Archivi autore: differx

Informazioni su differx

https://slowforward.wordpress.com/bio/

due testi di mg sul ‘cucchiaio nell’orecchio’ + due letture

una folla…

https://www.ilcucchiaionellorecchio.it/2022/08/una-folla-alla-settimana/

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in modo errato…

https://www.ilcucchiaionellorecchio.it/2022/08/in-modo-errato-discutibile-e-al-punto-dei-fiumi-carducci/

on some hypothetical categories of asemic writing / marco giovenale. 2022

Perhaps it is possible, in the field of asemic writing, to distinguish a few —completely hypothetical— categories. I insist that these are mere hypotheses, and that I am not interested in structuring a rigorous theory.

We have (1) concrete asemic writing when only the asemic glyphs and calligraphy, only the asemic letters and sentences are present on the page. No images, no colors.
We can also say asemicrete, a term coined by Michael Jacobson.

We can say we have (2) visual asemic writing when we see the asemic symbols are intertwined, superimposed or when they —in any other way— simply share the page with abstract or realistic images.

We have (3) glitchasemics when an asemic text is evidently disturbed by some kind of glitch: it may even be severely disturbed, but not so much as to make the asemic part completely disappear.

We can say we have (4) abstrasemics when an abstract drawing or image turns itself into something resembling an illegible text, an asemic piece. Or, on the contrary, when a fragment of asemic writing gradually loses any vaguely linguistic aspect and is transformed into an abstract image.

Post scriptum.
At the same time, there are examples of works that marginalize —or do not include at all— an asemic aspect, and I would refer to them as: abstract or realistic paintings (pictorial works, photographs etc.) weirdly called “asemic writing” by their authors; legible alphabets and texts weirdly called “asemic writing” by their authors; monotonous decorations that would hardly be taken for words or sentences.

 

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https://t.ly/tZH_
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https://slowforward.net/2022/08/30/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/
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https://asemicnet.blogspot.com/2022/08/on-some-hypothetical-categories-of.html
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https://www.platformplee.nl/2022/08/30/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/
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https://scriptjr.nl/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/5022#.Yw5GTn1BzMX
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https://differx.tumblr.com/post/694030139131068416/on-some-hypothetical-categories-of-asemic-writing
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https://archive.org/details/on-asemics-categories-mgiovenale-2022/
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https://www.academia.edu/85898197/On_some_hypothetical_categories_of_asemic_writing
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https://puntocritico2.wordpress.com/2022/09/02/on-some-hypothetical-categories-of-asemic-writing/

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al gecko fest, in umbria, 10 settembre: “la veglia del già stato e del non ancora”: performance di arte contemporanea

“La veglia del già stato e del non ancora”, performance di arte contemporanea a cura di Sauro Cardinali, in programma il 10 settembre alle ore 21:30 al Castello di Spina.

info: https://www.vivoumbria.it/2022/08/29/a-gecko-fest-la-veglia-del-gia-stato-e-del-non-ancora-performance-darte-contemporanea/ e https://www.geckofest.it

paik / vostell: video duet

Sandro Ricaldone

VIDEO DUET
Nam June Paik e Wolf Vostell
I pionieri della Video Arte
a cura di Gianluca Ranzi
Dep Art Out, Ceglie messapica
29-31 agosto 2022

Il 29, 30 e 31 agosto, dalle 19 alle 21, occhi puntati sui pionieri della videoarte Nam June Paik e Wolf Vostell, in dialogo, anzi, in “Video Duet”, a cura di Gianluca Ranzi.

