Archivi categoria: differx

due aree. post generale, poi personale

1. In sintesi estrema

“Nuovi Argomenti” nasce nel 1953. “Il verri” nel 1956. È del 1957 la polemica aspra fra Pasolini e Sanguineti su sperimentalismo e neosperimentalismo, che si consuma tra le pagine di un paio di numeri della rivista “Officina”.

Da allora e fino a oggi, dunque da quasi 70 anni, la letteratura italiana è spezzata in due.

Dopo qualche circoscritta fortuna einaudiana e feltrinelliana, l’editoria ‘maggiore’ (oggi, meglio: ‘a grande distribuzione’, o forse ‘generalista’) sarà costantemente collocata, o in misura maggioritaria collocabile, nell’area Mondadori Pasolini Sereni eccetera. Scelta fatta. Per una forma sempre ‘rassicurante’.

Sponda – soprattutto dagli anni Ottanta – per la nuova lirica, visceralmente avversa alla sperimentazione, negatrice di tutto quello che succede nel versante della ricerca letteraria, specie se avanzata (e sotto qualsiasi egida, fosse pure universitaria, o artistica, in legame o no con istituzioni come il MoMA o il Centre Pompidou, per dire).

Continua a leggere

the podcast of episode #23 of rava vavàra

Rava vavàra, episode #23, has gone live last Tuesday, July 21st, through Archipel Radio, at 12:10 CET in Berlin 88,4 FM and Potsdam 90,7 FM, archipel.community/radio (straming).
Featuring: Lynn Book, Lale Rodgarkia-Dara, Marco Giovenale, Valentina Vetturi, Mikhail Bogdanov and others.

Now just listen to the podcast here: http://ravavavara.art/episode23

 

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rava vavàra, episode #23: july 21st, h. 12:10

Rava vavàra, episode 23 will be broadcasted next Tuesday (July 21st = tomorrow) through Archipel Radio, at 12:10 CET in Berlin 88,4 FM and Potsdam 90,7 FM, live streaming on archipel.community/radio.
The broadcast features Lynn Book, Lale Rodgarkia-Dara, Marco Giovenale, Valentina Vetturi, Mikhail Bogdanov and others.

After the broadcast, just listen to the audio file here: http://ravavavara.art/episode23

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(video from “L’Amant Double”, François Ozon: facebook.com/Ravavavara/videos/287434129344307)

 

orphic tabs or sheets / differx. 2007-2020

One of my first flarfy & spam-derived “orphic tabs” (or “orphic sheets”) was published by the late William James Austin in 2007, in his mag “BLACKBOX”, Sept. 2007, the “summer collisions” issue.

About that issue I could only find an email in the Spidertangle newsletter, Sept. 16, 2007.
(The old link williamjamesaustin.com/orphicsheet002.html doesn’t work anymore, of course).

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Other pieces appeared in Starfishpoetry, and Poetry Kessel-lo (two now offline sites).

Find others in The Flux I Share (Jan., 2008): ex fluxishare.blogspot.com/2008/01/orphic-tab-029.html now http://the-flux-i-share.blogspot.com/2008/01/orphic-tab-029.html; & in SayingSomething: http://sayingsome.blogspot.com/2008/01/orphic-tab-040.html

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Then serious asemic orphic tabs appeared in The New Postliterate (Sept., 2009): http://thenewpostliterate.blogspot.com/2009/09/asemic-orphic-sheets-from-marco.html

A sheet in Italian has appeared in facebook only.

Here below are some of the pieces, and more ones (click to enlarge, read & enjoy):

“scrivere disegnando”: a review by irène languin @ tdg.ch

here the review:
https://www.tdg.ch/news/news/ecriture-dit-ombreslme/story/10067824

here the exhibit:
https://centre.ch/en/exhibitions/scrivere-disegnando/

 

 

 

 

 

 

 

 

 

 

[r] _ raggiera o controindicazione di identità / differx. 2018

Una dichiarazione di identità legata a più scritture, tagliata e mescolata (cut-up), diventa una controdichiarazione (a suo modo, anche, di poetica):


[il tono serioso non inganni]

origine (2018):
https://slowforward.net/2018/12/04/raggiera-controdichiarazione/

da oggi su archive.org:
https://archive.org/details/raggiera-o-controdichiarazione-di-poetica_-mg_-28-nov-2018

21 giugno, museo sociale danisinni, palermo: “avvistamenti #1”, e “involucri” (di tiziana viola massa)

AVVISTAMENTI #1, Tra scrittura e immagine
prima collezione permanente di scrittura asemica e poesia visiva a Palermo

