Salami of the Pope, or english or turkish, or chocolate, o. .. anything you like!
Ingredients for 6 persons:
butter 125 gr biscuits or breadsticks 200 gr icing sugar 120g cocoa 50 g aromatic liquor (rum, etc) 1.6 dl 1 egg
Let the butter soften at room temperature into pieces. Crumble the biscuits by putting them in a cloth and beating them with a meat pounder. Work the butter in a bowl until a soft cream, then stir the icing sugar and cocoa powder and then sieved to teaspoons rum. Beat the egg with a whisk until frothy and add to the mixture gently, then add the crushed biscuits. On a sheet of baking paper have the dough and give it the shape of a cylinder, then wrap it up like candy. roll it in aluminum foil and place in refrigerator at least 2 hours before serving in slices.
ART IN TRANSIT. Urban landscape and contemporary art and marketing
Art in Transit . urban landscapes and contemporary art the project created and curated by myself and Joseph Basilicata Biscay to 1799, financed by the Basilicata Region, is the very last stages. Scheduled lasted until September to November, making the city of Potenza protagonist of an intense artistic and cultural experience: the culture and contemporary art have come into close relationship with the people, architecture and urban landscape. We can say, despite the great effort, pleased with the achievements and awards. The large participation in the initiatives, the assessments and eco national press and media emphasize success. I think it's possible to take stock and draw some considerations. The extensive and detailed project has used the participation of artists national, international and Lucan, as well as eminent personalities from the worlds of art, culture and society that have ensured the highest level. I think the strength of the project has been the basic approach and consistency of content that have traced a shape so unique and original. The subjects were placed on complexity of the contemporary city and its existential dimension. It was given a vision of culture and art but not abstract or ephemeral contact with the immediacy the life of the city, a "transit" for excellence, combining reflection with practice.
The project divided into six sections, gave birth to a vibrant exchange of views and proposals of artistic culture. I want briefly retraces the route to indicate the large number of initiatives and individuals involved, the organizational complexity and recall the good things and significant to so many people participated. Section Arts in Transit, edited by Incontri Internazionali d'Arte Rome, has made four site-specific works of art with the participation of artists such as Daniel Buren , Studio Azzurro, White and Michele Iodice Valente, four interventions devoted to some symbolic places of the city: the bridge Musmeci, inspired Daniel Buren, while the steps of the People was the seat of interactive installation by Studio Azzurro, which recalled an old tradition of fireworks at power, Fano, and the couple of artists White Valente has revived, with a net light - nervous, the old and abandoned building of the former provincial library, and Michele Iodice scored with a perfect labyrinth park Pawell Baden. Section Learning cities, has sought, with workshops and seminars, which are the search for new interpretative criteria of the contemporary city. With the architect Franco Pure 20 young people, including architects and engineers have implemented some design ideas for the redevelopment of a disused part of the old industrial area of \u200b\u200bPotenza, ex cipzoo to think of it as a city of art and culture. The Topotek1 known group of architecture in Berlin with leaders Martin Rein Cano, led the workshop with 20 young creatives entitled "Landscapes for a temporary new look of the city, on the most pressing issues and current architecture and art, the possibility of upgrading the public spaces. The workshop concluded with the installation the "Train botanical, made up a train of FAL (Railways Appulo Lucane). A true hanging garden mobile, traveling between the power stations, has made unprecedented see visions, real and imaginary. Meeting and discussion with the great figures of contemporary culture on issues concerning the city and art have been at the center of the section Narratives urban with seminars and meetings with Massimo Cacciari, Mario Perniola Marc Augé. The eye and the gaze, and the section Steps edited by Dario Pinton. a course - training course for "translators" cultural art which was attended by 15 people interested in contemporary art forms of communication. With the section Dance and urban landscape, architecture and some unusual places in the city were the protagonists of the aerial dance of Retouremont , the palaces of Piazza Mario Pagano, theater and dance Osmosis , the filing of ferrioviario FAL. Section Warning care city was given to groups, young and creative artists of Basilicata. There was the workshop organized and curated by Journeys Sound - Art Factory Basilicata Potenza_SoundScapeS which sought to test the relationship between the city of Potenza and the universe of sound. At the workshop co Stefano Zorzanello and Albert Mayr , Musicians and composers of the top experts in the field, and was attended by about 20 young people interested in the world of sound. Were carried out a laboratory that has built a sound map of the city, installations, sound walks, meetings, events, exhibitions, concerts, among the guests Murcof , one of the musicians more interested users of the electronic music scene in the world. With Pubblicinvasioni by Amnesiac Art, has made the laboratory edited by Marcello Maloberti , which involved about 15 young artists on the art of Basilicata invasive, has played in the competition "Pubblicinvasioni" that has turned parts City Power in an open-air museum and the invading advertising posters. not without interest to the photo exhibition Salvatore Laurenzano entitled "Branching", which evokes presence - absence in the city (the nature and trees) exhibited in the way of the escalators in via Armellini. Much more has been done. And 'being published the catalog published by Electa. For information and gallery will go to the site http://www.arteintransito.it/ Remarkable! you might exclaim. Quite a few 'work. In addition to the overall success - the audience of experts and does not seem to like it very much - what is particularly excited about the continued presence of many young people (in hundreds) who have attended the workshops, workshops and activities that surrounded him to continue in the future. What I liked in general is the originality and quality of interventions and activities, but mostly he took the basic idea: not just a summer program, as often happens, but the development of a theme, a trip to 'internal problems of the contemporary city through various forms of art and thought. So a general consistency between form (design) and content (activity), which has made significant, meaningful and shared what has been achieved. That is no small thing in these times. It was produced so much material that does not is absolutely wasted because useful for the city and our region of Potenza, Basilicata. The idea of \u200b\u200bart in transit is strong and courageous idea, the hope is that we be given the opportunity to continue in the future given the success in terms of audience and critics and received national and international media coverage. The danger is, as often happens, that small corporate self-interest will ultimately prevail.
