giovedì 30 giugno 2011
mercoledì 29 giugno 2011
martedì 28 giugno 2011
venerdì 24 giugno 2011
giovedì 23 giugno 2011
Here are a few links:
--- some works:
alias : http://www.museidigenova.it/spip.php?article370
alias : http://www.bancaintesaarteecultura.net/permanenti_elenco_new.asp?q_order=atr_cognomeeng&q_tipo=20&q_stringa=&q_ricerca=&q_stc=&q_curpage=125
--- short movie (.it): "Prima dell’anarchia (libertà dalla cultura)" = "Before anarchism (freedom from culture)" (1968)
see http://cinemanik.org/author/martino-oberto or http://cinemanik.org/400-martino-oberto-prima-dellanarchia-liberta-dalla-cultura-aka-before-anarchism-freedom-from-culture-1968.html
freely downloadable @ Vico Acitillo: http://www.vicoacitillo.it/sonora/oberto/oberto.avi [245 Mb]
--- articles (.it):
--- self-interview (.it):
lunedì 20 giugno 2011
domenica 19 giugno 2011
sabato 18 giugno 2011
venerdì 17 giugno 2011
giovedì 16 giugno 2011
mercoledì 15 giugno 2011
martedì 14 giugno 2011
lunedì 13 giugno 2011
domenica 12 giugno 2011
William Burroughs, "The Cut Up Method"
from Leroi Jones, ed., The Moderns: An Anthology of New Writing in America (NY: Corinth Books, 1963).
NOTE ON VAUDEVILLE VOICES
THE CUT UP METHODAt a surrealist rally in the 1920's Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theatre. Andre Breton expelled Tristan Tzara from the movement and grounded the cut ups on the Freudian couch.
In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random. Minutes To Go resulted from this initial cut up experiment. Minutes To Go contains unedited unchanged cut ups emerging as quite coherent and meaningful prose.
The cut up method brings to writers the collage which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passers by and juxtaposition cut ups. And photographers will tell you that often their best shots are accidents . . . writers will tell you the same. The best writing seems to be done almost by accident but writers until the cut up method was made explicit-- (all writing is in fact cut ups. I will return to this point)--had no way to produce the accident of spontaneity. You can not will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors.
The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and cross the middle. You have four sections: 1 2 3 4 ... one two three four. Now rearrange the sections placing section four with section one and section two with section three. And you have a new page. Sometimes it says much the same thing. Sometimes something quite different--(cutting up political speeches is an interesting exercise)--in any case you will find that it says something and something quite definite. Take any poet or writer you fancy. Heresay, or poems you have read over many times. The words have lost meaning and life through years of repetition. Now take the poem and type out selected passages. Fill a page with excerpts. Now cut the page. You have a new poem. As many poems as you like. As many Shakespeare Rimbaud poems as you like. Tristan Tzara said: "Poetry for everyone." And Andre Breton called him a cop and expelled him from the movement. Say it again: "Poetry is for everyone." Poetry is a place and it is free to all cut up Rimbaud and you are in Rimbaud's place. Here is a Rimbaud cut up.
"Visit of memories. Only your dance and your voice house. On the suburban air improbable desertions ... all harmonic pine for strife. The great skies are open. Candor of vapor and tent spitting blood laugh and drunken penance. Promenade of wine perfume opens slow bottle. The great skies are open. Supreme bugle burning flesh children to mist."
Cut ups are for everyone. Any body can make cut ups. It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about. Greek philosophers assumed logically that an object twice as heavy as another object would fall twice as fast. It did not occur to them to push the two objects off the table and see how they fall. Cut the words and see how they fall. Shakespeare Rimbaud live in their words. Cut the word lines and you will hear their voices. Cut ups often come through as code messages with special meaning for the cutter. Table tapping? Perhaps. Certainly an improvement on the usual deplorable performance of contacted poets through a medium. Rimbaud announces himself to be followed by some excruciatingly bad poetry. Cutting Rimbaud's words and you are assured of good poetry at least if not personal appearance.
All writing is in fact cut ups. A collage of words read heard overhead. What else? Use of scissors renders the process explicit and subject to extension and variation. Clear classical prose can be composed entirely of rearranged cut ups. Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cineramic variation. Images shift sense under the scissors smell images to sound sight to sound sound to kinesthetic. This is where Rimbaud was going with his color of vowels. And his "systematic derangement of the senses." The place of roescaline hallucination: seeing colors tasting sounds smelling forms.