Nato nel 1932 a Seoul e morto a Miami nel 2006, Nam June Paik è stato uno degli artisti più influenti della seconda metà del XX secolo, a partire dalle sue sperimentazioni nell’ambito del movimento Fluxus. Per “Video Duet” sarà presentato l’omaggio di Nam June Paik all’amico Joseph Beuys, un filmato manipolato elettronicamente della loro performance tenuta il 2 giugno 1984 alla Sogetsu Hall di Tokyo. Il video, presente nella videoteca della Fondazione Mudima, che nel 1990 ha ospitato la personale dell’artista coreano e nel 1994 ha curato la sua mostra all’Arengario di Milano, evidenzia l’interazione performativa tra la vocalizzazione sciamanica di Beuys e l’esecuzione di Paik al pianoforte di motivi classici e di canzoni tradizionali giapponesi. «La visualizzazione del suono, l’intermedialità e la mobilitazione fantastica del linguaggio ottenuta attraverso la tecnologia, contraddistinguono l’opera di Paik e raggiungono in questo video una particolare intensità poetica».

Rimaniamo ancora nel Fluxus con Wolf Vostell (1932-1998), che fu tra i promotori dell’Happening in Europa e, dal 1959, iniziò a realizzare opere con il coinvolgimento attivo dei media tecnologici, manipolando televisori e apparecchi audio-visivi di ogni sorta, spesso inserendoli all’interno delle sue action-dé-coll/age. Nel video di Endogene Depression, qui nella versione presentata nel 1980 all’Institute of Contemporary Art di Los Angeles, la presenza dei televisori, inglobati nel cemento, alcuni dei quali accesi e con il suono e l’immagine manipolati elettronicamente, è associata al girovagare dei tacchini, a sottolineare il contrasto tra l’artificialità della macchina e la verità del mondo naturale. «A differenza di Paik, come emerge da questo video, Wolf Vostell si preoccupa quindi di criticare gli effetti imposti dalla televisione come rituale schizofrenico e alienante».

pisa, 8-10 settembre: “per una filologia integrata dei testi e delle immagini”

“Per una filologia integrata dei testi e delle immagini. Prospettive genealogiche ed ermeneutiche”. Primo convegno del Centro di Ricerca Interuniversitario “Scritture e civiltà. Libri e testi nell’Italia medioevale”, organizzato da Corrado Bologna e Alessandra Forte.

8-10 SETTEMBRE 2022 (Pisa, Piazza dei cavalieri 7, Palazzo della Carovana)

In presenza e da remoto su piattaforma Teams

Info: alessandra [dot] forte [at] sns [dot] it

https://t.ly/qEG7

palestinians thank artists boycotting apartheid israel-partnered pop kultur berlin

At least four artists withdrew from the festival, joining fifteen others since 2017.

Palestinians thank Lafawndah (and bandmate Trustfall), Alewya, Franky Gogo and Gigsta for withdrawing from @popkulturberlin, that is partnered with apartheid Israel #PK22

https://bdsmovement.net/news/boycott-pop-kultur-2022

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Four artists have withdrawn from Pop Kultur Berlin this year, in protest at its partnership with apartheid Israel! They join at least fifteen others to have boycotted the music festival since 2017, responding to private and public appeals from human rights defenders.

Parisian artist Lafawndah wrote in her eloquent statement that “the festival’s stance is an effective show of support for racism, colonial brutality and murder, despite its savvy marketing language touting inclusion, diversity and tolerance.”

Click to tweet at Pop Kultur

But Pop Kultur Berlin is still insisting on continuing its partnership with apartheid Israel, claiming that artwashing Israel’s apartheid regime and massacres in Gaza is “common practice”. It must have missed the thousands of artists who have endorsed the cultural boycott of Israel.

Even now, prominent German politicians allied to the festival are condemning the campaign and the principled artists who supported it and launching cynical smears against them. Let’s show once again that our collective impact is greater than these desperate, anti-Palestinian attacks.

Click to tweet at Pop Kultur

Not on Twitter? You can also copy the below comment and post it onto the festival’s Instagram & Facebook pages.

Thank you Lafawndah & Trustfall, Alewya, Franky Gogo and Gigsta for withdrawing from #PopKulturBerlin! All artists should boycott the festival until it drops its partnership with apartheid Israel. No progressive festival artwashes massacres. #PK22

In solidarity,
Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI)

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TAKE NOTE:
The nonviolent BDS movement for freedom, justice and equality is supported by the absolute majority in Palestinian society. BDS rejects all forms of racism and racial discrimination.