I'm back. This is the third and final part of the long post on the questionnaire that the Institute Parri and Home Movies are sent to a group of historians to argue about movies and family history.
Question Often there is the propensity to use the film as a family document which confirms already established historiographical argument. We believe that this can be a serious limitation. You can contact these sources asking new questions, criticize, and thinking of more uses ? It would be very exciting to compare the data and information collected through from different sources. Eg. it seems interesting to analyze and evaluate representations of families of spheres of political, cultural and social backgrounds to highlight the similarities and differences in lifestyles. Or use the film and photographs as documents that have the most often inadvertently recorded glimpses of urban space and landscape, and how they perceive their surroundings and lepersone you move. In this regard, it is useful to stress the effectiveness of a film to document these issues than other types of sources. Answer The application refers to a more general problem of the use of visual sources in history even though - according to my point of view - more for the telling of the story that the research itself. And, from this point of view, it is desirable use of visual sources not only as a mere instrument of representation of events, but also as the subject of new questions. family films are no exception. They are often used (for example in documentaries of the cycle we are history) as a lightening of the narrative, or as visual support in the narratives that involve the family. But their use may highlight new angles of the subjects already known, and a particularly effective: think for example the films of Péter Forgács. It is thus clear that, like any source of history, the ability of film to tell us something new family depends on the historian has to ask him leading questions. I agree with the examples made in the application, but other questions may be thought to be the films of family and imagined other processes shows that the family film so effective: for example, home movies of the sixties could easily be used to show the different "speed" of the "economic miracle" in Italy. I think very exciting research hypothesis might arise from the comparison between the performance (eg through the media of a certain age) el'autorappresentazione of an Italian family in this case the film could be (probably together with photography and private documents) a privileged source, capable of showing the gap, the distance, but also the gradual rapprochement between the two types of representation.
Question The film is a private individual look to the world, generally the eye of one person, spontaneous, free from constraints and controls direct, unlike the official film, such as current events. You can certainly say that the family movie is not subject to a body censorship. If anything, the complaints relate to the individual sphere, the taboos dell'autorappresentazione, mentality and personality of those films. For these reasons, the amateur cinema could prove, beyond a supposed authenticity, an important type of source, in some cases to document public events from a new point of view (unofficial) and in general to determine the perception that individuals or small groups of people whether in relation to historical context. One can conceive a story as dell'autorappresentazione sum of many different subjectivity, in this case a thousand eyes on the world, from which to draw reflections on reference models, recurring items and specificity? Answer As I said in my previous answer I believe that self-representation is one of the strengths of family films. However I would not be so sure that the representation of self that shines through the film the family is always "spontaneous" and "free from constraints." Indeed, it probably "revealed" some "constraints", or at least some conditions. There are two elements that I think should always be kept in mind: 1) the eye of a camera (and more generally any lens) produces two often reflected in who is taken: the immobility, the "pose" , or the wildness, the attempt to stir the rice, "show off". Of course, the two reactions relate to the individual psychological sphere, but I believe we can reasonably assume that there is also a social conditioning and "technology" (eg, Family films shot in Abruzzo in the late forties and fifties, who often gets framed is "posing" as in front of a photographer, and this type of reaction is particularly common in the poorest social classes, which are less comfortable with the technology of recovery). Still remained the question of the influence "technology", as images of the most educated cineamatori is "spontaneous" and what is instead the result of an attempt - more or less consciously - to mimic a "style" of recovery? 2) the cameraman tries to represent the world according to their point of view, pouring in shot - so more or less consciously - all its baggage of social conditioning, or, said another way, their "worldview". Thus, for example, the films of the family of a farmer in a small town in the province of Teramo - Mr. Renzi - dwell on the beauty of nature and the pleasures of country life: in his shots - accompanied by a narrative voice - the country life resembles a small Arcadia, despite the images portray a reality far removed from what is told. In those movies there is much interesting for the historian, from my point of view: the material conditions of life, of course, the gap between what is shown and the way it is said, but also the fact that the comment was not written by Mr. Renzi, but the priest of the small country (the Arcadian tone of the commentary is obviously the work of the parish - as evidenced by the choice of terms - but it is shared by at least cineamatore, although when it stops being written texts continue to follow the same narrative style). Question Keep everything? Selection criteria for an archive. there is already the risk of a glut of audiovisual material for historical research . The film joins a private to a wide range of sources. He added that the assets of family films and immense, even if hidden, inaccessible and for the total loss, if you do not involved with archiving. However, the Archive of Home Movies and the network of archives that preserve format movies are reduced in the face of limits space and resources. In those circumstances, especially in perspective, it