Involucri, di Tiziana Viola Massa
a c. di Angela La Ciura

facebook.com/story.php?story_fbid=10213781162634270&id=1562747770&sfnsn=mo

Museo Sociale Danisinni, artisti in collezione: Maurizio Accardi, Maria Agata Amato, Emilio Angelini, Francesco Aprile, Luigi Arini, Toti Audino, Toni Baldi, Daniela Balsamo, Tiziana Baracchi, Calogero Barba, Giuliana Barbano, Leonardo La Barbera, Valerio Bellone, Mirella Bentivoglio, May Bery, Giovanni Bonanno (Sandro Bongiani), Rossana Bucci, Cristiano Caggiula, Adele Cammarata, Liliana Cammarata, Gai Candido, Emma Caprini, Serena Carpinteri, Aurelio Caruso, Nicola Console, Valeria Di Chiara, Antonio Lo Cicero, Cosimo Cimino, Kiki Clienti, Mario Mario Lo Coco, Ryosuke Cohen, Marco Commone, Carmela Corsitto, Antonio Curcio, Nicolò D’Alessandro, Donmay Donamayoora, Cinzia Farina, Vincenza di Fede, Fernanda Fedi, Nicola Figlia, Francesco Fiorista, Ivo Galassi, Toti Garraffa, Sara Garraffa, Rosario Genovese, Attilio Gerbino, Gino Gini, Marco Giovenale, Lillo Giuliana, Francesco Grasso, Alessio Guano, Carla Horat, Michele Lambo, Alfonso Lentini, Alfonso Leto, Antonio Liotta, Renato Lipari, Oronzo Liuzzi, Barba Antonella Ludovica Barba, Ruggero Maggi, Sergio Mammina, Egidio Marullo

de-de / differx. 2019

bambi, basta la salute, una, trattoria fatta di led, anche il personale, o se sì se lacrima sull’header,

vi siete spartiti i riquadrini, maledetti, immagina una crosta piena di pugni, tolta dalla superficie,

l’homelette parla agli uccelli, e degli, quattro pacchi di senza filtro, senza martirio, cinesata,

kim wilde ormai, e non ci puoi fare niente, comprare miscela per il motorino, sfusa,

scusa, qui siamo in troppi, sfoltisci, ha un suo modo per scolpire le basette, parenti da pisa,

l’import export, anche qui tu desquadra il foglio, fai finta che non è un lucido, una pianta,

a questo punto non sei più sicuro, fermo qui allora.

on the moon (1971)

   

This tiny sculpture is called Fallen Astronaut, and was placed on the lunar surface by the crew of Apollo 15 on August 1, 1971.
The figurine, which was crafted in the likeness of an astronaut-in-spacesuit, measures just more than three inches tall, but the “Smallest Memorial in the Universe,” as Walter Cronkite called it in a 1972 interview with its creator, Belgian sculptor Paul van Hoeydonck, gave rise to storm of controversy disproportionate to its physical size. Over at Slate, Corey S. Powell and Laurie Gwen Shapiro have the in-depth story of the scandals and conflicts that “obscured one of the most extraordinary achievements of the Space Age.”
It begins:
One crisp March morning in 1969, artist Paul van Hoeydonck was visiting his Manhattan gallery when he stumbled into the middle of a startling conversation. Louise Tolliver Deutschman, the gallery’s director, was making an energetic pitch to Dick Waddell, the owner. “Why don’t we put a sculpture of Paul’s on the moon,” she insisted. Before Waddell could reply, van Hoeydonck inserted himself into the exchange: “Are you completely nuts? How would we even do it?”
Deutschman stood her ground. “I don’t know,” she replied, “but I’ll figure out a way.”
She did.
At 12:18 a.m. Greenwich Mean Time on Aug. 2, 1971, Commander David Scott of Apollo 15 placed a 3 1/2-inch-tall aluminum sculpture onto the dusty surface of a small crater near his parked lunar rover. At that moment the moon transformed from an airless ball of rock into the largest exhibition space in the known universe. Scott regarded the moment as tribute to the heroic astronauts and cosmonauts who had given their lives in the space race. Van Hoeydonck was thrilled that his art was pointing the way to a human destiny beyond Earth and expected that he would soon be “bigger than Picasso.”
In reality, van Hoeydonck’s lunar sculpture, called Fallen Astronaut, inspired not celebration but scandal. Within three years, Waddell’s gallery had gone bankrupt. Scott was hounded by a congressional investigation and left NASA on shaky terms. Van Hoeydonck, accused of profiteering from the public space program, retreated to a modest career in his native Belgium. Now both in their 80s, Scott and van Hoeydonck still see themselves unfairly maligned in blogs and Wikipedia pages—to the extent that Fallen Astronaut is remembered at all.
And yet, the spirit of Fallen Astronaut is more relevant today than ever. Google is promoting a $30 million prize for private adventurers to send robots to the moon in the next few years; companies such as SpaceX and Virgin Galactic are creating a new for-profit infrastructure of human spaceflight; and David Scott is grooming Brown University undergrads to become the next generation of cosmic adventurers.
Governments come and go, public sentiment waxes and wanes, but the dream of reaching to the stars lives on. Fallen Astronaut does, too, hanging eternally 238,000 miles above our heads. Here, for the first time, we tell the full, tangled tale behind one of the smallest yet most extraordinary achievements of the Space Age.