Wednesday, September 28, 2011

Giulia Lamoni, saggio nel catalogo "Linea Mentis" [Galleria Raffaella De Chirico, 2011]





Testo di Giulia Lamoni per il catalogo di "LINEA MENTIS", mostra di Irma Blank, Eva Sørensen, Gaspare
Febbraio 2011, @ Raffaella De Chirico Galleria d’Arte (Torino)
[grazie all'autrice e a Raffaella De Chirico
per aver concesso di ripubblicare il testo, leggibile anche a questo indirizzo]

asemic movement, issue 3 (may 2010)



asemic movement is edited & published by Tim Gaze, tg @ asemic . net
originally hosted by СЛОВА (SLOVA) literary journal & Mycelium project: www.scribd.com/myceliumproject
May 2010
This version: Sept. 2011


Sunday, September 25, 2011

asemic movement, issue 2 (feb. 2008)




asemic movement is edited & published by Tim Gaze, tg @ asemic . net
& hosted by Vugg Books, http://vuggbooks.randomflux.info/
where no author is specified, the words were written by Tim Gaze
first edition: February 2008

asemic movement, issue 1 (jan. 2008)



asemic movement is edited & published by Tim Gaze, tg @ asemic . net
& hosted by Vugg Books, http://vuggbooks.randomflux.info/
where no author is specified, the words were written by Tim Gaze
first edition: January 2008

Friday, September 23, 2011

Wednesday, September 21, 2011

intrepid compositions / Rosaire Appel. 2011



X Locus: Cryptoporticus (Abluvion)-final / Jennifer Scappettone et alii. 2011

>> X Locus: Cryptoporticus (Abluvion)-final <<

First installed inside the tract of Trajan's aqueduct that passes below the cryptoporticus or basement of the American Academy in Rome in May 2011, this sound poem draws excerpts of visual/textual scores by Jennifer Scappettone performed live by the Difforme Ensemble (Marco Ariano (percussion and electronics), Renato Ciunfrini (sampler, contrabass clarinet, voice) and Roberto Fega (electronics), and vocals by Jennifer Scappettone, Ersela Kripa, and Karen Yasinsky) together with field recordings in Roman aqueducts (the Acqua Traiana, Acqua Marcia, and Acqua Claudia), discussions with community members about the vagaries of monumental Roman waterworks, readings from outmoded chronicles of Roman history, and decodings of the inscriptions to the underworld hovering in the courtyard above the Academy basement so as to plunge sonically into the infrastructure of empire and collapse.

"X Locus: Cryptoporticus (Abluvion)" animates the hollows beneath our feet. Choral utterances emerge from a blighted underground—montages of voices salvaged from the community and from pastoral poetry, the U.S. Environmental Protection Agency, and Lewis Carroll’s Alice—to sound the metamorphosing role of now-defunct aqueducts in feeding the city, spurring deviant behaviors and sieges of empire.

In the May 2011 installation, environmental media projections by Stephen Mueller and Ersela Kripa (AGENCY Architecture) and a conversant sculpted soundtrack of fountains and birdsong by Paul Rudy reliquefied the corridor that hosts a tract of the 1,902-year-old aqueduct while from a hole in the floor—opening onto the lit-up channel itself—Scappettone’s poem drew listeners into cycles of use, abuse, and disuse of infrastructure for the public good, portents for our postpastoral and near-apocalyptic moment.

Jennifer Scappettone would like to thank the artists, scholars, and staff of the American Academy in Rome for their voices in the work. Special thanks to Mona Talbott and the Rome Sustainable Food Project, Gianni Ponti and Roma Sotterranea, Ted and Michael O’Neill, Andrew Riggsby, and Lila Yawn.

  

Tuesday, September 20, 2011

The Biennale de Paris, a parallel, underground and outlaw world of art


The Biennale de Paris was launched in 1959 by Andre Malraux with the purpose of creating a meeting place for those who would define the art of the future. After a hiatus of several years, the Biennale was relaunched in 2000. Since then it has not ceased in its efforts to unravel art from institutions. The Biennale de Paris rejects the use of art objects, which are too alienated by the market. It does not confine itself to a framework that would hinder its present actions or its political, economic and ideological evolution. By acting upon everyday life and its unfolding realities, the biennale seeks to redefine art by using criteria which rejects the idea of the artist as the sole protagonist in his work. Simply stated, the Biennale de Paris refuses to participate in today's conventional art world. By mixing up genres, exploiting porous frontiers and practicing the redistribution of roles, the Biennale de Paris allows art to appear precisely where it's not expected.

