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and the newspaper on March 6, 2011:


what else to say?

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There is no limit, there is no shame

by the newspaper on March 2, 2011:


The innocent (?) Claudia Preston (one that does a piece for Culture, Shows, but does not read any news pages is to blame? well, for me, but she also applies to Article 21 of Italian Constitution ...) sings the wonders of the new space available to artists ... I say no more, I would be scurrilous: read older posts and get an idea on their own.

"What a pity, that nostalgia,
to look into your eyes, and tell another lie ..."

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here's why!

From Gazzetta del Mezzogiorno
of February 25, 2011 (yes, the Journal, that we boycott and censorship ...):


now what I mean many things ... type:

Frisullo what did and did not answer when I phoned (request the "escort" perhaps paid by Tarantino ...);
meeting because the committee were not followed in via Zanardelli real actions in favor of the proposed Law on Regional 'crafts ( request the "escort" perhaps paid by Tarantino
...); because the evening a concert in the square of the Greek Church of Lecce, next to his fourth wife, Rita, staggering with fatigue and closed his eyes formulating responses to my questions ( request the "escort" perhaps paid by Tarantino ...);
why not just me or association New center to wait for the active involvement of the former regional vice president in favor of any proposal for a regional law (Emily to ask what we have been bad indeed Read the newspaper clipping on here ^ ^).

PQM:
Vaffa **** LO!

well, it was months and months and months still waiting for this moment, Pardon the "poetic license" ... :)

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"who want to: Jesus or Barabbas?"

the newspaper in Lecce on 19 February 2011:
And this, instead the full text:

add another piece to the picture (case Inguscio, Lottery Sant'Oronzo Iskenia, rents of local municipal, etc.): the granting of the former Royal Horse Street Station Lequile.
After several past and downs, the Laboratory TRACKS TRACKS Association now - contemporary art, has been that good in order to organize free loan its events for the arts and crafts and the art community, the project "O 'AIR Artists in residence: filing of the draft September 24, 2010, opinion of the Technical Administration of the October 22 Council Resolution of 29 October Opening Dec. 22. The project, namesake of a real initiative that has doggedly pursued since 2006 by O 'in Milan (with which our course has nothing to do - copy and paste also works for those who suffer the ravages of artistic plagiarism via web ...) calls plus € 25,000 to the City as a start-up costs and even suggests the patronage of contemporary art and craft art (sic). All of these steps, not to generate "nuisance" curiosity, were concluded at the speed of light, while many other projects, original and shared, the discomfort against the state of traditional artistic craft sector and the pitiful state of the old town, lying left on their own since 2008.
These "entrepreneurs" who risk capital and that public land use planning done in the ante instead of Aldermen and City Council in favor of a few cronies rather than in favor of the city, are simply a disgrace. In Bari, the City Council has made the announcement on February 1 loan of use or rent-subsidized rent of its premises vacant : an egalitarian way to manage public goods now unusual for Lecce and Lecce.
We remain astonished in front of such unequal treatment, facing oblivion for some ideas for other exaltation: that's not how you do it, so that the fruits of all this are plain for all - let alone the the lack of original ideas and arrogance demonstrated by the facts.
Association New center is always ready to face the clear and unanimous, unless the treaty and exchange of personal favors, if someone is willing to talk about these issues without interest workshop, renews the call for dialogue with institutions, artisans, artists and public opinion calls this administration to avoid the use of formulas "objective assessment of the merits" or "public utility" to continue what they already do, and no alibi autoincensamenti.
now is not "shake the water" to see it cloudy: even real estate, we are in Lecce in the mud.

1-0, ball in the middle

the "project" Traces of ...

Resolution ...

Association O 'of Milan, which organizes the AIR Artists in residence 2006 ...

... but that effort! :)

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Stay tuned ... :)


Hasta la Victoria (Silvstedt?:) Siempre! I'll be back in a while ...

