Archivi tag: note

la scrittura per sé stessi come riflesso del discorso interiore. qualche esempio / lorenzo tomasin

nuovo post sul blog ‘esiste la ricerca’: silvia tripodi scrive sul “libro della memoria e del continuo”, di mario corticelli (+ estratti da quest’ultimo)

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https://www.mtmteatro.it/silvia-tripodi-nota-sul-libro-della-natura-e-del-continuo-di-mario-corticelli-declic-2024/

an autobiographical text by jim leftwich (shared online by john m. bennett)

Here’s an excerpt from Jim Leftwich’s autbiographical afterword to his latest book, PIT SWAN & ORBATE WRITING

Remember What You Can

 
Jim Leftwich

 
In the fourth grade I was given an aptitude test which determined (among many other things, I would assume) that I had absolutely no aptitude for music. That’s the only thing I remember being told about the test. That would have been 1966 or 67. It was beginning in those days to sound — and look — like music might be a significant alternative to the war in Vietnam. The counterculture was saying no to the draft, and rock n roll music was spreading that message to all corners of the country. Music was beginning to tell young males like myself that another world was possible. It wasn’t the job of a fourth grade teacher in Amherst County, Virginia to encourage that way of thinking.
I went away to college, dropped out after four years, and went off rambling around the country. Every now and then I would drop in on my parents. My mother would be at the dining room table, listening to the radio. We would drink a few beers, tell each other some stories. She said, you are volatile, do you know that? I said no, not really. Yeah, sure. I guess I know. Maybe it was only a matter of the multitudes of selves. Some of which were surprises. She said, Please Come to Boston, do you know that song? It reminds me of you. I said, I don’t know. Maybe. It was the seventies. In matters both personal and political, I had no idea of what was coming. She said, Against the Wind, too, reminds me of you. I said, well. Ok. If you think so.
The eighties was a poisonous decade, acid rain falling on a nuclear time bomb, death squads funded by designer drugs. Killing us again and again. Surrounded by strangers I thought were my friends.
It’s New Year’s Eve now, 2024. Sue and I are camped beside the Colorado River, on the Arizona / California border. I’m not sure I would have made it through the eighties if Sue and I hadn’t met.
There isn’t much wind here, just enough for us to notice it, barely moving through the mesquite trees. There is always everything to be new, and nothing to ever be anywhere other than the present.
I’m a little worried about the coming year. I’ve been worried about the coming year for as long as I can remember.

exploring the fediverse

I’m exploring the looking for Italian and/or .EN and/or .FR — and traces of too.

But it seems like very very few people dealing with that kind of stuff live under the fediverse free flag. (Is anyone out there?!)

I have (and I like and use a lot) my space here: @differx

While (absent) echoes received by my account in https://poliverso.org/profile/differx are showing me quite the opposite of an artist-overcrowded area. I find there are great political posts by The Globalist and Radio Onda d’Urto, ok —and (for now) that’s all.

Well. I’m slowly scanning the fediverse here and there but I think I’ll never use some of the (undoubtedly interesting and useful) account I set up.
E.g., I see there are very few pieces of asemic stuff in diaspora. I found this one, https://diasp.org/posts/6812084 by Lucinda Sherlock, yes, and it is a gorgeous work, but it has been published seven years ago.

Some zones of the fediverse resemble a desert.

I go on exploring & I’ll tell you if pools of actual water surface…

notes / miron tee. 2024

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note />false master / miron tee. 2024

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note />false master / miron tee

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two notes by miron tee (2023)

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la camera verde: programma delle attività e proiezioni di dicembre 2023, annotazioni di gians

CENTRO CULTURALE LA CAMERA VERDE
…dal 1999…
 in Via Giovanni Miani 20,  Roma – t. 3405263877
www.lacameraverde.com      –       [email protected]

PROGRAMMA DICEMBRE 2023

Tutti i film sono in versione originale, non sempre con i sottotitoli in italiano.
 Ingresso libero con tessera annuale – Si consiglia la prenotazione.

Continua a leggere

note / miron tee. 2023

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roma, 3 marzo, studio campo boario: “asemics. senso senza significato”, di mg. presentazione di giuseppe garrera

Venerdì marzo, alle ore 18:00
a Roma, presso lo Studio Campo Boario
(Viale del Campo Boario 4a)

 Giuseppe Garrera presenta

ASEMICS. Senso senza significato

di Marco Giovenale 

(IkonaLíber, 2023)

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http://www.ikona.net/marco-giovenale-asemics-senso-senza-significato

Questa sequenza di annotazioni, fuori da ogni ipotesi di esaustione, propone un possibile itinerario attraverso la storia delle espressioni “scrittura asemica” (o “asemantica” o “desemantizzata”) e “asemic writing”; e inoltre offre alcuni elementi di teoria che configurano l’identità di questa pratica artistica come «macchina di disorganizzazione e disintegrazione del significato ad opera del senso stesso».
                   

Libro con immagini di:
Rosaire Appel, Anneke Baeten, May Bery, Marcia Brauer, Axel Calatayud, Cecelia Chapman, Tim Gaze, Ariel González Losada, Michael Jacobson, Satu Kaikkonen, Paul Klee, Karri Kokko, Jim Leftwich, Arturo Martini, John McConnochie, Miriam Midley, Stephen Nelson, Laura Ortiz, Ekaterina Samigulina / Tae Ateh, Lucinda Sherlock, Jay Snodgrass, Lina Stern, Miron Tee, Cecil Touchon

Evento facebook:
https://www.facebook.com/events/731660138335394

Ulteriori informazioni:
http://www.ikona.net/marco-giovenale-asemics-senso-senza-significato/

https://slowforward.net/2023/02/20/asemics-senso-senza-significato-ikonaliber-cenni-di-storia-e-teoria-dellasemic-writing/

Anteprima:
https://issuu.com/ikonaliber/docs/asemics_anteprima

Pagina facebook:
https://www.facebook.com/giovenale.asemics.ikonaliber

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alcune annotazioni per una possibile replica ad un articolo su ‘l’ospite ingrato’, n. 12, lug-dic 2022

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quarta di copertina di Prosa in prosa, disegni di Enrico Pantani, https://ticedizioni.com/products/prosa-in-prosa

Nell’ultimo numero (12, lug-dic 2022) della rivista online del Centro Franco Fortini, “L’ospite ingrato”, compare un articolo di Claudia Crocco intitolato Poesia lirica, poesia di ricerca. Appunti su alcune categorie critiche di questi anni (che rielabora un testo già comparso nel 2014 su LPLC).
Nell’impossibilità da parte mia di strutturare ora un intervento ampio che possa riflettere su quanto quel testo riporta, un’idea (spero non troppo balzana) che ho tradotto in atto è stata quella di attraversare in viva voce, rapidamente e informalmente, quasi dialogando, alcuni dei temi toccati. In modo da offrire, nella maniera meno accademica e più svelta possibile, una serie di annotazioni e tentate puntualizzazioni, che propongo qui a chi legge (e ascolta):

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Pensando possa essere utile, riporto poi qui di séguito i link ad alcuni saggi implicati tanto nell’articolo di C. Crocco quanto nella mia serie di notille:

Date e dati su “ricerca”, “scrittura di ricerca”, “ricerca letteraria” [prima parte, uscita nel 2021 sul “verri”]
https://www.academia.edu/85155587/Date_e_dati_su_ricerca_scrittura_di_ricerca_ricerca_letteraria_prima_parte_

Carlo [Bordini] in bilico [sempre 2021, “il verri”]
https://www.academia.edu/76568616/Carlo_in_bilico

notes_220626_144254 / miron tee. 2022

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