Senza fanfara, largo calando

Quanti se ne sono andati
dove mi dirigo anch’io, tanti
che non si direbbe dove
li han portati, a passi lunghi
dentro fiumi e campi,
non lasciando a caso niente,
neanche il sangue sulle pietre,
né le tracce calpestate
dalle impronte dei soldati,
non un’ombra sui lenzuoli,
solo sporco di trincea,
polvere degli scomparsi.

Da Alter Krieg
Morrisville 2017
ISBN 978-0244926977
Disponibile su Amazon e in tutte le librerie su ordinazione.

Advertisements

Guernica

Post-truth thrives on noise. When broadcast over different networks, information warp, organize temporary encounters between disconnected facts, unveil new narratives while refusing to deliver a clear message. Out of the relational dimension incumbent upon the globalized world, the citizens of the infosphere are relieved of responsibility and pushed to support all stages of the breeding of truth, drawing from the often contradictory fragments spread by the search engines, to activate private connections and build a reputation as influencers before their fictitious audience.
This video is a speculation about the anatomy of noise, which in turn becomes the world of some unstable imaginary, where the tacit rules of propaganda and artifice tune an unprecedented representation of history, disjointed from time, where the words of A. N. Chamberlain intertwines with those of T. S. Eliot, at the end of history.

WATCH VIDEO

9×5 Truths

Orwell’s doublethink has nowadays turned into multiplethink and truth into the reassuring monomania of its theorization. Lie may reside in subtlest, repeated simplifications of reality: the peculiar but inconsistent formulations of the same statement slowly appropriate the good faith of a stuffed audience, leading it to believe that there exists some latent state of consciousness where truth and lie no longer seem contradictory.
If Andy Warhol’s pop multiples establish, within a single work, a principle of equivalence between the original and a copy, while emphasizing some sort of demagogy of art, this video insists on the slightest lag between multiples reframed side by side, hinting at that tiny shift between truth and lie which keeps truth falsifiable, thus meaningful.
The emblematic character of Joseph Goebbels stands out, by extension, as a grotesque icon of post-truth on a dusty background noise, where a ravens’ cry – Odin’s harbingers – and one word (propaganda) only surface.

WATCH VIDEO

A tea cup in Frankfurt am Main (lùmina, n.29)*

a Eugenio Calabi e Shing-Tung Yau

a parte il capitolo inaugurale del mattino
– a colazione con lettura dei giornali –
in quale spazio di Calabi-Yau somatizzi la storia?
ammetti la tua volatilità verbale
da incantatore di basilico? eh,
ora più vivente che esistente
perfezioni il cibo in punta di forchetta
ingurgiti centimetri di fibre e carni
resisti in ogni specie
                       dal tuo catalogo di universi:
i micromondi, le superstringhe
                                 oblunghe
pendenti al pezzetto duro di lapis lazuli,
la superstizione di parole in-crociate
che si ripetono a frantumi di matière à penser,
di frasi, di forse, di accerchiamenti densi
sorvegliati una volta e l’altra stringati ai denti,
disegni della croce in odor di morte
l’ordinata composizione delle mani, irreale quasi

(aussi faut-il qu’Il soit parfois
assassiné)

*In lùmina (archivio apocalittico farsesco) (La Camera Verde, 2012).
Un’edizione critica può essere ordinata QUI.