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Mario Lunetta writes in Italian Poetry Today (Newton Compton 1981):

here is the "glittering delusions lexical / syntactic / semantic quell'inguaribile lover infra-metaetimologia Toti is: whose wildness has always the reins on the neck, well-drawn, under the head and neck. What then is the text, with its polished right engine at full throttle. Toti is a teacher in a practice of writing as a contradiction of sulfur all played on the brawl that significant give birth by herself in a series of rides and joyful acres, chains and chains of meaning, almost indefinitely. His "absolute mastery" of rhetoric and language (dead and alive) make a strong case for radical poet "outdated" with irreverent topicality. "

Circle Inside Shape Flash

Leisure

The last page (written in 1974) of Time free (Editori Riuniti, 1961, sec. ed. updated 1975)

"In conclusion, if" the whole development of human wealth creation is based on the time available, "the time of liberation will be the basis and the size of our current and possible wealth, so we call it, leaving the term of "time off" to the temporary convenience of the speech, according to his estranged. And we will continue to release time even from his false freedom, its false consciousness, at the same time passing over the ideological form the shape of our utopian social engineering. Of course, none of us will develop a menu of free time for kitchens futur (poss) leaf. Even the timid and even ironic prophecies of Marx's "Communist society in which everyone has an exclusive sphere of activity but can evolve into any branch freely, society regulates the general production and thus in fact makes it possible for me to do this today thing, that other tomorrow in the morning to hunt, fish in the afternoon, breed cattle in the evening, criticize after dinner, as I feel like; without becoming either hunter or fisherman, shepherd or critic or 'today can easily become the subject of affectionate controironia chosen as typical of an English gentleman of that time, a little' frozen in a colorful print or dated, as the ideals of country gentle-man squirearchy or neo-positivist, with a loss of the drama for us today, tempers any ucronica Fantasmas. Could it be better to focus on the time of liberation and on time (it has been) released and, if anything, look for the future in Ufan art, and finding the emotion with which defeticeizzante antifeticistica and participate in the mediation of a critical creative dell'artifattura shameful subjectivity its silence (pre-artistic) of perception. Remembering the poet, perhaps with the exhortation of the Apollonian statue to the contemplative: "You must change your life." After all, it's all here. We should only change it by themselves and together at that time of liberation is the liberation of our present time (the) free. For ridirla with Goethe Epìrrema:

always look to one as the whole;
nothing is inside, nothing stands out. Why
what is inside is outside,
So grab the sacred mysteries without delay
public ... "

Tiffany Granath & Mushie

The essence of the technique is not technical - Gianni Gianni Toti Toti

Stimulated debate article (document-wheel-proclaimed political) Alberto Abbruzzese ("Not Too Late the theories") published in issue 39 of the Statutory Review of Gianni Toti spoke in March 1981. An article that deserves to be re-read ...

That singular theory, this according to which "it is not longer than theories." But the philosopher of the ephemeral with the defect "supports the theory as if it were ... What is the theory? But was not the highest level of practice? And vice versa? Steorizziamo, then? Keine ohne theorie revolution, it was said a moment ago, "now is not healing" ... So here I am, "stimulated the debate," as usual and as is hoped - the No Review 8 of Auditors - the commentator " -wheel-proclaimed political document "of the" master of thought "of fashion, otherwise known Architéoro, sacrifice-offering to the Theory of Theos Theora, that God was at the Gaze ... If there was ever a time to "look" and "see" well, it's just that, too foggy ideologically.