all but impossible to collect will need to select the material. with the knowledge that a selection can be made only with valid criteria today, with the limitations that result from the tendency of the National Film Family is priority funds filmic older, collecting without discrimination all the material before 1950, and setting limits for material post 1950, with the strategy to raise substantial funds filmic that can, for example to document the evolution and changes in a family or more unrelated families in over the years and decades. What can be the role of the historian to determine the choices of storage? Answer The issue of selection criteria for an archive of family films is extremely complex and can hardly be exhausted in a response. In principle, I think I already said that historians and archivists should work closely together to be able to better define not only the general criteria for acquisition of materials in an archive, but also the techniques of cataloging. But more than answers, in this case I have questions about the selection criteria set out in the brief questionnaire. The first question concerns the date discriminating: why the 1950? It seems to me that this would risk losing all of the assets relating to the release of amateur cameras in a relatively massive, and therefore to draw on eyes and imagined in the popular media and the petty bourgeoisie that was previously difficult to access cameras, etc. . as a matter of cost. It is also clear that stopping to 1950 does not allow to draw on family memories the economic boom, a period of particularly intense transformation of Italy: the contribution of the family film for those years would be particularly interesting, since it would - in my view - to look into the transformation of the country in the making, comparing the new costumes , the different habits and different mentality to be defined by the persistence of an Italy more traditional. The second question concerns the organization of the collection: I understand that preference to substantial funds that allow a family to follow the events in a period of time as long as possible. I understand those who preside over this choice, but I wonder what can not be interesting but also those groups of films less consistent, both from the standpoint of the producer in terms of time. It seems to me that the focus of the household may be a poor choice from the standpoint of historical research. I try to explain with an example. We take a "common place" of the film family, marriage: what's more interesting watching all the marriages of a family over a period of time, or watch and compare the long period of time the marriages of many families of different geographical and socio-economic conditions different? In the first case we would know much about that particular family in the second, Instead, we would have a "split" of how the marriage had been living in different social strata and in different geographical areas. I therefore believe that the breadth of the collection is to be preferred as much as possible, of course subject to limits imposed by resources.
Yes, it's true. It's been a bit 'of time from the first post in the series. I'll try to be faster with the next. For now, I wonder with Troisi
And now we resume from where we had stopped.
Question 3 There seems to be a tendency of contemporary historians to consider the document for audiovisual content (image) rather than the form in which it was product. In the case of film amateur film are used almost exclusively video copies and almost never in the original copy only. seems to lack a specific expertise in analyzing the source in its intrinsic character, not directly related to the content, but the support (the film). Elements that characterize and give a specific form to document and describe it as such, and that in principle should be included in the rating. Often in reference to private cinema, there is, for example. the confusion between 8mm and Super8, two media that belong to a periodization only partly overlapping, but especially assume that a technique, practice, social use of amateur cinema different. necessary or desirable at least one training historical analysis of audiovisual documents, in particular the audiovisual heritage private? It might be useful rivspecifico a seminar to train new professionals?
Answer Who uses this type of source should be aware of the differences between the various camera formats, the different social customs that have been made of the tools of recovery and so on. Moreover, any historical source must be studied and used in relation to his time, otherwise you may run into anachronisms interpretation. However, there is a risk contrary, one of a kind of fetishism of the source that may restrict the possibilities analytical and interpretive. There is also a fundamental difference between the case study as a source of family films and their use as a means of narration: and if the former elements of exegesis of the source are central in the second I think they might be considered of secondary importance, although - of course - can not be ignored. When you decide to use a group of family films as a means of storytelling, he inevitably handling (editing, adding music, etc..) de facto change in the meaning and the original destination: the problem in this case it is to respect the content of the material used and not its form. Regarding the issue of training of the historical use of audiovisual materials, do not doubt that anyone who tries to use these analytical tools to form that will allow him to use that specific source. This does not preclude moments of confrontation with diverse skills are always welcome. As for the training of new professionals, I wonder what could be more than anything else.
Question 4 The family movie and a document produced in a well defined. Similar to written sources such as diaries, belongs to the private sphere, even if is in a different form at the semantic and syntactic. These visual records of experience (person / times / rituals / places), to investigate and compare with other documents for a historical reconstruction of family and his environment ("image only if it can not recognize and true or false ", L. Wittgenstein). How important are the visual memories individual for the reconstruction of the history of a large group as a social class? In what field of study especially family films can be useful? History and Social: family, the mentality, rituals, consumption, customs, landscape ...
