quinta-feira, dezembro 26, 2013

The Dream (in 2014) is still Telematic

While some might take the roads of the internet as an endless amount of crossed lines that intersect in a meaningless way throughout the immensity of virtual tunnels connected to each other by the power of human will to explore; many are those who look at this sea of connectivity as a source of making information (regardless if its form) flow back and forth in order to explore that same humanity and making it visible, hearable, touchable... In many ways to make that information part of the sense(s) that define us as humans living together in the same world.

Who are we, who is each one of us, if not a combinatoria of experiences, information, books we have read, things imagined? Each life is an encyclopedia, a library, an inventory of objects, a series of styles, and everything can be constantly shuffled and reordered in every way conceivable.
-- "Six Memos for the Next Millenium" by Italo Calvino

2013 has been a year where I've came across (and continued to follow) some of those who work towards making the contemporary multiplicity of the various selves we carry within into something both more human and more connected to the layer that hovers upon our existence.
How many souls travel this endless voyage? Where is this ship going?

The questions surrounding the telematic world have increasingly become more detailed and focused on the backbone of technology. An interactivity that is defined after concepts that are directly connected to a human-to-human experience. Processes of re-definition, re-manufacturing, re-thinking, re-mixing... Re-Generation.
Exploring the symptoms of a dialogue that no longer happens in the same time and space, but conversations that rather than meeting an end are put on hold and wait there, latent, waiting to be continued, followed up by others. A re-configuration of communication.
Exploring the invisible layer of virtuality has become more important than triggering new worlds - although those are still important in terms of fiction, to keep feeding the future to come (everyday more close, less unknown, increasingly small).

In these times where we all sail the interwebs we look for messages that connect to us, we look ahead to the endless seascape of nothingness and we foresee the poetry of our ancestors that have travelled real time distances to know the other side of the world. Where are we now?

Unamuno use to say that the only question that can bother us is the "Human one, that is to say mine, yours, the question of us all". This is the other solution that Unamuno offers in the long poem 'Il Cristo di Valasquez': "life is dream, and death is waking hours".
-- taken from HIDDEN BEHIND "THE HUMILIATED AND THE OFFENDED" by Gabriele Perretta

There will be a time when the world will be filled with digital natives, and for that time it is important to keep the breathing head outside of this water and keep breathing, keep living, keep the sensorial fabric part of the moist media (Roy Ascott) world present and ahead of us.
The immediatism of forms, where processes happen in relation with others has always been part of a very human activity, we serve as a tool of mediation and therefore our devices are developed to serve that same function. 

If we turn to left then the whole world goes right, or is it the other way around? We have an action on the world around us.

The dream is still telematic, and all forms of xenos are welcome to join.

Letters of Note: Sleep well my love

The following heart-rending love letter was written by American World War II veteran Brian Keith to Dave, a fellow soldier he met and fell in love with in 1943 while stationed in North Africa. It was penned on the occasion of their anniversary and reprinted in September of 1961 by ONE Magazine, a groundbreaking pro-gay magazine first published in 1953. The original letter is held, I am told, by the Library of Congress.
(Source: ONE National Gay & Lesbian Archives, via Carrie Kendall.) 

Dear Dave,

This is in memory of an anniversary — the anniversary of October 27th, 1943, when I first heard you singing in North Africa. That song brings memories of the happiest times I’ve ever known. Memories of a GI show troop — curtains made from barrage balloons — spotlights made from cocoa cans — rehearsals that ran late into the evenings — and a handsome boy with a wonderful tenor voice. Opening night at a theatre in Canastel — perhaps a bit too much muscatel, and someone who understood. Exciting days playing in the beautiful and stately Municipal Opera House in Oran — a misunderstanding — an understanding in the wings just before opening chorus.