But now that it triggers more antiteoria theorized, the more anti-intellectualism intellectualist, the antipoetismo, Tantiartisticismo, etc.. 'Since the author! 'Is the cry of that order, for example, one hears more often, even in areas where claims. And there should have been pre-occupying, as it does not occupy any post-film alarm in late because "promises to become increasingly clear tendency to progressive devaluation of the peso and the figure of the author, in a process of depersonalization genuine, almost a loss of identity" (letter to the members of Damiano Damiani ' Anak, the National Association of film that has never failed so far to choose a location for 'qualitative' united against the cultural responsibility of its members). We arrived at the "incredible paradox of an assembly line that produces poetry" (L'Unità, the Communist critic David Grieco, but sic, about De Niro and "tremendous industrial gear" that would produce art ...). And the philosophers

Abruzzo celebrate the rites of the problem of information Thursday exaltation "serialistica" Renaissance and altrovunque, evviveggiando to "show-saga" (and "metagene ', the' Megatest" etc.), and hoping "the establishment of a linguistic device-narrative-of expression similar 'to that of' Dallas ',' produced in Italy." "Working and studying seriously" ... Albertone National sociologist dreams of our mass, forgetting to put an L in his "seriously." Ahiluinoi! serially studying and working, you come to the conclusion, indeed "pilgrim" who "is necessary to invent devices to compensate for the absence "of any" show "Italian" and dealing with it the force of the spread American "... E 'with this dream of imperial periphery to respond "frontal attack of advanced information technology"? And if "we speak and write," these our 'speaking and writing' are only 'forms of production because of obsolescence, as well as the political and cultural crushed "?

Glare due to the dark splendor of the networks or the American majors or HollyWoody Alien, it's just a "sbagliore" socioillogico? Or is it due to a clouding supertecnotronico myopia? The logic of the technique is not to demonize American nor deify: between a mixer Vital available to the RAI and a Grass Valley 300 still does not come from us, the difference is only in quantities: both technotronic are underused and reduced use of informative features, ie the disuse of specific properties and synaesthetic tecnìtiche (would apply to say, yes, artistic). But faced with the worship of subordinate "serials of resounding success" are worth the little references to the technical realization of these "mass media" or this "mass media" which are only "resources", which specifically industrial era in which the dough maza (Focaccia bread or barley mix) seems to agglutinate, inghiomare classes, classes, strata, public and non ecutions we should be (not only "not divisible" but even addizionagli; multipliable Sommai).

The "protagonist from below ', the' polycentric 'pure dreams sociological whether the reduction politicistica flattening cultural prevail. Of course, we must respond to the aggregation tendency of the great machine telematics, and (here Albert is right to sell, but only razioide, and nobody buys it) the trade union movement has failed, so far, even to articulate a 'politics of the time (not) free 'to be free indeed. But do not fight the "great Industrial subculture "with" small sub-culture industry "that would" great "as that industriante and homogenizing, while at the technical level already has other such mechanical devices: the only missing that" extra soul "which is also urgently in our Cacania. ..

node for cutting (or parvula Alessandralo Abruzzo!) Is not that of "electronic development" already arrived or arriving here too. To be "politically competitive information market 'must fight' market information 'and' competitiveness' itself, is not considered" information "that only 'market', not that theo-logizzare 'Market', not kneel before any "major" fight to overcome "the man without qualities," "the world without qualities," and not worship by pygmies ipotecnoidi quell '"power surge that leads to a progressive increase of helplessness 'in the thinkers of the crisis when they spoke with ohiaroveggenza ammonium (Nestroy-Wittgenstein for example) that "in general, progress has the ability to appear larger than it really is." Indeed, the "politicization or the union of the spirit" are a dangerous confusion of roles (eg local authorities 'cultural producers' own sort of). Better not to give easy to abbreviations.

Of course, it would be desirable that an appropriate investment of energy and means by "left-wing parties and trade unions' as my good wishes nemicamico Alberto Abruzzese. But we must be clear that even "a progotto national in scope and scale appropriate technology" with "the building of places of production and consumption linked to economic resources, politically mature," etc.. may be enough to counter the superpower technotronic. Especially if the spirit of competitiveness is that of an angel with wings sad because they were not cosmotorizzate. The real competition is another, not on means but ends. The mass-mediaevalizzazione that threatens us in our house in the 'near future' is hidden in the language of a seemingly open-minded "pragmatism without theory" (and then the theory of pragmatism, pure and simple) should not be ours. Because the essence of the technical, dear, dear Abruzzese 'union resigned, "is not technical ...