Answer The use of family film as a tool for reconstructing the history of the families is only the first and most immediate uses to which they can do for the purpose of historical research. I think that they can be useful in a broad sense, for a history of society as a whole: they are definitely for the analysis of certain processes or events in the long run, such as, for example, emigration. In regard to the reference video Viewpoints on, on this very subject. But it is only one of the examples. All topics that are listed in the application may be I think, profitably through the extensive family film, too - I repeat - outside the narrow confines family. This is particularly true for highly cohesive groups: I happened to be working with such materials shot from the '50s and '70s in a small mountain village, very isolated. Through these materials emerge, rather than the history of the family of the operator in the strict sense of the country as a whole, taken almost as if the village community was an extended family: The objective of the camera only stops on the doorstep of the houses, right next to the meeting between private and public spheres. Regarding the question of the social classes, I am convinced that the use of family film could tell us a lot, provided you have enough materials. Perhaps the only area on which the film can tell us a little family history is the political: although adjacent to the fields of study such as political anthropology, may benefit from a similar source. For example, if there were pictures of parades or political demonstrations (and something there), I am convinced that they could tell us a lot about not only their organization but on the symbolic elements of the choreography and so on.
private cinema and history: a questionnaire and you have some answers
As you know, November 10 last year in Bologna was held a meeting on private cinema and history, organized by Parri and Home Movies. The meeting was interesting and full of ideas, and showed that, although slowly, even in Italy research on family films and their use in (and the) story begins to have a solid foundation. In the months before the organizers had sent a group of historians careful use of images in research and teaching in a questionnaire on private films: discussion of the game 10 is precisely those questions than answers. I think anyone who follows this blog might be interested to read both and I decided, therefore, begin to publish them. Are many and the answers (of course only publish my own) are not always synthetic. So I will post one at a time. With us for a bit 'of time, and I hope they are interesting reading. Andrea Sangiovanni
Question 1 National Film Archives of Family contains over 2,500 hours of home movies and amateur Italian shot from the twenties to the eighties of last century, films from all over Italy. Film crops in many cases through archiving projects in some areas to document mainly local memory. What use could be proposed for the historic research, education and communication / dissemination of this historic audiovisual documentation? It requires the historian to introduce, in general, their experience in the use of audiovisual and, if any, of the amateur movies. Answer believe that research, teaching and communication and dissemination of history can only benefit from the use of audiovisual materials, road, moreover, is now widely accepted and followed in terms of methodology, in daily practice by many historians . Regarding the use of home movies and family members are involved since 2004 in a project entitled Audiovisual Archives of Memory Abruzzese, created by the Department of Contemporary History of the Faculty of Communication Sciences University Teramo and supervised by Guido Crainz. The activity of the archive is in two different but complementary paths: 1) research, analysis and classification of family films that are studied as a source for contemporary history: This location has given rise to a doctoral thesis (Abruzzo between history and memory. The story and film images of family Annacarla Valerian) and some articles, including the one I published in "Contemporary" (No. 3, July 2008, a. XI) entitled The story in Super8. The "movies" family as historical sources. 2) The use of family and amateur film as a tool for telling the story: This led to the creation of short films that explore - at the same time - the power of family films as narrative material to illustrate the intersection of family stories (and local) with the national history, and the different forms that can be taken to tell history (and stories) by these means (we went from a more traditional didactic form of historical documentary to get to the documentary evidence and cross images).
Question 2 The film is a family and amateur audiovisual document, to be cataloged and stored, and thus become accessible, it needs a research and contextualization which consists mainly of historical document analysis and information gathering related to it, through the recognition of places and events taken, the context in which it was produced through interviews and questionnaires to cineamatore and / or family members. What role can the historian in this important process, where the first result should be a precise description of the document? E 'possible to think of operational convergence between historians and archivists? (...) Answer I think the question itself contains the answer: the role of the historian is obviously important in the study of materials and absolutely convergent with the work of archivists. However, it seems to me that limit the historical analysis of family movies and amateur at this moment that we could define exegesis of the source is likely to be limiting: Throughout this phase, although essential, is only preliminary - in my view - an analysis and, even Moreover, to the use of historical film family. Surely, however, the phase of cataloging the material is full of problems that require serious reflection not only on the tools to use for cataloging but also on the forms that the rating itself can take: and to solve these problems is needed joint work of historians and archivists.
you again in a few days with more questions and answers. AS
will be the day when projected "shadow time" at the multipurpose room of the province of Teramo. It will start at 17, and our documentary will be housed in a section of Abruzzo, Gianni Di Venanzo Award.
To celebrate (and curious) we offer a small advance, the first three minutes of the film.
Baaria who has seen the last movie of Giuseppe Tornatore? mean Having regard to the last frame, trying to extend its vision beyond what they got up and began to put coats and jackets and push to exit row seats were still flowing while the end credits?
who were able to catch those last sequences between the heads and bodies of the other viewers, you probably have noticed that in that final win on the reality of remembrance rebuilt memory: accompanied by the voices of the protagonists of cultural and political life Bagheria (Guttuso the painter, the poet Buttitta and others), on-screen images appear less shiny ones we've seen before, beautiful shots and less refined, but not for this less exciting. These are the images of Bagheria than once and not Baaria memory, and their grain, their trends and uncertain jumping suggests that individuals may be drawn from the film. Of those who do not know. I do not doubt that even those could be turned into a time away from the director himself, and indeed any attempt to find the frame effect makes me believe likely. But this is not the point. The point is that those images private either introduce a wide discrepancy with what we have seen so far. It is as if the act of taking leave from his audience the director says, what you have seen so far is what I remember and I guess, what you see now is what it was. Images then introduce private one-dimensional "real" memory, which reveals the fiction of the previous reconstruction without diminishing, but rather bring out its best: in perfect continuity, I would say, with the dream images that open and close the film. And if they introduce the theme of time, as summed up perfectly the other major theme of the film, memory. This is just a small detail, I do not know how significant for the overall opinion on the film. But I was impressed because I was brought to mind other uses of the cinema "private" within the film, and especially because I was reminded of two other episodes, which can add to this, are almost a little compendium of possible uses (or at least frequent) of home movies in the cinema of fiction.
