Archivi categoria: kritik
su ‘la balena bianca’, annotazioni di fabrizio miliucci su “[assemblatz]”, di fiammetta cirilli
31 maggio, presentazione di: corrado costa, “poesie edite e inedite (1947-1991)”
Lunedì 31 Maggio, alle ore 21:15
per Bologna in Lettere 2021 – il Festival online
in diretta sui canali del Festival e di Argo – Rivista e Casa editrice
Presentazione del volume:
Corrado Costa
Poesie edite e inedite (1947-1991)
Opere poetiche II
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Interverranno: Chiara Portesine, Giovanni Fontana, Marco Berisso, Andrea Inglese
Introduce Enzo Campi – Modera l’incontro Roberta Bisogno
Canali:
https://www.youtube.com/channel/UCwbyJs4m8bYnn8OuqpX3riA
e https://www.youtube.com/channel/UCc7ll3RnO6cyBq6Er8NtzYw
Evento facebook:
facebook.com/events/314899083493251
Info sul volume:
https://www.argonline.it/prodotto/corrado-costa-poesie-edite-e-inedite-1947-1991-opere-poetiche-ii/
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28 maggio, il collettivo lals, “laboratorio letterario di siena”, intervista i redattori di gammm.org
MILLYTANTI: GAMMM
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Con il progetto *Millytanti* LALS dialoga con le redazioni di alcune riviste letterarie, blog e gruppi culturali dell’attuale panorama italiano, discutendo dei loro manifesti programmatici e del loro p
ersonale rapporto con il concetto di militanza.
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Venerdì 28 maggio LALS intervista tre redattori di GAMMM: Mariangela Guatteri, Marco Giovenale e Michele Zaffarano
L’intervista comparirà sulla pagina del collettivo:
https://www.facebook.com/collettivolals
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twentytwenty extended conference: domani, l’ultimo incontro, con niccolò scaffai
Domani, 25 maggio, ore 18, ultima sessione degli incontri del convegno TwentyTwenty Extended Conference, organizzato da polisemie.it:
Niccolò Scaffai
(Università degli Studi di Siena):
Poesia e ecologia: prospettive contemporanee
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Tutti gli incontri si tengono sulla piattaforma Microsoft Teams, a cui è possibile accedere tramite questo link. Il link è disponibile anche sulla pagina web del convegno. Si può scaricare gratuitamente l’app Teams sul computer, oppure accedere tramite browser (Google Chrome).
È possibile consultare il programma e la descrizione dettagliata del progetto alla pagina del convegno.
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incontri a cura di
Giulia Bassi e Stefano Milonia
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video della 12ma sessione di twentytwenty extended conference: con paolo zublena, costantino turchi, alessandro minnucci
Chair: Massimiliano Manganelli
Paolo Zublena (Università di Genova), Due o tre cose che so (e non sapevo) sulla poesia di ricerca
Costantino Turchi (Università di Roma Sapienza), L’immagine nello spazio della poesia
Poster: Alessandro Ludovico Minnucci (University of Chicago), La poesia performativa contemporanea in Italia: per una nuova metodologia di ricerca
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of course the asemic is absurd / jim leftwich. 2021
If I am writing about the word “asemic”, I am thinking about patience and persistence. I am thinking about failure as a source of energy, as that which keeps an absurdist idea of enlightenment alive and almost thriving. Standing in the absurd center of the asemic universe, we are surrounded by unexamined exits and entrances, unexplored starting-points, multiple escape-routes leading out in all directions.
We need to synchronize our watches, then throw them all away. We need to get on the same page of the same map-book, then throw all the maps away. We need to set our compasses, and throw them away. We must promise each other to get together, at some unspecified time and place, later in our lives, to define our terms and make public our consensus definitions. Until then, we have some exploring to do, some making and some thinking, some reading and some writing.
Tim Gaze wrote, in an email responding to my recent texts (05.21.2021), that “asemic is an absolute state, whereas desemantizing is a process or matter of degree”.
He also wrote in the same email that he “consciously let go of asemic writing several years back”.
On January 27, 1998, I wrote to Tim, saying “the asemic text would seem to be an ideal, an impossibility, but possibly worth pursuing for just that reason.”
Desemantized writing is not an ideal, is not an impossibility. It is a very specific kind of writing, produced for very specific reasons. To desemantize writing is to intentionally make it less readable, less capable of participating in the language-game of giving information.
We might aspire to the absolute state of asemic writing, producing beautiful and/or provocative failures in our quest, but we achieve desematized writing, to one degree or another, whenever we choose to do so.
