more here:
https://www.willidorner.com/project/bodies-in-urban-spaces/
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20 borse di studio per partecipare a poesiaeuropa 2022

In scadenza il 31 luglio il bando per partecipare alla prossima edizione di Poesiaeuropa – Isola Polvese, lago Trasimeno (Umbria), 23-25 settembre 2022 – attraverso l‘assegnazione di 20 borse di studio a giovani autori e studiosi under 35.
Iniziativa a cura di Spazio Humanities e Umbrò Cultura.
Maggiori informazioni su https://www.centroscritture.it/poesiaeuropa
graphic novel & graphic journalism: ultimi giorni per la call for proposals di ‘roots§routes’
English below ↓
Ultimi giorni per partecipare alla
Call for Proposals
§Graphic Realities
La linea urgente del Graphic Novel e Graphic Journalism
Anno XII, n°40, Settembre – Dicembre 2022
a cura di Elettra Stamboulis e Viviana Gravano
Abstract Deadline: 20 Luglio 2022
Le graphic novel affrontano tematiche complesse come i razzismi e le questioni identitarie collettive e individuali, così come il graphic journalism sostituisce il reportage fotografico di guerra, diviene lo strumento di conoscenza per le violazioni dei diritti umani nel mondo, diventa azione diretta nella realtà.
Vogliamo dedicare questo numero di roots§routes a quelle graphic novel o opere di graphic journalism che si interessano esplicitamente di fenomeni sociali rilevanti, che agiscono quindi in qualche modo come forme di “art-attivismo”.
… leggi la Call for Proposals QUI
*
§Graphic Realities
Graphic Novel & Graphic Journalism
Year XII, n°40, September – December 2022
curated by Elettra Stamboulis e Viviana Gravano
Abstract Deadline: 20 July 2022
Graphic novels deal with complex topics such as racism and collective and individual identity issues, just as graphic journalism replaces the photographic war reportage, becomes the knowledge tool for human rights violations around the world and becomes direct action in reality.
We would like to devote this issue of roots_routes to those graphic novels or works of graphic journalism that are explicitly concerned with relevant social phenomena, thus acting in some way as forms of ‘art-activism’.
… read more on roots-routes magazine
blogorilla calling!
asemic writing as a kind of poetry / jim leftwich. 2022
Jim Leftwich
Asemic Writing Is A Kind Of Poetry
Summer 2022 / Utah
If, at times (if not, in fact, all the time), it must seem as if I have no idea what asemic writing is, I can only defend myself through an appeal to my experience of the theory and the practice: asemic writing came into my life as a continuation and an extension of my practice as a poet.
I wrote textual poetry for a little over twenty years before I started making visual poems. After making visual poems for a few years, I started making what was originally called spirit writing (by John M. Bennett, in his capacity as the editor of Lost and Found Times, a magazine of experimental poetry and related matters).
That was in 1997. The following year, Tim Gaze published a small chapbook of my quasi-calligraphic scribblings entitled Spirit Writing. Maybe I didn’t know what I was doing at the time (the theory and history came later), but I had no reason to think of this new development in my work as anything other than poetry.
These days, and maybe for the past fifteen years or so, it seems that very few theorists or practitioners think of asemic writing as a kind of poetry.
Asemic writing, as a kind of poetry, is all but limitless in its potential. We should take the same sort of approach to it’s study. For example: I have been told that asemic writing is all about linguistics. I have no doubt that the study of linguistics, and the application of that study to an engagement with asemic writing, will add substantially to our understanding of the subject. But, as with all other varieties of poetry, linguistics is only one among very many approaches to the study of asemic writing.
I am never interested in having the last word on any of these matters. Maybe I am interested in having the next word — and then, in having had some of the recent words. The conversation around asemic writing is ongoing and, like all conversations around all varieties of poetry, it seems to have no necessary or inevitable end. I am interested in expanding the spectrum of acceptable discourse concerning the subject of asemic writing. I hope my writings on the subject will function as invitations to others to participate in this process.
asemic writing and the tragedy of the absurd / jim leftwich. 2022
Jim Leftwich
Asemic Writing and The Tragedy of the Absurd
Summer 2022 / Utah
When I say absurd, I don’t mean quirky.
I don’t think absurdity is a variety of comedy.
Finding comedic relief in inconsequential weirdness does not qualify as an experience of the absurd.
Certain styles of comedy monetize a surrealist juxtaposition of clangorous items and/or ideas to elicit Spasms of Guffaw from a naptive audience. As such, they serve a purpose: to disguise the osmotic suffering of those immersed in the petroleus ooze of The Capitalist Ongoing.
The absurd does not organize itself in order to acclimate our minds around any of the currently available varieties of unbearable realities.
The absurd is: a variety of that which is incomprehensible within the human universe.
A mystery is: that which is uplifting because it is experienced as being incomprehensible within the human universe. We celebrate an encounter with mystery.
The absurd is experientially devastating, annihilating, a psychological sparagmos. We may, after a fashion, celebrate the fact that we experienced it and lived to tell the tale.
Asemic writing is capable of embodying, and conveying, the tragedy of the absurd. But only for the those who want that, who want that kind of thing. For those who do not want that kind of thing, asemic writing is also fully capable of being abstract art school dorm room wallpaper and glamping picnic tablecloth design. I know, I am not being very nice, I’m sorry. Did you by chance see Sun Ra and The Arkestra 40 or 50 years ago? They had The Look. Sparkling robes down to the floor, Egyptian Spaceman Hats 3-feet high. Marching around the stage, chanting, gesturing with their instruments towards the ceiling. I saw them with a few hundred other people in 1982 and not a soul was laughing. We’re they absurd? Absolutely. Sublime? Yes.