Remember the beginning of Main Street by Martin Scorsese, the headlines? not? Well, here they are.
Here, it is clear, the private film is used to introduce the theme of remembrance. The director wants to emphasize that the story is going to tell us part of your experience, if not of his biography. It does this by using the fiction of a private film, visual motor for excellence memory and nostalgia. (It would then be asked why use a "home movie" and not a photograph but, I think, has to do with the social uses of amateur cameras: and maybe this will be discussed again)
Scorsese still use the family movie, for example does it in one of his masterpieces, Raging Bull. The film - and I say to those unfortunates who have not seen it - tells the rise and fall of Jake La Motta portrayed in a dazzling black and white. a look at the headlines to understand what I mean.
The only exception, the only times when the screen is colored when it shows some fragments of the family life of Jake, told through the use of their own home movies. I have not found the fragment, so you can trust. In those sequences the "movies" show us the few moments in the life of the boxer that are not dominated by violence, just good times emphasized the use of color in a poignant contrast with the black and white of the rest of the film. A few passages in which Scorsese captures perfectly the whole film full of nostalgia and family at the same time, contrasting them immediately to the scene of much hard home life, revealing the mechanisms of self-representation and thus, indirectly, their inherent ability to conceal the reality.
And so we return in Baar, which - once again - a film showing to grasp the nuances of meaning hidden in a simple family movie, if Scorsese introduced with the size of memory or put tension in daily life and imagination of everyday life, with Tornatore escape the past to perspective deformations of memory. It introduces a wonderful contradiction in a movie all based on your memory and nostalgia for the untried. "
we are pleased to announce that this year our archive, with some of its products, will present at the XIV International Prize of film photography "Gianni Di Venanzo" , held in Teramo November 1 to 15 and organized by the "Our Teramo. The award, dedicated to the memory of cinematographer Gianni Di Teramo Venanzo, has become one of the most popular cultural events in town and will this year host of celebrities such as director Liliana Cavani.
The first event is scheduled for Saturday, November 7 at 17:00 in the multipurpose room of the province at that time will be screened our documentary on Umbricchio Poggio, "In the shadow of time."
Thursday, November 12, however, always in the same place and at the same time, will be the turn of the three short videos dedicated to the earthquake in Italy made from the archive (L'Aquila: the memory of the future), several working groups Faculty of Communication Sciences, University of Teramo (Flying Eagle) and Francesco Paolucci, L'Aquila, a student of Master of Journalism Faculty of Communication Sciences and a practicing journalist (Diary of a known land-mutated).
ENOUGH ENOUGH ENOUGH. This shows the earthquake Abruzzo is becoming a disgrace, an insult to the suffering of Abruzzo and the Italians now slaves of a policy only spectacular, media and populist. The earthquake as a political advertisement and marketing for a prime minister with very different Rogne scratch.
What's new compared to the earthquakes of the past? None. In fact we expected much more and better since the passage of years has built something and something you learned at least as regards civil protection. It does not seem so, so much fuss about nothing. The earthquake of 80 dell'Irpinaia and Basilicata, of much greater magnitude, presented the same problems. Even at the time tent were planted and in some cases immediately prefabricated in a few months, the villages were flooded by prefabricated chalet, donated by many organizations and volunteers and made ordinances Zamberletti. Reconstruction was much more difficult and rather long.
short, the mass media cynicism - has no political boundaries. Politicians and journalists complacent, now transformed into menacing killer scandal (see Felt), which swarms. I am disheartened and worried because this degree of cynicism and intolerance is spreading in the most common behavior and is expressed on several fronts in everyday life, in relationship with next endangering the life of society.
I also understand that the outrage is not enough but that they should react in some way. Certainly it is difficult to find a political side (the ideals seem old thing) but you can react to seductive television, the trash talk of the populist, assuming an attitude of resistance, with the exemplary and consistency in their work, intellectual pursuits, exercising careful and continuous criticism and avoid being crushed, in other words the conformism more grim. Acquire, by exercise, a way of life guided by wisdom. I ask too much, I know, but be noticed because the path we are taking is fraught with dark uncertainties. If there is patience, discernment, focus runs the risk of being swept away by irrational passions or cynical indifference. The lessons of history (at least if you study well).
inspired by a news and events real life. The first I read on Repubblica.it strange reactions and concerns of mothers Verona against a Muslim girl in a public swimming pool wearing not the usual swimsuit (bikini or one piece) but a "burkini" more opaque. Who was on holiday in Muslim countries have seen very often women swim or stand in water completely covered. In addition to the strange fear of the little children of so and so many mothers apprehensive the Director of the pool asked the girl the composition of the fabric of the costume for reasons of hygiene. Here's the magic word: hygiene. We come to the second point. I was on holiday in Tunisia as many Italians. As always happens to chat and comment on what happens to you during the day . Conversations to pass the time, but sometimes useful for understanding the feelings and ways of living and thinking people.