(Trade Union Review, March 1981 n.39)

Ap Biology Lab 5 Wards Answers

letter to Giorgio Di Costanzo

date of postmark: 2 (?) May 1987

[...] Re-view literature in its working process and progress is necessary, and particularly in periods of transition to a different so damn state of the art. Just today, that the mental models of sciences and arts are compared (just think of the seven videos that I myself have been asked to carry out by scientists from Trieste Intercultural Society for the Science and Art for the exhibition "L'Imaginaire Scientifique", which was held in the spring of 1986 to Géode the Cité des Sciences et Tecniques Industrie at La Villette in Paris, this spring, already as a second edition, in the search of the Fiera di Milano). On the horizon looms a unitary model of human creativity. My seven videopoemi scientific or scientipoemi are the first evidence of sinestetronica in progress ...

... The continuing shift from one area to another is now the semantics creative state minimum to continue to "describe the universe" and at the same time to "continue to create" extreme and critical thinking can be prosecuted by their own artistic language in ongoing fight against themselves and their critical thresholds. So secret papers on the one hand, to search for these holes blacks language and languages \u200b\u200band testing of the joints from collapsing event horizons, and, second, the poetry of the strange attractors as the title of my latest book poetry (published by empirical Camaiore Award finalist in '87 along with judges, Roversi, Hunter, beech) that absorbs the proliferation neologistico-scientific, new "fields" of the vocabulary to say the unsayable "postmodernariato" oltrelinguaggio the era that seems to elude us, the media-evalizzazione overall. Hence the "Poetronics" or the "electronic poetry," or "poematica" or "poetry-information trans-automatic" (the "global village electric) puts the issue of the integration of languages \u200b\u200band the creation of new arts, not replacement of the old arts and also carried out but additional re-embedding: ... pour donner sens a while / au mots de la tribe ...

... For some years I'm writing "irracconti" or "unspeakable", "in raccontumacia," published in various magazines sheaves border that I ask for them (and sometimes even dressing up, hiding them under other names, royalties). It has published a final choice magazine-series of "General Stores of Poetry", after "Anterem", "Marka", "new Almanac," "The Battana", etc.. and another section is about to publish a new magazine "Auerbach's Tavern." Meanwhile I'm preparing to run the last "cameraman" for the Research and Experimentation Program tricoproduzione Rai, the third channel and the Istituto Luce, a character from Velemir Khlebnikov, whose appeal is just the centenary of the birth, videographers entitled "Squeezangezaùm" (combination of the "special effects generator" squeezoom ", the title of the poem Khlebnikov" Zangezi "and the language of transmental futuriani than seventy years ago," Zaum. "I also write, especially poems scientipoematici and prepare for a long time a "inerromanzo verse" that I will not say more until I made ... Furthermore, by establishing the ongoing "totiano", or "poetotiano", the language of writing my "utotìe ...

... there you go, dear George

... and promise to send you 51, 52, 53 of "secret papers" in the hope of one day, then come and discover the island, and spend a dream, for too long vacation with my old young friend ... But you let me have "Litera-Tour" (simpatoticissimo title) and ... Ischia: You promised me ... And give your stories a bit 'thicker: I would want to repeat the questions I do yourself!
short, soon, here or there. With a strong affectionate hug from me and Marinka ...

your Gianni Toti

All * Sony Network Camera Snc-m1″

Work in regress
(from Journey to the End of the word)

cerebronico with existing and future interminali
commemorizziamo
bad Optimising excellent
pessimistic poetelematiche
cosmatiche cosmetic ...


data data banks
dates dates dates "date"
videostampàtevi in Ufan:
finzionari here that make the machines that they think

what went out, and when you release the cerebellar sfanno


here work in regress. -

of clonic ucronie

something so that some talcosa
with a pr (o) of mortality Emio
a totalitarian one qualcosario

us we know
ab-clone-cyclones us
- uclonìa! uclonìa!