In response to my recent texts, John M. Bennett wrote (05.20.2021) “i like ‘desemanticized’ better than ‘asemic’ myself; the latter term was always a bit misleading, even downright wrong sometimes, I thought; except perhaps in a few situations…”
In the late 1990s, “asemic” was not the word I wanted or needed, but it was the best I had at the time. For the past 20 years or so I have been exploring alternatives to the word “asemic”. For now, and for my purposes (which are not necessarily the same purposes as those of some likely readers of this text), “desemantized” (or “desemanticized”) is an improvement, a step in the right direction. It is a provisional solution to a problem.
These days, the term “asemic writing” is very widely used, and is surely in no danger of being discarded or replaced. My thoughts about the term “desemantized writing” will circulate, if at all, within the context of the global asemic writing community. As I write this, in the late spring of 2021, the theory and practice of asemic writing are not in any sense dead, the possibilities have not been exhausted. The Sisyphean struggle to attain the absolute state of asemic writing, absurd though it may be, continues to yield moments of existential fulfillment, and perhaps every now and then even a kind of happiness.
My hope for my recent writings is that they might invigorate an increasingly faceted vision of the world of all things asemic.
jim leftwich, may 2021
ai canali ! ai canali !
iscrivetevi ai canali, carissim*:
mg (tipo Rai1):
https://www.youtube.com/channel/UCUN9mDuP3m6UsVdj50Kgo4Q
slowforward (una specie di Rai2):
https://www.youtube.com/channel/UCF4pbAEEAcjwznYErB-SUvg
differx (sicuramente una roba simile a Rai3):
https://www.youtube.com/user/differx
(n.b.: ogni riferimento a tv ed entità realmente esistenti ma soprattutto esistite è puramente casuale o frutto di giuoco)
un’opera: il blu di yves klein. intervento di giuseppe garrera. (macro / museo per l’immaginazione preventiva)
keep moving / jim leftwich. 2021
I was a poet, and for me that meant pushing the edges of poetry, and the edges of myself while writing poetry. The line was an edge, and the rhyme was an edge, and the stanza was an edge, and the syllable was an edge. Eventually it became impossible to ignore the idea of the letter as an edge. Once having agreed to that, it became impossible to ignore the shapes of the letter — first the shapes of the printed letters, in an array of fonts, and then the shapes of the handwritten letters.
From the outset, the idea of producing meanings had been for me subordinate to the idea of making poems. If all I had wanted to do was produce meanings, I would have written conventional sentences and paragraphs. But that was not what I wanted.
So I wrote poems, and I pushed the edges of the poem, and in doing that I was pushing the edges of myself, my sense of satisfaction and achievement, my sense of my own skills and competence, and I was never satisfied, intentionally, by choice, never satisfied, I refused to accept the sense of being satisfied, so eventually, inevitably, I found myself producing desemantized or asemic writings.
And that was a plateau, a stage, and I knew from the outset that I was only passing through, that I would never be satisfied with desemantized or asemic writing, any more than I had been satisfied with writing conventional poems.
Over the years a community of asemic writers has become active and visible and, to the extent that I am a part of it at all, my role has evolved to be a kind of advocate for incessant criticality. As a participant in the conversation around asemic writing, I can be counted on to say something similar to “yes, you are right, but…” Yes, you are right, but that is not enough, it is not even particularly important. What is important is to keep moving. Asemic writing works for you? Fantastic. Now move on and do something else.
Jim Leftwich
a brief note on desemantized writing / jim leftwich. 2021
Desemantized Writing
For me, the practice of asemic writing began in processes I was using in the mid-to-late 1990s to write textual poems. Beginning with a large variety of source texts, those processes included syllabic and phonemic improvisation, varieties of cut-and-paste recombination (of letters, of morphemes, of words, of phrases, of sentences, and of paragraphs), varieties of misdirectional readings-as-writings (moving through paragraphs from right to left, from top to bottom and vice-versa in columns, reading multiple lines in wave patterns, reading paragraphs and pages diagonally, etc), and formulas for extracting, replacing and/or omitting letters from poems and paragraphs. The poems and paragraphs I was writing during those years were constructed, we could say, for reasons other than that of producing meaning.
Sometime late in 1996, I was warned that if I continued on the path I had chosen I would eventually wind up producing asemic texts.
In January 1998 I wrote the following to Tim Gaze: “An asemic text, then, might be involved with units of language for reasons other than that of producing meaning.”
If I had known the term “desemantized writing” at that time, I would certainly have used it, rather than “asemic writing”. The term ‘desemantized writing” is much more accurate, much clearer, much more precisely descriptive of the processes from which my “asemic writing” emerged.
Again, let me emphasize that this little note is accurate in relation to my own processes and practices, and I am fully aware of the fact that it does not apply to the relationships
that many others have with the theory and practice of asemic writing.
If I had known the term “desemantized writing” in the 1990s, rather than the term “asemic writing”, then Tim Gaze and I would have been using the term “desemantized writing” in our correspondence. The term “desemantized writing” would have been used in our international exchanges through the mail art and small press poetry networks. Chances are that Tim’s magazine would have been named “desemantized writing”. Then, sometime around 2005, when Michael Jacobson encountered the magazine and the word, maybe instead of “asemic writing” he would have used the term “desemantized writing” in his interviews and essays.