Calendar of lectures, discussions, operations

*

Monday, September 19, 2011

notilla



il kitsch è scatenato. in questi anni (cosa detta e ripetuta) la rete ha messo uno specchio davanti a ogni possibile detto e scritto; e ha portato moltiplicazione e crescita esponenziale di cose di sottobosco. (quanto lavoro implicano, e - perciò - quanta 'fede nel prodotto'...). (il disastro grafico e quello testuale sono legati: il non-gusto, prima che il cattivo gusto, li genera e ne è l'esito educante, educato). (netiquette, facebook oblige).

certo, si direbbe: "niente di nuovo". invece no: in termini di percezione è nuova, quantitativamente e dunque poi qualitativamente, questa roba. tanta. materializzazione del: kitsch, pacchiano irriflesso.

l'aria comune la somatizza. ne fa fonofanìe, figurette, youtube, monomanie, pop-lit, shit-lit. (litless).

e - questo - raddoppia il problema: mainstream critico-letterario da una lato, sottobosco kitsch dall'altro. con frequenti passaggi e prestiti da un'area all'altra. (dieci-venti anni fa sarebbe stato impossibile o rarissimo leggere la spazzatura che ultimamente addirittura major o case editrici piccole-e-di-qualità diffondono, gettano nelle catene distributive generaliste).

d'altro canto, non solo (molt)i critici non segnalano quello che sta succedendo o è già successo, ma benedicono/cooptano voci in iniziative, riviste, testi. hanno già somatizzato. sanno che dovrebbero riprendere a leggere e giudicare, per poter selezionare nella (e contro la) quantità pura. lasciano allora il filtro all'utile (loro). non è necessario leggere chi già ti sta servendo, basta che serva.

Sunday, September 11, 2011

There have never been really solid lines demarking where Fluxus starts and stops


What is Fluxus? What is not?

There have never been really solid lines demarking where Fluxus starts and stops.

To my mind there are some things that are clearly Fluxus and others that are clearly not Fluxus, but there is a heck of a lot of grey in between. For example, I am not currently aware of any pure audio art (sound art without a background event score or visible performers) that was made or exhibited during the first Fluxus era. But I think that sound art is the ultimate expression of Intermedia, and Intermedia is/was fundamental to understanding Fluxus.

The writing of event scores, performance of event scores, fluxboxes, fluxkits, and the type of work typically included in a fluxbox (visual poetry, experimental poetry, drawings and texts, small found objects and multiples) probably constituted the majority of work that could easily be classified as Fluxus. But even in the first Fluxus era, the scope of Intermedia and work presented as Fluxus by its practitioners extended beyond those forms.

In the era of the Internet the world of Intermedia has become the new normal. It seems only natural that the combination of technical media intersections and online social networking should lead to a renaissance of new Fluxus that while not the same as the old Fluxus, is never-the-less a natural extension of it. I believe that the group of artists that I am associated with is a natural extension of Fluxus, and that we are indeed a legitimate new Fluxus community.
   
Allan Revich

these are words

http://flumembrain.blogspot.com/2011/08/these-are-words.html

Saturday, September 10, 2011

exotica 4



in termini di crisi la nazione prospera sicura di bellezze
scopette cerca di mangiare quando mangia "Sistema gli occhi ad occhi aperti" cosa succede alla vigilia, prima:
"Morìa colpevole di a) opposizioni in tempo reale 2) ribelli a quattro mani 3) non il tempo ma la perseveranza, perché i giovani sembrano ancora più giovani, non si possono tenere 4) gli attriti verificati 5) a cn ce n'è eccome, ti sorprende
Tutti: stanno dicendo cose diverse, ma prima, la vigilia: cosa succede
Maschie intorno al corno. drenare. qualsiasi suono in ambienti diversi dal principale cala in senso generale: aerodin non premessi l'intossicazione il rispetto gli altri (giocare con quelli lo sentono come un apparecchio si drizzano a vicenda per il tono o per l'odore. le caratteristiche dell'incidente:
gira per chiedere spesso "passione-based"
In termini di vestibilità difficile conservare si tenta di regolare insieme le cuciture (con l'altra stimolare i componenti suturare i fenomeni specie uno. resta dove sei