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because hundreds, thousands of people decide to adopt the same pesudonimo to share - not without conflict - the same reputation, signing / claiming political and cultural activities, performances, and theoretical writings of fiction, and in general works of 'wit?
What we owe the success of the name "the impossible" both on the World Wide Web in the real world, the streets of the city, publishing on paper, practically anywhere?
semiologists years, anthropologists, scholars of youth subcultures and their relationship with technology are wondering what exactly the characteristics of this elusive open community ... the community can be defined as one that looks like a fickle flow of information is clearly contradictory? For years, journalists
coin weird definitions, less apt than the other: "computer pirate", "cultural terrorists", "radical artists", etc..
years "the impossible" continue to displace the observers, and undermine any definition that arises directly from the practice of those who choose to adopt the name.
Among the many features of thought and action of "setting", perhaps the most perplexing is the fierce, violent criticism of the concept of 'individual', understood as a subject prince of bourgeois right ("selfish man" called him Karl Marx).
In the name of what this concept is continually sbertucciato, vilified, shorted, led to the paradox?
In certain phases of their project and felt that the "set" a liberal opposed to individualism collectivism from the Cultural Revolution, cemented by the cult of the Great Helmsman a non-existent, in others it seemed that criticism was made of all-in-dividuum only in the name of the single-divisibility of apology schizophrenia and lust, with clear echoes Deleuze-guattariani.
The truth is that we can not understand the "communitarianism" of the impossible without starting from the concept of "myth-making, creation myth.
Between XX and XXI century an unknown number of neurons without brains, without works of artists, activists, post-politicians, media-independent, disgusted by the obsolete techniques and communication strategies still in vogue at a building "movement" and a "scene" European so little to remember the vivid expressionist theater room, they decided to give himself metaphorically to the spot, wrapped in legend, betting the beautiful.
was not any need to bring together the Central Committee: it simply decided to use the potential of new media and their impact on the upcoming traditional ones, in order to launch a new "product" intangible goods, intangible: the myth of a common struggle to all tribes and communities of rioters.
This myth must fit into a scene of momentous upheavals, as defined by the ever more frequent ecocatastrofi, from the tumultuous end of bipolar world order, the emergence of so-called post-Fordist immaterial labor and by the extension of the Network
mythmaking.
"construction of the myth"
be fluid like water, but on occasion hit hard as the shank of a boxer Thai.