It’s interesting (again: speaking only for myself) to rewrite this imaginary history, but unfortunately, here and now, in 2021, it is only a kind of game. I didn’t learn of the term “desemantized writing” for another decade-and-a-half, when Marco Giovenale told me about its use among Italian verbovisual poets in the 1960s and 70s.
jim leftwich
05.18.2021
un numero di “machina” dedicato a nanni balestrini, nel secondo anno della sua scomparsa
In occasione del secondo anniversario della scomparsa di Nanni Balestrini, la rivista on line «Machina», di DeriveApprodi, pubblica un libro a lui dedicato in formato pdf liberamente scaricabile.
In occasione del secondo anniversario della scomparsa di Nanni Balestrini, la rivista on line «Machina», di DeriveApprodi, pubblica un libro a lui dedicato in formato pdf liberamente scaricabile. In occasione del secondo anniversario della scomparsa di Nanni Balestrini, la rivista on line «Machina», di DeriveApprodi, pubblica un libro a lui dedicato in formato pdf liberamente scaricabile. In occasione del secondo anniversario della scomparsa di Nanni Balestrini, la rivista on line «Machina», di DeriveApprodi, pubblica un libro a lui dedicato in formato pdf liberamente scaricabile.
All’impresa, curata da Sergio Bianchi, hanno partecipato 40 autori con interventi incentrati sulle molteplici espressioni che hanno caratterizzato la lunga attività culturale di Balestrini iniziata da giovanissimo negli anni Cinquanta e proseguita fino alla sua scomparsa: poesia, narrativa, cinema, televisione, teatro, musica, pittura, scultura, collage, editoria, impegno politico.
I testi sono accompagnati da un ricco apparato iconografico comprensivo di immagini fotografiche, opere pittoriche e collage.
Gli autori
Nanni Balestrini • Cecilia Bello Minciacchi • Franco Berardi Bifo • Paolo Bertetto • Sergio Bianchi • Vincenzo Binetti • Sergio Bologna • Achille Bonito Oliva • Aldo Bonomi • Franco Brambilla • Giuseppe Caliceti • Maria Teresa Carbone • Andrea Cortellessa • Beniamino Della Gala • Gino Di Maggio • Giairo Daghini • Giosetta Fioroni • Mario Gamba • Manuela Gandini • Roberto Gelini • Marco Giovenale • Angelo Guglielmi • Niva Lorenzini • Simona La Neve • Giovanna Lo Monaco • Giorgio Mascitelli • Tiziana Migliore • Eugenio Montale • Giuseppe Morra • Toni Negri • Giulia Niccolai • Jaroslav Novák • Tommaso Ottonieri • Claudio Panella • Letizia Paolozzi • Gilda Policastro • Giulia Siquini • Antonio Syxty • Mario Tronti • Cristina Zappa • Giovanni Battista Zorzoli
Beniamino Della Gala • Gino Di Maggio • Giairo Daghini • Giosetta Fioroni • Mario Gamba • Manuela Gandini • Roberto Gelini • Marco Giovenale • Angelo Guglielmi • Niva Lorenzini • Simona La Neve • Giovanna Lo Monaco • Giorgio Mascitelli • Tiziana Migliore • Eugenio Montale • Giuseppe Morra • Toni Negri • Giulia Niccolai • Jaroslav Novák • Tommaso Ottonieri • Claudio Panella • Letizia Paolozzi • Gilda Policastro • Giulia Siquini • Antonio Syxty • Mario Tronti • Cristina Zappa • Giovanni Battista Zorzoli
Franco Berardi Bifo • Paolo Bertetto • Sergio Bianchi • Vincenzo Binetti • Sergio Bologna • Achille Bonito Oliva • Aldo Bonomi • Franco Brambilla • Giuseppe Caliceti • Maria Teresa Carbone • Beniamino Della Gala • Gino Di Maggio • Giairo Daghini • Giosetta Fioroni • Mario Gamba • Manuela Gandini • Roberto Gelini • Marco Giovenale • Angelo Guglielmi • Niva Lorenzini • Simona La Neve • Giovanna Lo Monaco • Giorgio Mascitelli • Tiziana Migliore • Eugenio Montale • Giuseppe Morra • Toni Negri • Giulia Niccolai • Jaroslav Novák • Tommaso Ottonieri • Claudio Panella • Letizia Paolozzi • Gilda Policastro • Giulia Siquini • Antonio Syxty • Mario Tronti • Cristina Zappa • Giovanni Battista Zorzoli
il pdf si può scaricare dalla pagina
https://www.machina-deriveapprodi.com/post/nanni-balestrini-millepiani
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