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'Moreover': conversation with Fiorangela consideration

of Doriano Fasoli

Fiorangela consideration is Professor of Psychology in the Faculty of Arts, University of Salerno. It has always dealt with theoretical and epistemological issues concerning the relationship between the sciences and the creative arts. In the specific context of the psychoanalytic theories studied in particular the thought of Ignacio Matte Blanco's theoretical bi-logic, on issues that concern the study of the links between rational thought and emotional thought, and related forms of knowledge. As regards the influence of emotions on cognitive processes has explored issues related to the field of art and literature in the light of aesthetic styles and different poetic. Among his most recent works: the two volumes edited by Anna Gorres in 2004 mind and thought. Meetings with the work of WR Bion premium (degrees) and Emotions between cognitivism and psychoanalysis , 'Emotions and survivors: the origin and the consciousness of time "(2007); In the gardens of literature (2009) , "Time, consciousness, the ecstasy" (2010).

pretext of my meeting with the researcher (who lives in Rome), the recent publication (at Anterem editions) of his first poetry collection, entitled addition (with gestures of signs of Nelio Sonego).

consideration, we start just with the title: What do you suggest "further"?

also add that it is an adverb here is intentionally not used in its specific value, but as a pure signifier, removed from ordinary language and used to indicate the independence of poetic language from the context of reality, but also, on the contrary , its connection with a real potential, which is not, is not represented, nor can be described and shared in the customary forms of speech communication. That said, can also be regarded as a criterion of generative infinite variations on the uninterrupted flow and indistinct language, within which only can be the translation and the original deployment of the homogeneous which is the basis of all creation and the more poetic language.

She mainly studied the relationship of psychoanalysis to the philosophy and the sciences, and, in general, is interested in the connections between art and science. What place in this context its poetic experience? And when he discovered the need to speak poetically?

I raised several times in my scientific work the vexed question of the place of psychoanalysis in science or in that of the hermeneutic disciplines that, in my opinion, should be resolved in than that for the position. The misunderstanding that has led to numerous disputes over the science of psychoanalysis began with the finding that the statements of psychoanalysis can not be verified experimentally and are therefore not falsifiable in terms of the logic of science in general. According to this argument, attributed to Georges Politzer, Karl Raimund Popper and Adolf Grünbaum, psychoanalysis would not be classified as science. But the statements of psychoanalysis does not belong to the world the "truth" in the sense of science. They lie, if ever, in the forms of 'truth' complex, presumed, probable, partial arguments and mutable, what are all those from the production of sense whose reference concepts are not convertible into operational definitions. My interest in these two worlds, in different ways but not without fruitful communication between them (as clearly evidenced, among others, Robert Musil in his essay knowledge of the poet), took me many years to frequent criticism literature and poetry in particular. This allowed me to experience the "make poetry" as a requirement for a way to understand, learn and express themselves (according to the line for a long time pursued by Flavio Ermini and his magazine Anterem ) which is essentially 'other' than languages or scientific argument, but no less strictly intentional.

is a collection of poems intended for a particular audience?

do not think you should think of a particular audience. After all the possible levels of interpretation of literature and the arts are different, as there are different types of readers: the reader is in fact aimed at seeking the immediate meaning to the word or to give me an emotion that , which expresses Kant, a subjective assessment according to their taste, and there is the informed reader, which captures the different levels of a write-layered structure and therefore expresses a critical assessment. In the poem, rather than the meaning (which often, especially starting from the avant-garde, is not immediately apparent, even if there is), it is important to the horizon of meaning, which is always out of reach and always postponed. I believe that what primarily accounts in the level of poetry is poetry. The poem is indeed a "feel" thoughts, a think "otherwise" that the more "poetic", the more it departs from the perception of shared reality and the use of legal language, even when it becomes a reflection on his same language. So poetic thinking must be distinguished from each mode argumentative discourse of thought, while they must communicate with every other form of poetry, past and present, to be aware of where he is, what it intends to do and what he's doing. So the poem, as they thought and what writing is done mainly with consciousness, although his field of exploration is the world dell'inapparenza. In this sense poetry is paradoxical because it requires an awareness and rarefied at the same time an excess of conscience.

For Bion, the great British psychoanalyst, Bach, Milton, Beethoven were great psychoanalysts. What are the poets who believes psychoanalysts?

These three great artists are rightly considered by Bion psychoanalysts in a metaphorical sense. In fact, as should happen in the analytic relationship, they capture and activate primitive emotional structures and undifferentiated, and syncretic prepercettive, deployment and translating them into legal language of words and music, and thus making the incomprehensible comprehensible, accessible the inaccessible . From this point of view, any other great artist, may be worth the same speech.

When someone asked what it was Giuseppe Ungaretti's poetry, he replied: "Nothing" ... Do you feel in harmony with this opinion?