The Tragedy of the Absurd is experienced as a Magickal Absurdity. Asemic writing is capable of existing along that spectrum of experiences. I learned that in the late 1990’s as part of my introduction to the idea and the execution of asemic writing. I have never been able to want anything else from it.
‘asemica’: diffusione ad oggi

<Asemica> è stata archiviata presso la Bayerische Staatsbibliothek di Monaco, una delle più importanti biblioteche d’Europa.
<Asemica> è un aperiodico dedicato alla scrittura e all’arte asemantica in veste di assembling magazine. Nel primo numero il testo critico “Verso la scrittura asemica” di Cecilia Bello Minciacchi e opere di Francesco Aprile, Julien Blaine, Antonino Bove, Cristiano Caggiula, Giuseppe Calandriello, Federico Federici, Giovanni Fontana, Marco Giovenale, Lamberto Pignotti e William Xerra.
<Asemica> è archiviato anche presso Mart – Museo di arte moderna e contemporanea di Trento e Rovereto, FONDAZIONE BONOTTO di Colceresa, Vicenza, Biblioteca della Collezione Maramotti di Reggio Emilia, Fondazione Berardelli di Brescia e Biblioteca d’Arte del Castello Sforzesco di Milano.
georges perec inedito: e leggibile in rete
good news da Florence Trocmé (Poezibao):
è online utsanga #32
www.utsanga.it online il numero 32, giugno 2022, con opere di:
Anna Boschi Cermasi, Francesco Aprile, Gianluca Garrapa, Andrea Astolfi, Antonio Francesco Perozzi, Almandrade Andrade, Silvio De Gracia, Alejandro Thornton, Belén Gache, Claudio Mangifesta, Débora Daich, Fabio Doctorovich, Luis Pazos, Norberto José Martínez, Michael Betancourt , Terri Witek, Jim Leftwich, Ilyas Kassam, Ronald Lubega, Hannah Mitchell, Yuri Bruscky, Andrea Alzati, Stefano Lanuzza, Giuseppe Calandriello, San Giorgio Cibernetico, Carlo Bugli, Cecelia Chapman, Francesco Cane Barca, Volodymyr Bilyk, Baiwei, Paolo Allegrezza, Carmine Lubrano, Julia Rende, Mark Young, Richard Kostelanetz, Dawn Nelson Wardrope, Stephen Nelson, Antonio Devicienti, Texas Fontanella, John M. Bennett, Mario José Cervantes Mendoza, Vincenzo Lagalla
nasa’s webb delivers deepest infrared image of universe yet
https://www.jwst.nasa.gov/content/webbLaunch/whereIsWebb.html#ssdItemDetailPanelImageWrap
#1 – Deep Field: SMACS 0723
NASA’s Webb Delivers Deepest Infrared Image of Universe Yet
Status: 1st Image Preview Released 7/11/22 ~5:30pm
NASA’s James Webb Space Telescope has produced the deepest and sharpest infrared image of the distant universe to date. Known as Webb’s First Deep Field, this image of galaxy cluster SMACS 0723 is overflowing with detail.
Thousands of galaxies – including the faintest objects ever observed in the infrared – have appeared in Webb’s view for the first time. This slice of the vast universe is approximately the size of a grain of sand held at arm’s length by someone on the ground.
- President Joe Biden unveiled image of galaxy cluster SMACS 0723, known as Webb’s First Deep Field, during White House event Monday, July 11
- Webb’s sharp near-infrared view brought out faint structures in extremely distant galaxies, offering most detailed view of early universe to date
- NASA, partners will release full series of Webb’s first full-color images and data, known as spectra, Tuesday, July 12, during live NASA TV broadcast
teatro: oggi h. 14, radio onda rossa, “scarti nobili. beatrice cenci”, di roberto agostini
Tutta Scena Teatro ★ Radio Onda Rossa 87.9 fm
martedì 12 luglio 2022, ore 14:00
● SCARTI NOBILI
Beatrice Cenci, donna contemporanea
scritto e diretto da Roberto Agostini
con Annalisa Picconi
musiche originali Dimitri Scarlato
L’11 Settembre 1599, a Roma, fu condannata a morte Beatrice Cenci, poco più che ventenne, con l’accusa di aver ucciso un padre brutale ma nobile, quindi intoccabile (la violenza carnale prevedeva allora la pena capitale). Già condannato a pagare multe onerose allo Stato Pontificio, egli continuava a reiterare i suoi abusi anche nei confronti della figlia.
Stupri e omicidi a sfondo sessuale, fra le mura domestiche e non, fanno ancora parte della cronaca quotidiana e spesso, se a commetterli è qualcuno che detiene potere, costui ha la possibilità di uscirne quasi del tutto indenne. Fu forse anche questa l’intuizione che portò l’inascoltata Beatrice a farsi giustizia da sola? Lo spettacolo si focalizza su tre aspetti: la sopraffazione del più forte sul più debole, il potere che fagocita ogni principio di giustizia, una società che continua istituzionalmente a sostenere un’eredità patriarcale che spinge da secoli a omettere tutto ciò che l’uomo compie di nefando nei confronti dell’universo femminile. E’ un racconto fatto da una donna contemporanea che, come Beatrice, subisce una violenza sessuale all’interno del proprio contesto familiare, vivendo in solitudine il proprio dramma. Una commistione fra antico e moderno che ci riporta ad una giustizia ancestrale. L’atroce gesto di Beatrice è simbolo e catarsi di una disperata ribellione del femminile di ieri e di oggi.
http://archive.org/details/Radioteatro.ScartiNobili (40′)
info
https://www.positanonews.it/2010/04/roma-teatro-dellorologio-scarti-nobili-beatrice-cenci-donna-contemporanea/8741/