Drinks at "Coq d'or" — dinner at the "Auberge" — a ring and promise given. The show 1st Armoured — muscatel, scotch, wine — someone who had to be carried from the truck and put to bed in his tent. A night of pouring rain and two very soaked GIs beneath a solitary tree on an African plain. A borrowed French convertible — a warm sulphur spring, the cool Mediterranean, and a picnic of "rations" and hot cokes. Two lieutenants who were smart enough to know the score, but not smart enough to realize that we wanted to be alone. A screwball piano player — competition — miserable days and lonely nights. The cold, windy night we crawled through the window of a GI theatre and fell asleep on a cot backstage, locked in each other’s arms — the shock when we awoke and realized that miraculously we hadn't been discovered. A fast drive to a cliff above the sea — pictures taken, and a stop amid the purple grapes and cool leaves of a vineyard.
The happiness when told we were going home — and the misery when we learned that we would not be going together. Fond goodbyes on a secluded beach beneath the star-studded velvet of an African night, and the tears that would not be stopped as I stood atop the sea-wall and watched your convoy disappear over the horizon.
We vowed we’d be together again "back home," but fate knew better — you never got there. And so, Dave, I hope that where ever you are these memories are as precious to you as they are to me.

Goodnight, sleep well my love.
Brian Keith

terça-feira, dezembro 24, 2013


quarta-feira, dezembro 18, 2013

Self-Portrait 1914-18 by John Berger | #tenderness

Self-Portrait 1914-18

It seems now that I was so near to that war.
I was born eight years after it ended
When the General Strike had been defeated.

Yet I was born by Very Light and shrapnel
On duck boards
Among limbs without bodies.

I was born of the look of the dead
Swaddled in mustard gas
And fed in a dugout.

I was the groundless hope of survival
With mud between finger and thumb
Born near Abbeville.

I lived the first year of my life
Between the leaves of a pocket bible
Stuffed in a khaki haversack.

I lived the second year of my life
With three photos of a woman
Kept in a standard issue army paybook.
In the third year of my life
At 11 a.m. on November 11th 1918
I became all that was conceivable.

Before I could see
Before I could cry out
Before I could go hungry

I was the world fit for heroes to live in.

John Berger

segunda-feira, dezembro 16, 2013

Mon désert rouge

un projet de film de Morena Campani

sexta-feira, dezembro 13, 2013

What Every Place on Earth Sounds Like


The project radio aporee ::: maps has started 2006. it is a global soundmap dedicated to phonography, field recording (and related practices) and the art of listening. it connects sound recordings and places, in order to create a sonic cartography, open to the public as a collaborative project. It contains recordings from numerous urban, rural and natural environments, showing their audible complexity, as well as the different perceptions, practices and artistic perspectives of its many contributors, related to sound, public and private spaces, listening and sense of place. (more about aporee.org ...)

...The idea was to connect sound and space, and to create a cartography which focusses solely on sound, and open it to the public as a collaborative project. Meanwhile it contains 1000s of recordings from numerous urban, rural and natural environments, showing the sonic complexity of these environments, as well as the different perception and artistic perspectives related to sound, space and places. furthermore, it's an exciting playground for experiments with sound and mobile media.
from: http://motherboard.vice.com/blog/what-every-place-on-earth-sounds-like

extending space and time

The Extension of Space and Time through the Expansion of the Format

Other artistic concepts attempted to reach an extension of space beyond our limited eye view. Panoramas, that were discovered at the end of the 19th century, string together spatiality and break the central perspective through isometry or through vanishing points in the painting. In those days one could document landscape exactly through the use of technical aids such as the pin-hole camera. Naturally the reality of a panorama was limited to the the human's eye view so that in the process of viewing the viewer had to turn on his/her own axis. Thus the illusion of a real landscape was evoked for the viewer. This effect must have been even stronger with the moving panoramas, which, in front of the audience, were slowly hauled from one roll placed on one side of the stage to another one on the other side, for example to simulate the movement of a ship. Thus panoramas can also be seen as the precedents for films and motion rides.

Panoramas represent therefore not only the extension of space through the positioning of stringing space together but also the extension of time through the build-up of chronological time. The simulation of a boat trip down the Mississippi was both a sequence of spaces and actions within a clearly defined time period.
Although moving panoramas are nothing but stills proper, they helped to produce the illusion of movement by causing the viewer to move his/her eye over the picture, getting a notion of time sequence, or by moving the viewer him/herself, or the canvas.