Compared to the 'truth' of science, that somehow, in relation to the hypothesis formulated and carried out the checks, it ended at least until he can always re-opening of the poem is a "truth" always open and unfinished, that can not be recludere between before and after, and within his trespass can also get lost in 'original form by taking immediate or not decipherable, because it is addressed to what flows apparently irrelevant. His path is a function of an ontology-free speech demonstration or argument, in context, produce communications involving truth or falsity and generate systematization. Ungaretti In this sense he is right when he says that poetry does not serve "to anything." But "nothing" mentioned by Ungaretti is provocative, since it states the opposite: poetry is not "about anything" just because it is released by the utility. The return of the poem is in that unknown that poetry itself can not describe in any way, but only groped to communicate.

What is a classic for you?

In answering this question it is natural to me to remember an essay by Thomas Stearns Eliot entitled, precisely, "What is a classic?" In which the notion of classic is defined primarily by reference to its historical perspective. Therefore it is necessary to go beyond the usual sense of classical identified in its value "relative", as the size and the luck of a writer as the author intended for a specific literature. A classic "absolute" is instead only for Eliot Virgil. Why Vergil? Because only Virgil, according to Eliot, he possessed that deep critical sense of the past, that is very aware of this and the complete maturity of mind and language, which characterize the classical ideal of being itself. In the analysis of Eliot, Virgil represents an extraordinary synthesis of a unique awareness and overall, the "conscience of Rome" (which is the basis of conscience of Europe), an awareness of history and consciousness be "the supreme voice of his tongue."

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A word about critical

Nicola D'Ugo

wire conduits of the items that make up the work of a critically engaged in their diversity of style and width, is the attention given to literature as capable of producing discourses on contemporary topics (love, diversity, fatherhood, war, democracy, technology, environment, city, casts cultural, communication, suction etc.).. What matters is a critical care literature, the ability of a text to stimulate questions and, also, to provide answers to questions, are answers to our requests for emotions che di idee. Una difficoltà della critica letteraria applicata ai testi contemporanei sta nell’individuazione della forza di un testo, a prescindere dagli interessi momentanei del lettore e del critico, dalla loro sfera culturale e ideale, dalla sensibilità che rivolgono a certe tematiche: in altre parole, dalla prospettiva del lettore che preceda la lettura.

Un grande testo mette in crisi, in genere, proprio quella prospettiva; in qualche caso, invece, le dà spessore, la approfondisce. Un buon modo di vedere un testo non è necessariamente anche la migliore prospettiva di un testo diverso; per cui è necessario, di volta in volta, imparare a guardare il mondo che emerge dalla prospettiva the text. Place in a very careful eye perspective is inadequate in a kind of blindness as seen by the most candid touch naive. The charm of the interpretation is to discover, from time to time, where you can see a better text and paths through which you can see it better and more direct. If the path is happy, one ceases to be a landscape view and begins to take on the appearance of a place visited, the fact that humanity, of those concerns, suggestions of those that once experienced is hard to forget. The text continues to speak without having need to read, it suggests and warns, indicating the open spaces beyond the narrow limits of daily life (Which is just, basically, a life that we happened to live).

In other words, is not happy to apply rooms Poliziano to the same standard of reading that can be happy reading Remains of Elmet by Ted Hughes, not because these works were written on different occasions, but because their perspective is essentially different, starting with the recurrence score and the continuous movement of the verses of the police and the wet suspension, which breathes and hovers between heaven and earth, free verse of Ted Hughes. Similarly, do not apply the same criterion would be happy to read The blue flowers of Raymond Queneau of Ulysses and James Joyce, or, in the same page, the Waste Land and Rhapsody on a windy night TS Eliot, for all these texts as nothing more than stories and points of view, more or less delightful pastime as boring or, at best texts unable to say anything other than what we would be willing to listen, although anyone can benefit from them for therapeutic purposes, and neither more nor less than a walk, a conversation among friends, to dip a rock. The greatest risk is to stick to a rigorous critical method of reading rather vigorous they have learned, applying it, the more older, the latest of a world constantly changing.

[ you can download and read the original article in the editorial format by clicking -> download PDF]

[posted in: News ... Backlight, No XIII / 7, July 2004, p. 18. ]

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generation phenomena


's Daily January 26, 2011 ^


the Journal of the South January 26, 2011 ^ ...

's Daily December 23, 2010 ^


's Daily December 22, 2010 ^

I think the song of the Stadium "Generating events" has not only a reference time, but finds his way to lick a "space" to
Lecce generate (and re-generate) "phenomena", hahahahahahhahaha ...
Characters in Search of an autograph ... stay tuned, the wave comes, do not feel it?