anaclonistiche who
mere appearances
Pauro paulo Pauca pauper

purvulo alessandrulo

Ignotizie

ineffable ineffìbule
fibulistiche fable of the ablated
clit
no longer laughing nymphs and glans labiule
with acacia thorns twisted

rivulvoluzione?
thirty million-hole sewn
already rivulvoluzionate


Brevidia (for a first vociferations Contraddizionario)

start again from your face without doing any finger

because if I say you take my hand I touch you with these words that
pierce the air

if you take your hand if you say you take
hand touch you with the words
with which you take while on the hand

silenzuolo if we take everything that
other intangible touch intact
where touches what
not touch his hand and with the word?

if we unleashing the disassembly of touch with silence
cross-verbs and names written
action rods and small pronounced
what mount it if not soft fingertips of those catenule
smooth muscle?

contrattacizione

alacriloquente yours is a hairy tristilòquio
babbling in poetorio
no garden and no purgation

better to be silent paraula

Artelye Granite Review

The Futility the poet di Giorgio Di Costanzo

Interview with Gianni Toti


[... ] Friday, April 24, at the premises of the Cultural Center of the Tower of Forio ... the Guests were Marinka Dallos, Gianni Toti and Prof. Peter Sarkozy, a professor of Hungarian literature at the University of Rome, who introduced the evening with a historical-critical report on Hungarian poetry from its origins to the present.
Marinka Dallos and Gianni Toti have read, among other things, texts Deszo Kosztolányi, Jozsef Attila, Ady Endre and Miklos Radnóti.
At this latest meeting of poetry I have asked some questions to his friend Gianni Toti.

- Top Referring to what Lanuzza Stephen writes in a recent essay about your poem: "Gianni Toti, who plays Italian Jarry sort of existential and historical occasions, ecologist ideology hostile to the pollution of news and pestiferous followers that much still adugiano our literary republic. " Very roughly, I ask: what is the function of the poet?

This type of question is similar to the questions with which we organize conferences and conventions, what is the function or how the intellectual, the musician, the philosopher ... This is a question to ask or not perhaps be formulated in a different way: there is a function of the poet. Because the poet is not an official, not acting, fails to comply with, and USELESS. At this point may seem provocative, but if I tell you that the poet should not be useful to anyone, everything becomes clearer. Do not be useful means not to be usable, it means not to serve. If I say that poetry is not needed may seem provocative, but if I tell you that poetry should not serve as anyone's different. If nobody needs it serves, but to itself. For this reason, I always say that poetry should not serve either the Revolution or any other noble cause. If anything, I think you need to make a revolution because the revolution is to poetry.

To clarify this idea I remember the title of my latest book of poetry, Compoe [to] infungibile compatibility, which summarizes the idea that poetry is infungibile, ie did not work, that it is not [to] ble with itself, hence the neologism unobtainable: incompatible [to] bile.


- A question I ask my friends for years to poets. That sense (and utility) have poetry readings in public, festivals, debates, round tables, surveys, etc?

The answer to this second question is closely related to the first. The reader must be infungibile. The reader is the poet of the second degree and perhaps should be considered the poet of the first degree, being the recipient of the poetry, the purpose of poetry, and every cultural operation should be directed to the full respect of the recipient. In the same way in which the recipient must not let manipulate the exploitation of the initiatives.

Each reading every meeting, every festival, etc., must be different from those that take place today. Hasty, superficial, brief, jerky. These readings are only quotes, summaries, abbreviations, and a re-creative work of poetry that should not be less intense and complex creative work of the same author. The readings that are made today are often a lesser evil, to serve some interests and among these may be those of the individual poet to be known, but will not serve to poetry. Indeed, in most cases, serve to give a wrong image to poetry.