In photography the slit camera enabled the organisation of time on a plane. The camera takes only a vertical line, a minimal section of space over a restricted time-span. The result is the documentation of different time periods on one plane based on a cut through the space.

in - 'Space-Time Correlations Focused in Film Objects and Interactive Video'
by Susanne Jaschko (read more)

segunda-feira, dezembro 09, 2013

facts: Urbino

Federico da Montefeltro

Federico da Montefeltro. 
Portrait by Piero della Francesca. 
(ca. 1465-1472 (Renaissance))

After six years in the service of the Florence, Federico was hired in 1450 by Sforza, now Duke of Milan. However, he could not perform his duties as he lost his right eye during a tournament. He subsequently carried a vast and disfiguring scar for the rest of his life, so that it was necessary to portray him only on his "good" side. Malatesta profited from his illness to obtain the position under Sforza, whereupon Federico in October 1451 accepted instead a proposal by Alfonso V of Aragon, King of Naples, to fight for him against Florence. After the loss of the eye, Federico – no stranger to conspiracies and one of the leaders that inspired Niccolò Machiavelli to write Il Principe – had surgeons remove the bridge of his nose (which had been injured in the incident). This improved his field of vision to a considerable extent, rendered him less vulnerable to assassination attempts – and, as can be seen by his successful career thereafter, restored his merits as a field commander.

The Ideal City

"The Ideal City" (ca. 1480-1484 (Renaissance))  
This painting by Fra Carneval, representing an ideal Roman city, was commissioned for the palace of Montefeltro. The Walters Art Museum.

This view and a related paintings now in Urbino were apparently commissioned for the palace of Duke Federico da Montefeltro of Urbino. Another related view is now in Berlin. Set into the woodwork at shoulder height or higher, "The Ideal City" would have seemed like a window onto another, better world.

La Muta

Raffaello Sanzio (Raphael) - 1507 (La Muta)

Portrait of a young woman, sometimes known as La Muta is one of only two of Raphael's paintings on display in his native Urbino. It is a relatively recent attribution to Raphael and was gifted to the town of Urbino by the Uffizi after spending much time in storage in the great Florentine Museum.
The painting is believed to have been created after Raphael's exposure to the Florentine style, where he absorbed many new lessons in composition and technique from Leonardo. The title La Muta (the silent one) is not believed to be a description of the woman herself, but a reference to her identity being unknown.
Unlike the hot tempered Michelangelo, Raphael used the exposure to Leonardo's works to great effect - with very visible influences of Leonardo's lessons appearing in Raphael's work. A lot has been written about the fierce rivalry between Michelangelo and Leonardo, and the 'Lost Battles' they were commissioned to create for the Palazzo Vecchio.

- all texts and descriptions were found online. 

sexta-feira, dezembro 06, 2013

quinta-feira, dezembro 05, 2013


Dammi il supremo coraggio dell’Amore,
questa è la mia preghiera,
coraggio di parlare,
di agire, di soffrire,
di lasciare tutte le cose,
o di essere lasciato solo.
Temperami con incarichi rischiosi,
onorami con il dolore,
e aiutami ad alzarmi ogni volta che cadrò.
Dammi la suprema certezza nell’amore,
e dell’amore,
questa è la mia preghiera,
la certezza che appartiene alla vita nella morte,
alla vittoria nella sconfitta,
alla potenza nascosta nella più fragile bellezza,
a quella dignità nel dolore,
che accetta l’offesa,
ma disdegna di ripagarla con l’offesa.
Dammi la forza di amare
e ad ogni costo.

-- Kahlil Gibran

quarta-feira, dezembro 04, 2013

thoughts #medialism Gabriele Perretta

To be more explicit: if the painting is digital the painting does not exist it is only simulated or evocated by the use of the photograph; therefore in the oxymoron of "media painting" it is "mediality" that defines the technical gesture itself, or any other human gesture that tends to the mechanical (to what simulates painting).
-- by Gabriele Perretta