You meet so many people. I noticed that the Italians are becoming more sophisticated and attentive to hygiene of others. Discuss expert meteorologists of the time, talk of food (such as wine tastings, cheese, salami etc.). Or are enthusiastic animation in which they participate as spectators or players, such as in various television entertainment (it is not clear whether TV listings copied from the current holiday villages or vice versa). Living now in a society of communication and entertainment if you are not an imitation of imitation, imitating the singer who sings, or do not tell jokes, etc.. etc.. that holiday is. The "Piotta" and "Tatiana" (big brother model) in these contexts are given arias viveurs refined and polished style and language establish new etiquette, so attentive to bon ton.
One of the most popular was just the women who were dressed in the pool with great concern for hygiene. Some ladies tourists (although that respect the culture of other places) were ready to swear that the women always wore the same clothes (carry words heard) without ever washing them and then swimming in the pool was hygienically dangerous. Hence some conclusions which I transcribe in a nutshell: the tourists are to be respected because they bring money, if you say international hotels can not confuse the locals with other Italian and European tourists, or, what is inevitable, we must sit at home (implying where c 'is a civilization).
omit to comment on these claims one by one. Rest on the question of hygiene. It is a critical step, because it becomes an opportunity for discriminatory insinuations racist.
Through hygiene can characterize a person as dirty (unclean) and untouchable, you can label a country but a continent. Now surely hygiene concerns personal behavior (I know many Italians poor hygiene), but sometimes you forget that poverty and scarcity of water (which is expensive in some places) can cause problems of ' hygiene. Not all over the cities and countries have the potential to provide clean drinking water to all homes.
Just step a little outside our own agenda and be a bit more curious to understand that being rich does not mean being more civilized (the civilization and culture are quite another thing). To return to my fellow travelers. I think it is good to apply standards of services tailored to the vacation signed contracts, express their views and discuss with others also questioned the way of thinking and living (which I do often). But perhaps it is best not to overdo it or giving themselves air Saputelli connoisseurs of life. Let's face it this is arrogance, a bit 'cha like those poor souls enriched by former want to be noticed at all costs giving himself an air of superiority. It is also a question style. We know noblesse obligation . To paraphrase a film Totò there arises the question: Gentlemen are born?
a little 'tired but happy, despite some slight disturbance continues to sail the full navigation Art in Transit. Urban Landscape and Contemporary Art , the project created and curated by me and prof. Joseph Biscay, Basilicata Association in 1799, which, since May, is giving power to the city of the opportunity to live a wonderful experience with art and culture.
We have also received great attention and many compliments and we are happy.
can not yet make a final assessment on what has been achieved, because after the August break the activities will continue developing as planned in September in some workshops and provides that the section attention - The care of the city , dedicated to young artists that will perform some of their Lucan artistic interventions on the city of Potenza. I just want to focus on one aspect that seems to me the important work we are doing.
Not only the great participation of the people is rewarding but also what is on the horizon. We're excited, in particular, the presence of so many young people who have attended or attend our laboratories and workshops, we can speak of hundreds, who urges us to continue in the future. What I like is the quality of interventions and activities, but above all you get the idea background. It was not our intention to prepare a summer program, as often happens, but to develop a theme: a real and metaphorical journey into the contemporary city through various forms of art and thought. So a general consistency between form (design) and content (activity), which has made significant, meaningful and shared what has been achieved. So let's see. Five workshops:
Each workshop included a series of activities in the artistic and spectacular to involve the city. you can not tell everything in detail, however, many good things, significant and interesting, exciting and curious.
Each workshop produced a map of the city relating to its subject and this is something very important that need to be developed in September to draw a map - profile of the city of Potenza, interacting the different experiments.
These days it is building the laboratory Potenza_Sound Scape (yesterday evening, the beautiful and sophisticated electronic music concert by Murcof) with the seminars and all the preparation to make the score "A dip in the Lake "by John Cage: collective happening by Stefano Zorzanello (^ 1 total European 23 to 25 July), a strange and" complicated "sheet that provides for the collection of sounds in 427 parts of the city. It was performed only once in the United States (1982 - if I remember correctly) and now in Europe for the first time. The preparatory work, which is open to musicians or not, has something great. As the score you need to locate at random places in the city and then go to pick up the sounds. In these cases it does not matter but the final execution path experiential for its realization.
For all other activities, I refer you to the site http://www.arteintransito.it/ , to scroll through the program to know what was done, what is there (like the four installations D. Buren, Studio Azzurro, Bainco Valente, M. Iodice, who are having a good eco national and international), what will be and why not, look around the gallery .
1. I love you not for who you are but for who I am when I'm with you. 2. No person deserves your tears, and who deserves will not make you cry. 3. The fact that a person does not love you the way you want does not mean you do not love you with all of herself. 4. A true friend is someone who takes your hand and touches your heart. 5. The worst way to miss someone is to be sitting beside him and know that you will never have. 6. Never stop smiling, not even when you're sad, why do not you know who might fall in love with your smile. 7. Perhaps the world you're just one person, but for someone you're all over the world. 8. Do not spend time with someone who is not willing to spend it with you. 9. Maybe God wants you to meet many wrong people before meeting the right person, so that when we finally meet, you know to be grateful. 10. Do not cry because something is over, smile because it happened. 11. There will always be those who criticize you, the only thing to do is continue to trust, being careful who you give trust twice. 12. Change to a better person and make sure you know exactly who you are before meeting someone else and expect that this person knows who you are. 13. Do not struggle so much, best things happen when you least expect them. Gabriel Garcia Marquez
Arts in Transit ... Massimo Cacciari, Augé, Marramao, Perniola ... Buren, stdio Blue ...