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Last interview with Emilio Garroni

of Doriano Fasoli

The following interview was the last one (I) gave the philosopher Emilio Garroni ( at the exit of volume Image Imagery ), shortly before his death in 2005.

is to Laterza recently released his new book: Image Imagery the latest product of his tireless activity. As we talk together? What is this? It is a book, I think, of new content, if we exclude his very first work, The Crisis semantics of the arts.

Yes, somehow it is true, even if indirectly, I have always dealt with these issues, the emergence of meaning, the sign of the complex cultural strategy and human. But here I take it head on. I must start by saying that everything we say here in the book is told plainly and intelligibly. This seems to me its real news, especially compared to that first book, which is full of notes, quotes, authors, and often unnecessary. I remember that Italo Calvino, which I appreciate it and used it for a story on the sign, I did notice. And since then I always follow his instructions. The last word is written as if you were talking to myself, there are well known and very few authors are mentioned in the text, almost exclusively classical, and the conversation comes to a player with great ability, from what I hear, to be understood . Badi, is not a popular text. But it is understandable for the reason that.

Now, the last book I start from the head, since the birth of the concept of perception. I call it the product of interpreting human perception, which is able to dissolve the ambiguity, the human being without an ability to capture feelings signs of equal magnitude in other animals. For good and even better survival, it comes just a perception interpretant, which recognizes objects beyond all doubt.

you mean that concepts are born with the perception?

Yes, they were created with the perception, even if they have different features, but not separate from the linguistic meanings and intellectual concepts. For example always depend on the perceived when building classes or quasi-class, not an intellectual conscience. I do not believe for example that can be said that those quasi-classes contain 'all' and 'only' members that their definition implies. In fact they are not explicitly defined, and 'all' and 'only' are precisely the elements of an explicit definition of the minutes, they gradually formed by aggregating the perceptual objects, and far more if we do not know, since it is a simple fact. And yet, no perception, no concept or meaning exist. Well I tried to define a kind of phenomenology of the concept, on which, if possible, I want to return.

And then there's the whole problem of perception-language report, which would be lengthy chase. I ask only one thing on this point. In that sense, every proposition language, you have just said, must assume some kind of perceptual representation? But language is not capable of powerful abstractions, far removed from the concrete perception.

Without a doubt. It is not my intention to limit the scope of the language scope of perception. I mean that a perceptive, sensitive global understood, is precisely what draws us in things in the world, all the same. Otherwise the language would speak of nothing, not abstract. Only that if some uses of language to refer directly perceived, others are apart, not ignoring it, but gradually transforming through similar procedures, for example by dropping some lines and keeping others.

She then dwells at length on the "figure" who would like to distinguish terminology "image" to avoid confusing two very different things to each other.

With "image" I mean the internal perceptual image, currently produced or brought to mind with "figure" its reduction and externalization.

For example, the image of art, figurative or not?

Yes, but I do not privilege the art images, even if they are a product outside of major importance. I prefer to refer to the use of shapes for different uses and quantitatively more prevalent: the symbolic, communicative, technical, design and so on. Well, in the case of the most typical, the predominantly visual, it must be fixed by a convention in a static form, while the image was built starting from the eye with a variety of looks that change continue their center of attention, little or across the entire visual reality from side to side. This is so dynamic, as opposed to the figure, which can revitalize itself only being played by a look into an internal image. The differences, however, some notable similarities in the case of Figure its ability to restore many aspects of the visual image in a figure in the case of the musical figure, on the contrary, this is radically different with the picture as a whole, but it retrieves the dynamic character, for example, by the counterpoint.

Back the question of the arts. She was professor of aesthetics and therefore can not be indifferent to the issue. Mistake or in his book there is a note of pessimism about the possibility of preserving the concept of "art" valid until a few years ago?

is not a question of pessimism or optimism, something subjective, but to consider the fate of the 'art' in modern aesthetic sense, as objectively as possible, that is, those 'art of engineering' or In short, produced by that talent can not be analyzed completely. It causes intense pleasure without them even see to the bottom of a justification, either in the rules that guide it well in part, or in the meanings it carries. So: the fate of fine art in general may not even suspect anyone, because there is beautiful art in general. There are several forms that you claim exists in various cultures and in particular what we consider beautiful art just because it has shaped our Western culture over the last three or four centuries. Well it is obvious that this kind of art is in a recession for some time, because the same artists also produce it in a different one. It is pessimism, this, or just finding things?

The last question to you concerns the scholar Maurizio Grande (who died tragically and prematurely in a car accident). Massimo exegete (in Italy) by Carmelo Bene, was his pupil and friend, I remember it save?

