The article aims to highlight the cosmic dimension of Jean-Luc Nancy's thoughts on the sense of the world. It argues that his thought of the world is deeply touched by "cosmic stains." The cosmic dimension is to be understood as "stain" rather than as dimension insofar it is about the moment in which the sentiment that existence is really existing incides upon existence. It is about being touched by the there-is of the there-is itself. The cosmic stain of Nancy's thoughts of the sense of the world has to do with existence being "exscripted" from ontology when, in the state of the acosmism of the world today, the only thing to hold on to is the existence of existence, which opens a transitive sense of existence and being.

The chapter presents a discussion about the unformed developing some thoughts by Henri Michaux with focus on this book Emergences and Resurgences. It presents a reflection that aims to answer to the contemporary search of new forms of life, of other forms for a world when the destruction of worlds become the common praxis of the world. The main thesis is that Michaux’s lessons of the unformed present another path to face the destruction of the world, the difficult path to sustain existence in the passing and its passages, listening to the resurgence of emergences. Somehow echoing Bataille’s thoughts on the unformed, Michaux’s thoughts open new views to face the compulsion of form at the basis of every form of fascism.

The present article discusses the new form of fascism which Ihave called “the fascism of ambiguity” from the viewpoint of the void ofresistance and revolution. The void is considered not as lack of resistanceand revolution but as the experience of “after” resistance and revolution,as a post- condition to which fascist desire of form responds through adynamics of unsensing senses and meanings. The article engages withboth Hannah Arendt and Claude Lefort reflections on the void of resistanceand revolution and sketches a path towards a thought of the unforming.

The article discusses the aesthetic dimension of Reiner Schurmann's thoughts on tragic differing, which he connected to the birth of light and colors in abstract painting. It raises the question of tragic blindness and visibility, the play of light and darkness, and moreover the sacrifice of the beautiful in present times. Focusing specifically on the few texts written by Schurmann on Louis Comtois's abstract painting and on his readings of tragic differing in the poem by Parmenides, the article presents a meditation on the right to beauty in dark times.