Good. Keep going ahead with the project "Art In Transit . Urban Landscape and Contemporary Art " conceived and edited by our association Basilicata 1799, organized labor is so and without Giuseppe Biscay, the tireless coordinator, everything would be much more difficult. The company is already hard but the rewards are beginning to arrive. It is concluded, in the city Learning the workshop with young architects, edited by Franco Pure, place power of innovation. Culture as a primary energy of the city in the globalization era . There was a beautiful production of design ideas, which will later be shown to the public to open an important debate over the city of Potenza. The presentation of the book News of Giovanni Battista Piranesi , F. Pure, published by Libra was a bit 'manifest our imagination to suggest that today runs the contemporary city and how to address some fundamental issues.
June 11, 2009 The open meetings of the Thursday , under Urban Narratives with Massimo Cacciari , which will be followed Marc Augé and Giacomo Marramao , Mario Perniola to try to understand what relationship is established between the city today, the daily life and various forms of expression and communication. I'm sure there will be food for thought and moments of provocation. Mario Perniola June 25 will present his latest book published by Einaudi, Miracles and Trauma communication, where it continues the work begun with Against Communication , from which I drew my motto for writing some of my post. For me it is an effort to try to understand what new categories to put into action to includes contemporary society.
I am very curious to see what happens with the impetuous creative team of architects from Berlin Topotek 1, June 16, in the section Learning city will off the workshop, led by Martin Rein - Cano for young creative Landscapes for a temporary new look of the city , which will end with the completion of "Train Botanical , wagons FAL Railways (Ferrovie Appulo Lucane). At this year's poetic estrangement will be invited passengers will climb aboard the train botanist, who with scents, colors and sounds will be proposed to conduct and stimulate the minds of travelers.
The train will pass through power, appearing and disappearing in its topography and the disguises that pervades it, in establishing an exchange that will connect not only people but also landscapes, real and imagined, on a trip in the countryside landscape.
short, the program is rich and stimulating June, the month will end with the dance area, a national preview, de the Companies Retouramont , Saturday, June 27
Dance des Cariatides. Dance Room subjective vertical en .
Wednesday, July 1, at 21.00, Deposit at FAL (Railways Appulo-Basilicata), Via Vaccaro, the Companies Osmosis present Transit . Monumental Chorégraphique Vidéo en espace public , under Dance and urban landscape .
And then July ... with Buren, Studio Azzuro ... and many others. For the curious you can always visit http://www.arteintransito.it/ , how much effort and certainly a lot of satisfaction and pleasure for everyone.
Arts in Transit in power. Aesthetics against Communication (10) Pictures of the earthquake
summer is approaching, the good weather returns and immediately get the urge to travel, move, give vent to the vitality dormant during the winter and this strange spring. Unfortunately for me you can not stand out so easily in flight. I engaged in a project really of great interest that I want to give some information.
What is it and how is it structured? Well is a project that aims to explore the relationship between art and cities, focusing on the aesthetic look wants to actively involve an entire city. idea that my association Basilicata 1799, has matured over the years and today, thanks to the Region of Basilicata and the sharing of the Ministry of Heritage and Culture has become a reality. The foreground of contemporary art, public art and relational forms, such as particular expressions of socialization, communication and knowledge. The transit captures important aspects of the city (living) contemporary rampant individualism, the pain of loneliness, the inability to meet in public places where you can stop or discuss the hastily el'avvilente monotony. Outside the museum spaces art in transit (the city) becomes participation and sharing of languages, enabling the production of objects and processes. Transit brings into play new modes of perception, multisensory involvement, close relationship and immersive (Or invasive), participating with the work. Arts and cities, public and private space are correlated, so the art becomes an active way to cross the various scenarios and landscapes of the city in order to grasp the multiple dimensions and projected imagery.
section, which gives its name to the project, Arts in Transit, four artists were selected with International Meetings of the art of Rome, are called with the facilities, to deal with some emblematic places of the city of Potenza, perched more than 800 meters high. The sites chosen: a bridge, a stairway, a park and a library, places of passage, of rest and meditation, with one thing in common: each of them, however, is abandoned or is not cured. The artists involved in this matter are: French Daniel Buren, the group Studio Azzuro, Valente White, Michele Iodice .
The six sections ( Arts in Transit, Learning city, urban narratives, Attention, Dance and urban landscape, The eye and gaze ) which have shaped the project from different perspectives (reflection, learning and artistic intervention), will contribute to make the city of Potenza protagonist of a great event in which the 'Art and culture are the main players.
