Archivio mensile:Settembre 2013

bad late not late

bad. to field. instead. rich from: shoot them search haters. so compatible. no work. i get to tape. attempted to be fixed. nothing to suspect.

several hours later.

your product. believe in others. scroll to either. really bad. hmm, let’s check. spelling delete.

per tutti gli anni perduti di gianni (01)

   
gianni, contrazione | dell’evangelio maggiore, entra in medias res in un punto qualsiasi del nastro. che effetto fa sulle cose? si tratta di dodici centesimi, una settimana di risparmio e di fabbricazione di animali veri, un dvd di kid creole che ritira le truppe dall’iraq.
gianni desidera concorrenza ma trova solo cattive traduzioni. i complottisti dimostrano il funzionamento miracoloso delle bobine. da farci anche degli screensaver, toroidali.
però alla fin fine per addormentarsi verso le due le tre va bene. non devi pensare alla sintassi. fanno tutto loro. 
gianni allora va tra le colline e smette di giocare, di bere, di drogarsi. ascende tutte le gradazioni esadecimali, è proprio verde intorno, e così insegna a non venir utilizzati a fini di clonazione, a riversare i file greci in ntsc, a pregiare le parti anche non nobili, a cuocere senza far uso di elettricità.
si sentono i grilli. la baia di notte è molto bella. gianni la contempla dalla cima della collina, vede le scatole di parà scendere lungo la costa, lo scontro con i ninja, la pubblicità popup di una squadra di hockey che piaceva a klossowski.
ci sono degli infiltrati, come sempre in tutte le cose belle. gli infiltrati degradano ogni onesto lavoro. determiniamoci. siamo determinati a iniziare un’altra settimana di risparmio, che forse rovescerà la situazione.
    
    

mesa, cepollaro, inglese, delle monache, cospito: lettura a milano il 3 ottobre

LIBRERIA POPOLARE DI VIA TADINO (Milano)
via A.Tadino 18  – 3 ottobre, giovedì

ore 18.30

Giuliano Mesa e Biagio Cepollaro: una piccola fabbrica

A cura di Luigi Metropoli.

Biagio Cepollaro legge Giuliano Mesa

Sono stati invitati: Giusi Drago, Francesco Forlani, Andrea Inglese, Teresa Marino, Giorgio Mascitelli,  Davide Racca, Luigi Severi e Paolo Zublena

ore 21:00

Andrea Inglese performance con il compositore Stefano delle Monache e con la partecipazione del maestro Giovanni Cospito.

Lettere alla Reinserzione Culturale del Disoccupato

_

the shape of the field

is it really (only) “visual poetry” the thing I deal with?
I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowres shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English…
all of this stuff is what I try to mix, write, pick up, store, and
I’m against editing, post-production, bellettrisme, wise quotations, meta-language, mimicry, novels, serious art, and
I DO REJECT HI-RES.

what do I have to do with all of the thousand hi-res & calligraphically rendered online landscapes? first of all, I have some actual landscape offline. and: I’ve no time at all.

___’d better go fetch errors and misshapen signs, traces, borders, …
   

the shape of the field / mg. 2013

is it really (only) “visual poetry” the thing I deal with?
I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowres shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English…
all of this stuff is what I try to mix, write, pick up, store, and
I’m against editing, post-production, bellettrisme, wise quotations, meta-language, mimicry, novels, serious art, and
I DO REJECT HI-RES.

what do I have to do with all of the thousand hi-res & calligraphically rendered online landscapes? first of all, I have some actual landscape offline. and: I’ve no time at all.

___’d better go fetch errors and misshapen signs, traces, borders, …
   

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