Maurizio Grande was, in a sense, above all, a dear friend, as well as my excellent student in the sixties-seventies (then still practicing the semiotics and Maureen graduated with me with a beautiful view on Prague structuralism ), then plug in Rome and Cosenza, and then professor of film history and criticism at the University of Siena, where she also taught theories and techniques of film language. Given the affection that bound me to him and that still keeps me from truly believing and all the way to his death, I will remember his personality schematically as a scholar.

Mauritius, as I have said before, was semiologist and aesthetic training, and never lost this habit even when he devoted himself mainly by historical and critical, even militant, cinema and theater. In truth he was not no alien territory of this universe. And he was a scholar, talented, knowledgeable and sharp, and extremely open and unbiased. His contributions in fact are not limited only to the phenomena theater and film the most advanced enough to remember that effect on his writings, and his collaboration with, Carmelo Bene, whence born that beautiful book that is Carmelo Bene, the circuit Baroque, 1973. (But I also recall at least The rescue of Lucifer , 1985, dedicated to experimental theater in Italy, as well as Eros and political , 1995, at Bellocchio, Ferreri, Petri, Bertolucci, the Taviani brothers). They also extend, however, never giving in to stereotypes sometimes indulge in the most sophisticated moviegoers, so to speak, the phenomena 'low' of the show ('low' in the rhetorical sense), drawing illuminating readings of a climate, a costume , a style, without which even the style of "high" buy a specific aspect (for example, has occupied the so-called "Italian comedy," 'the Iliad this country's frayed, the provisional canagliesco, indestructible and unchangeable, "he wrote in a book that Barbaro deserved the award in 1986 wedding dress and banknotes ) . However, the formation of his aesthetic and semiologist not only was always in the background, but was often in the foreground, leading him to rethink all the time, with his usual delicacy, theoretical issues, while not divorced from historical connotations and critical essays in raids happy cultural life (The mechanics of the text , 1978; entries of the subject , 1985; Studies Dionysism , 1988; Cinema of Saturn, 1992, and so on). These interests are theoretical essays had gone perhaps emphasizing recently: here and remember "The writing in the mirror. Individual codes and autoriflessività style in Eisenstein and Vertov, "written in 1992 and released later in the stage and screen , and the report" The operator time in fiction film, "held at the convention of 1995 on the island of Ischia Tale between cinema and literature.

But I would mention especially, in this sense, the anthology of theoretical texts Introduction to the semiotics of the show , 1990, now almost impossible to find, I am told, with his lucid and thorough introduction of all theoretical, which is perhaps the most mature reflection of his aesthetic-semiotic. His relationship with the semiology is revealed here as always enthusiastic and a critical time. "Over the past thirty years, in Europe and in Italy, semiotics - write in that ' Introduction - won the primacy of research in communication and reflection on ways of meaning." (But the opinion also contained a considerable distancing, the distancing that makes each discipline a real discipline, preventing it from falling into routine and, finally, at the stupidity). Added fact that his central problem is precisely the "problem of meaning" which "has affected the philosophy and psychoanalysis, logic and epistemology, the theory of knowledge el'ermeneutica, aesthetics and criticism," thereby freeing semiology itself from quell'autosufficienza pseudospecialistica that was precisely because of its growth crisis in the seventies. Rightly, therefore, not considered as such in some studies of the sixties, a "coding theory", or just a "coding theory", but also and above all just a "theory of meaning", where by "sense" must be understood not "real sense" achieved any single act of words, or "meaning", as a class of concrete under a fixed langue , but the "condition of meaning" that makes possible and concrete meaning and significance.

A book of great interest, from the standpoint of the general essay, extravagant to a certain point in its wide and varied production, is Twelve women, who published it in 1994 publishing practices and is now being published France: it is a series of essays, linked by a common purpose and dedicated to the great female characters as characters, from electrical to Salome, by Filomena Marturano at Lulu, and so on. And with this book, I would say, Maurizio Grande was confirmed not only great scholar, but also a writer of the highest order, beyond any disciplinary division.

And finally, not only for personal and emotional reasons, I remember that one of his last essays, "To hear and examine. Around the visibility of the critics, "the Great wrote to a volume of writings devoted to me, on the occasion of my seventy ( meaning and history of aesthetics, edited by P. Montani, '95). It is in truth a beautiful and insightful essay, and we would remember this, but it was also his last test of friendship towards me, and especially today I am grateful for this.