Who attends these readings believes he approached the poem, when he heard a few verses or compositions of some authors for five minutes (Castelporziano, Piazza di Siena), or one quarter of an hour / half hour at best, when they came to know only some quotes of poems read, usually bad, the author is not accustomed to reading, be it from with drawl without being able to distinguish and reconcile the two sides of the sign: the signifier and meaning, that is the look and sound real referent, or even to understand the composition of the breast and so on. etc.. and perhaps we should go on and on ...


- What do you think the lines of research and experimentation the liveliest and most interesting poetry of that period?

more committed and responsible critics are trying to identify the forces and movements that are projected into the future of poetry. In this the last attempt made sense, beyond the anthologies, more or less the area is that of Renato Barilli: Journey to the End of the word *, published by Feltrinelli. This identifies the critical work of some Italian poets, and poets among them my own work, elements that were also called postmodernists, I seem to be able to overcome the extreme crisis of meaning and language of our time. Everything has been said and written.

All forms of discourse, all the metaphors, the styles have come to the fullness of history and the word has reached its extreme limit, the silence. As an alternative we have only the conscious use of the already said and written or innovation intraverbal, that is based on attachment to the sacred core of the word. This direction of work is only one possible way of the future of poetry. Personally I believe that in the transition from the galaxy of Gutenberg to the electronic version is thrown open for poetry in the streets of the most advanced technology and artistic combinations, the different sensitivity through the use of multiple sensory prostheses. In other words, I believe in the possibilities of realizing, as I have already done some experimental electronic Rai, what they call the Poetronics or electronic poetry.

Rail Buggy Blueprints

The Effect Toti

En 1995 Gianni Toti this en sus principales trabajos de Lima videocreación. Video art before 1995 still had low visibility in the local scene especially with the lack of a "community" that could make more valid artistic activity in this new medium.

There were other reasons related to lack of local knowledge in relation to video art and therefore the reluctance of museums and cultural spaces in Peru by embedding the video in the same way as they did in other Latin American countries. Toti failed to show a portion of this international scene. However, the work of Toti was characterized as absolutely critical and complex. So we could say that the presentation of Toti in Lima not only was a flagship, but radical for the local scene. The next step was taken due to the bond generated between ATA Toti 3 and international organizations, notably the CICV (International Centre for Video Creation, Montbelliard-Belfort). These links will carry out, in 1998 the first International Festival of Video / Arte / Electronica (strange gesture that was appointed as second festival, appealing to one conducted in 1977 by Alfonso Castrillón in the Gallery of Banco Continental in Lima). The Festival generated a local scene and at the same time a lively exchange with international artists and curators.

support is undeniable in this Gianni Toti first stage and its contribution as a mediator of the link between Peru and Latin America (or as he used to call, LatinAmerIndia) and European countries where this field was supported by institutions specifically aimed at new media production boomed important nineties.

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Julio Cortazar:

writing since he was fifteen, but only at thirty I decided to publish a book of poems, signed with a pseudonym. I've always written poems. Teenager, I thought, like many, that my sense of estrangement announced the poet, and wrote the poems that were written then and are always easier to write than prose, at that point in life. But there was for more. So I was surprised when one day in Havana, Gianni Toti told me that everything he had written what he liked best were my poems. When I wrote The Kings already owned a technique, the daughter of rigor. Betiario tales followed, on which I had no doubt. But the novitiate had been long and hard. Had to be a lot of faith, yet had to rely on a constant self-doubt. In practical terms, this would result in not publishing prematurely, sin daily in our countries.

Cmhc First Time Home Buyers

Joaquin Jordan. The eyes open (Laia Manresa)

Lenin Alive (1970) is a documentary produced
with all audio and visual
existing ties to the figure recorded Vladimir Lenin.
The short movie, thirty-one minutes, was a custom
Partito Comunista Italiano
with occa-sion of the centenary of the birth of co
political leader, and was produced by Unitel film, the producer of the game
. Jorda co-directed the movie "
Cula with Gianni Toti, a poet and film critic
friend.

