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.

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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.

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paragrafetto predicativo (lùmina, 24)*

 

sarò breve, solo un sermone improvvisato
monologando a perfezione l’errore di partenza,
dilatandolo cioè a dismisura di bellezza,
non farfugli, ma parlando in dono naturale
d’eloquenza, o a piacer d’eloquio aprendo
una parentesi dall’altra, non chiudendo mai
il discorso, anzi accumulando locuzioni
senza motivo, come sui binari morti, scure
le locomotive, illuminando un corridoio a filo
fitto di perifrasi e anacoluti, dove a capolino
chi s’affaccia segue a stento il pissi pissi passe-
-partout da trobar clus e capìtolano attoniti
gli sguardi in una pigia di sonno, in un clima
d’operetta mobile, dove vo’ funambolo fumando
laido apostrofando male chi m’ascolta muto,
sordo a tanta grazia, senza un cenno, sino in fondo

3 giugno 2010, Pian Marino

 

* In lùmina (archivio apocalittico farsesco ecc.) (La Camera Verde, 2012).