The cut ups can be applied to other fields than writing. Doctor Neuman in his Theory of Games and Economic Behavior introduces the cut up method of random action into game and military strategy: assume that the worst has happened and act accordingly. If your strategy is at some point determined ... by random factor your opponent will gain no advantage from knowing your strategy since he can not predict the move. The cut up method could be used to advantage in processing scientific data. How many discoveries have been made by accident? We can not produce accidents to order. The cut ups could add new dimension to films. Cut gambling scene in with a thousand gambling scenes all times and places. Cut back. Cut streets of the world. Cut and rearrange the word and image in films. There is no reason to accept a second rate product when you can have the best. And the best is there for all. "Poetry is for everyone" . . .
Now here are the previous paragraphs cut into four sections and rearranged:
ALL WRITING IS IN FACT CUT UPS OF GAMES AND ECONOMIC BEHAVIOR OVERHEARD? WHAT ELSE? ASSUME THAT THE WORST HAS HAPPENED EXPLICIT AND SUBJECT TO STRATEGY IS AT SOME POINT CLASSICAL PROSE. CUTTING AND REARRANGING FACTOR YOUR OPPONENT WILL GAIN INTRODUCES A NEW DIMENSION YOUR STRATEGY. HOW MANY DISCOVERIES SOUND TO KINESTHETIC? WE CAN NOW PRODUCE ACCIDENT TO HIS COLOR OF VOWELS. AND NEW DIMENSION TO FILMS CUT THE SENSES. THE PLACE OF SAND. GAMBLING SCENES ALL TIMES COLORS TASTING SOUNDS SMELL STREETS OF THE WORLD. WHEN YOU CAN HAVE THE BET ALL: "POETRY IS FOR EVERYONE" DOCTOR NEUMAN IN A COLLAGE OF WORDS READ HEARD INTRODUCED THE CUT UP SCISSORS RENDERS THE PROCESS GAME AND MILITARY STRATEGY, VARIATION CLEAR AND ACT ACCORDINGLY. IF YOU POSED ENTIRELY OF REARRANGED CUT DETERMINED BY RANDOM A PAGE OF WRITTEN WORDS NO ADVANTAGE FROM KNOWING INTO WRITER PREDICT THE MOVE. THE CUT VARIATION IMAGES SHIFT SENSE ADVANTAGE IN PROCESSING TO SOUND SIGHT TO SOUND. HAVE BEEN MADE BY ACCIDENT IS WHERE RIMBAUD WAS GOING WITH ORDER THE CUT UPS COULD "SYSTEMATIC DERANGEMENT" OF THE GAMBLING SCENE IN WITH A TEA HALLUCINATION: SEEING AND PLACES. CUT BACK. CUT FORMS. REARRANGE THE WORD AND IMAGE TO OTHER FIELDS THAN WRITING.
sabato 11 giugno 2011
La gente di codice diagnostico. Avvertimento. Sto dormendo? Faccia i nomi di A sette e la I la o la N la h la o la S W la C, J Saint Etienne. Costruiamo il vostro Jpg nome per sostenere siamo siamo: Esattamente!
giovedì 9 giugno 2011
[Sergio Calatroni, Ezio Francesco Grisanti, Alessandro Mendini, Giovanni Nicolini]
(Palazzo Ruini - Eventi sorvegliati, Reggio Emilia, 1990)
mercoledì 8 giugno 2011
martedì 7 giugno 2011
pagine da LETTERE SEGRETE Antologia di scritti e di oggetti di design (Milano, Afro City Editore, 1989)
a cura di Sergio Calatroni
domenica 5 giugno 2011
sabato 4 giugno 2011
diniego l’asse la terra almeno questo, vado sul posto, vedo che sul p. l’olio incrementa, due gradi, la mente è aperta, rimedio rapire un uomo malato fatto tanto più ecco non è un messaggio di parte avete detto giovedì luglio alberino il successo la domanda rigonfiano i grandi interessi le fobie innate: gesso sulla loro per dire hanno fatto tuttavia i dibattiti è scrive qui.
venerdì 3 giugno 2011
giovedì 2 giugno 2011