Update content/inquiry/snadisedruze.md

content/inquiry/snadisedruze.md

@@ -15,7 +15,7 @@ has_bonfires = ["rijeka.md", "mosorin.md", "berlin.md", "orleans.md", "belacrkva
 
 Figure it Out (FIO) is an artistic and research project engaging practices and phenomena of coping, tinkering, making-do, and circumventing exclusions that are developed by marginalized, underserved, discriminated, and vulnerable people. Gendered, racialized, bordered, disabled, and exploited, these constituencies are often forced to develop tools and strategies that are considered unacceptable to the institutions of the system. Sometimes these tools and strategies are forged out of necessity, of survival, sometimes to exercise rights or to secure access to basic services available to those deemed more “deserving”. Other times, these coping mechanisms reclaim rest, beauty, or pleasure as part of a dignified life. What FIO practices and phenomena have in common is that they are not about scamming peers or those more vulnerable than them. Instead, they are practices that take issue with formalized, normative forms of oppression (state, welfare institutions, corporations, workplace, credit, housing, utilities etc.) that have sets of rules and conditions of access that specific populations or individuals cannot meet. They are actions directed at the conditions that produce and reproduce systemic violence and which reformist approaches aim to fix in the long run. Fio practices instead inhabit different temporalities from the perspective of those who cannot and will not wait. In their urgency, they open up spaces where different ethical practices can emerge, where knowledges are passed on in ways that complicate claims to a universal and transparent public sphere.
 
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 ## Cheating, Lying, Stealing
 
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 A final po-ethic dispositive that was key in shaping the bonfire storytellings has been the laughter. Henri Bergson’s seminal work on laughter saw it as a mechanism for making a space of collectivity “[o]ur laughter is always the laughter of a group”. Moreover, he proposed that it serves as a social corrective, a means of revealing the absurdity of hierarchical and strict social structures.[^14] In our context, laughter operates not merely as a response but as an active engagement with power dynamics, embodying a subversive pleasure in exposing and circumventing systemic injustices. While Bergson viewed laughter as a collective social corrective, Franco Berardi’s reflections on cynicism and irony suggest another layer to this dynamic: Neither the cynic nor the ironist “believes in the true foundation of law,” yet each navigates this disbelief differently: “the cynical person bends to the law while mocking its false and pretentious values, while the ironic person escapes the law altogether, creating a linguistic space where law has no effectiveness.”[^15] If the whys behind the anecdotes are often tragic as they reveal the systemic injustices that shape impossible conditions of living, the hows often evoke a giggle that positions the participants vis-a-vis power structures: the affect of joy felt when hearing about a way to escape an unjust system reveals lines of partisanship that might not even be known to those laughing before the event. Such moments of shared chuckles during storytelling undermined the isolating effects that the power structures have on acts usually performed in secret and deemed illegal.
 
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 ## Ethics of refusal