Among the participants as well as artists of unquestionable value, as already seen, there will be public meetings also with men of culture such as Massimo Cacciari , Marc Augé, James Marramao , Mario Perniola ; Architects of great value as Franco Pure the group of Berlin Topotek1 , with workshops for young creative people with the aim of taking care of aspects or parts of the city of Potenza. There will be moments of great spectacle of the urban dance Retouremant and Osmosis and involvement of young creative people of Basilicata.
few time the theme of the city was placed with such force. For five months (May-September) Power will become an interesting place for creative production and the encounter between disciplines on issues concerning the contemporary city.
a demanding and richly articulated that can really excite art lovers as well as the curious, surely all those who love culture and a picturesque region as Basilicata (or Lucania). For a more detailed site here http://www.arteintransito.it/
First Principle "Sounds confusing, uncertain light. Start a new day, is a darkened room and two bodies lying down. In front of me lost in a plain empty. early hours sharpening razors. by my side But you breaths; intimately and yet my remote
fluisci and you do not move.
inaccessible if you think about it, eyes I touch you, I look at you with his hands. Dreams blood between us and unites us : we are a river of heartbeats. under your eyelids ripe seed of the sun. The world is not real time is doubt only the warmth of your skin is true. In listening to your breath the tide of being forgotten the syllable of the Standard. " Octavio Paz
I can not watch. I can view pictures of the earthquake in Italy. Anyone who has lived in the middle of the earthquake of Lucania and dell'Irpinaia 80 is always lost in the face of so much pain, despair and rubble.
is hard not to remember and relive the moments of terror, sudden jerks of the earth and the soul, the despair of having lost some dear, or friends, the moral and physical frailty, the ' inconsistency of the future. Not having anything to cling to or a place of refuge, at the mercy of events and others who hope to have a bit 'of consideration for you.
The vigils in the evening with the radio on to hear what had happened in other countries, contact one way or the other relatives and friends living in other places affected by the same beast.
I was young at the time I was about 20 years, through college and backed by a strong political commitment. So the decision to throw himself headlong, with many volunteers immediately came from Italy, Emilia Romagna, Modena, who became the twin city of my country, one of the eight municipalities of the crater, in relief work and further efforts to reconstruction. How in many places in Italy we had set up a radio "free", as it was then, after co-op Radio Bella, who immediately restart it so as to make a point of reference for the organization of information relief.
Yet, despite the efforts, I feel that my memories (painful) have already lost thickness, decorated by a long exercise in forgetting.
The first night of the earthquake, I was with a dear friend of mine in the main square the country to sort the rescuers to retrieve old or inability, or fatalism were still in their homes in the historic center. Looking at the collapsed roofs and cracks in the walls I said anxiously, "how long will these images before my eyes?" And added. "How I wish it were already past twenty years."
Many years have passed and yet traces of the earthquake are still present in homes, in the minds and lives of the inhabitants of those countries. The earthquake was and is still perceived as a watershed between a before and an after, an earlier era and a new indeterminate and uncertain. For us young most of the time involved was a great surge of humanity and altruism. It was also the period of the encounter with reality harder and disillusionment a time past the immediate emergency. With the rise of interest relating to the findings and the corrupt climate of solidarity here is the emergence of attitudes of selfishness and opportunism improntanti characterized by even more pronounced than normal people who thought that the earthquake could be a ' opportunity "(opportunity for that?). This would have broken a common perspective, condemning these villages to the ugliness of the physical reconstruction and the continued neglect. Young people, Despite the false hopes and unrealistic reconstruction of industrial zones have continued to prefer other horizons, other countries or other Italian regions.
I can not watch these images are "obscene" because there should be. Yet here again, nothing has changed. Strange, strange country Italy the Italians, who know the address with compassion and enthusiasm times of emergency but have no ability to project into the future.
I can not watch these images are "obscene" for looting the journalism and political presenteeism "now I think about me. " It has changed little, as little more than hope. It would take a profound change in public anthropology. Maybe the Abruzzi will emerge now look out of our horizons. Citizenship strongly claimed by men and women, albeit in pain know to look towards the future with determination and stubbornness. Once the spotlight off the newspaper will be even harder and more uncertain expectations.
E ' the newest in the group who welcomes home and balcony still do not know to which family he belongs I called Gennarino though I suspect it is a girl perhaps a 'azalea I love him like a son
a child does not ask to be male or female love him, cure him
I recommend (especially to "sinistrossi) reading the article by Gian Enrico Rusconi press report of 03.16.2009 entitled That myth civil society . I find it interesting and challenging especially in times of election campaign systematically emerge when many prophets of the beautiful and good society. Not all the article have to be shared, to discuss the parts concerning constitutional reform even if they agree on the need to strengthen the democratic culture of our country, before (and I stress maybe remarked as implicitly stated by Ruskin) to attend a real anti-democratic tendencies.
shows only a few songs the rest I leave to your reading.
" In our country the relationship between civil society and political system has changed profoundly, to coincide with what I casually (ie without draw conclusions), political scientists and journalists call the" democratic populism "inaugurated by Berlusconi. In this context who the "people"? It is the people-of-voters, which is both unstructured and politically polarized than the traditional class divisions of society and to their traditional party-political projections. Social stratification, without losing its basic connotations of class, has become extremely complex due to the diversity of income sources and locations of work or precarious, for the variety of lifestyles and consumption, the self-perception and personal social.
no coincidence that Berlusconi's never speaks of "social class" but "citizens lucky / unlucky ',' privileged / deprivilegiati ', and the lower classes are no longer" working class ", but are composed of Who was' back. " The social homogeneity is created only in the immediacy (apparent) of the relationship between leaders and voters. It does not matter whether that relationship is likely to be a fiction, the media first "
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