded in the relationship. Through childhood, adolescence and adult life we find objects that take on this transformational role for us, as echoes of that first experience (however faltering or fragmented) of the transformational object. These experiences inculcate attachments to particular objects, as a way of nurturing a space of possibility within us, indexing the sense of what we could be and what we could do. These objects are what we hold in order to sustain a sense that we are not stuck, that we can move forward, that we can change and we grow.
Which makes me realise that the fast car is a transformational object. Or rather the experience of driving in the car, fast at night, with his arm around her shoulder is the memory of experiencing the transformational object. It’s unclear whether the transformational object is the scene, the car, the relationship or (more likely) a combination of all three:
So I remember when we were driving, driving in your car
Speed so fast it felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I-I had a feeling that I belonged
I-I had a feeling I could be someone, be someone, be someoneBut in that memory now nurtured as contact with transformation comes a sense of potential elaboration, the possibility to give form to her personal idiom: “I could be someone, be someone, be someone”. A denied possibility with an expression promised through proximity to the transformational object. The memory is clutched as contact with a moment where change felt possible, such that holding it reignites that sense of possible transformation:
You got a fast car
We go cruising, entertain ourselves
You still ain't got a job
And I work in the market as a checkout girl
I know things will get better
You'll find work and I'll get promoted
We'll move out of the shelter
Buy a bigger house and live in the suburbsBut what makes the song so devastating is that it ends with a mundane choice about how change actually happens, rather than the hopes invested in the transformational object. The object provides contact with the lived experience of change being possible but the object itself, particularly as an adult, can be so overburdened with phantasmic expectations that it can preclude the action necessary to bring about change. We clutch to the object to feel change but how we relate to the object can actually preclude change because the transformational object is ultimately a relation condensed into an object. As I think Chapman’s narrator confronts towards the end of the song (my emphasis):
You got a fast car
I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I'd always hoped for better
Thought maybe together you and me'd find it
I got no plans, I ain't going nowhere
Take your fast car and keep on driving
So I remember when we were driving, driving in your car
Speed so fast it felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I-I had a feeling that I belonged
I-I had a feeling I could be someone, be someone, be someone
You got a fast car
Is it fast enough so you can fly away?
You gotta make a decision
Leave tonight or live and die this wayThere’s a release here but no resolution. A sense that the possibility of transformation indexed by the object can only be realised through the surrender of the object. It illustrates how some transformational objects have to be relinquished and this can be devastatingly difficult. But that the only alternative is to remain caught in circuits of repetition around an object that consistently blocks exactly the promise it holds in the psyche. It means letting go of the imagined promise of what could have been through engagement with the transformational object. But ironically in this will often come a deeper and more expansive transformation.
(Incidentally my fixation on this song is a great example of concepts from Bollas as well. I was struggling with these ideas, recognising their relevance (both conceptually and also to my own personal experience) but unable to parse them into my existing register of psychosocial analysis or to make sense of my own existence in these terms. I found myself circling around Fast Car repetitively because it provided the object through which I could elaborate the idiom that was nascent as part of what Bollas would call my unthought known. My sense would be that whenever a song won’t leave us alone there is something working in us that we might, given time and the right objects, come to articulate)
Another thing that struck me here is the mislocation of the transformational capacity. When it condenses into an object it locates the power in that object, whereas in reality the power resides in the subject. But the object is necessarily to elicit the mode of relating which enables transformation, so it’s not just a case of ‘reclaiming your power’ by taking back what you falsely projected outwards. You can’t just decide to transform but equally the power of transformation does not reside in the object. The object does something but that something is creating the conditions for you to do something. That’s why the withdrawal from the object, the surrendering of the hopes invested in it, carries such potential richness alongside such danger.
#christopherBollas #cruelOptimism #objectRelating #pharmakon #TracyChapman #transformationalObject
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RE: https://piaille.fr/@epokhe/115842020999340310
Je recommande de mettre les séminaires #Pharmakon en favoris ainsi que cet outil de recherche. Plus de deux ans que je visionne régulièrement ces conférences de Bernard #Stiegler et je me régale toujours autant. Des centaines d'heures de savoir offert par le philosophe.
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@bortzmeyer
> L'Internet est aujourd'hui un service indispensable à toutes les activités humaines.Hélas… c'est là qu'est l'os
#pharmakon -
caillou qui porte un causse
caillou qui part d'une casse
caillou qui porte un symptôme
caillou qui porte un remède
Frotter chaque tempe, jusqu'à l'usure
complète de la pierre idoine -
Last night's gig:
Lana del Rabies
Kollaps
Pharmakon
Live in Poznan. -
Speaker #4 is #CaoXuefei talking about independent music in "#PostSocialist" digital platforms. #NetEase Cloud Music. Cross-cultural vs. exclusively Chinese platforms. Comment threads as "collective memory and individual emotions/ nostalgia". #Pharmakon "ruin and becoming", minority rapper and comment thread discussing politics of their people. #QQmusic as a precedent, #Feizhliu or "fringe" youth. Music platform comments make space for #PurpleProse.
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L’intelligence artificielle est un #pharmakon (…) L’intelligence artificielle produit surtout de la bêtise artificielle. (…) #bernardstiegler