The film, whose original version is Italian,
begins with a political speech of Lenin with
black screen. Then, the voice that we
guide you through all the footage
indicates that this is a speech by Lenin in Moscow's Red Square
, the first of three phono
documents that remain from his voice. A continuous-
nuación begins a brief review of
political biography, first with photos
commented by the voice-over, then with a montage of archive material
without sound to illustrate the time-
saw saw, the Russia, 1870.

After the introduction, in the fourth minute
about the screen goes black
staying in the voice and presents what
constitute the main body of the film with these words:
''Lenin hated the cult as revolutionary leader.
modesty offer visual testimony
his life, and so, on the centenary of his birth to
, presented without any manipulation of film fragments twenty-two

WVO Lenin.''Promised fragments offered orderly - Swim
chronologically. Each is
preceded by a sign indicating the date.
on this poster, the voiceover provides a brief summary of
images presented below
such as were filmed without any tweaks.

To make the documentary, the filmmakers Pidie-
Moscow were all
material they had on Lenin. Upon receipt and custody-
visionary mind, they realized that the material had been manipulated
. If Lenin had a movie-plane
do the arm as he spoke from a podium,
rode this act once again.
used a shorter frame of the plane or made
obliterated the image of Trotsky that appeared in the
shot when he went to a shorter one. Jorda and Toti
proposed
restore the material and leave it as they thought originally
was shot:''My task was to restore
of reality filmed in the respondent's return
dre original posed in restitution
film and historical truth''(Jordan, 1992: 59).
The first fragment is the first visual
May Day Soviet Revolution (i
May 1918) and the last data
30 October 1922. The set of all documents
covers a period of four years and five months of
Lenin's life. Of the twenty documents,
twenty are visual, one is voiced and one is visual and sound
at a time. Apart from some

First of May and
anniver-sary of the Revolution, the film offers images of Lenin
in the gardens of the Kremlin, several
inaugurations of monuments, funeral drapers com-
politicians, speeches and conferences of the Communist Inter-national
.

Approximately twenty minutes into the pe-
follicle and dated 1920, the documentary includes
the only sequence shot in the family of
Lenin. The first images are the co-
have to be renovated and a room, consisting of a single
bed, a nightstand and a desk. A
then we see Lenin sitting beside his wife
. While talking, patting with affection a cat
lying on her lap.

The year 1922 is illustrated with three fragments. The first is
the 20th of May. The voice explains that Lenin
is sick and
images show a spa where the leader has withdrawn
to recover. On October 2
returns to Moscow. The doctor reduced the working hours of political
11 am to 2 pm and
6 to 8 pm, a time that Lenin is
difficult to meet. The last images of Lenin
live in the twenty-seventh minute short movie,
under Lenin in his study
on 30 October. The voiceover explains that the doctor has forbidden
work. Around

minutes twenty-eight, was stained
black screen on the last image of Lenin
and wrap to hear, as
the beginning of the film, the political voice of a speech
saying so. This is the third piece phonograph that incorporates
film. Still black screen
, the same voiceover that accompanied us so far
us what will be the third liltima
wax and part of the documentary:''unique poetic frag-ment
vivo di Lenin ('The
poetic single piece live Lenin)''is a poem is "
described by Lenin in 1907 that, in the film, reads
Italian translation:''Gli anni degli
uragani''('The years of the storm'). With the lessons of the poem
background structure is projected a montage of images
revolution of the sixties
ta. The latter part of the documentary meant to
Jordà final rupture relations with the Parti-
to Communist:''There

had a serious clash with the PCI
censorship. The phrase 'In East suns arise,' he accompanied
pan vertically below
up on Mao Tse-Tung. Responsible ideo-logical
turn, a very high torque-
hierarchy sense, endeavored to convince me to take it away, because this displacement

up per-judice, the international politics of pci.
I insisted on keeping it, or you removed them,
that those were the producers. Pac-
solution Tada was converted into the fixed plane pan.
Godard was right''(Jordan, 1992: 59).

Finally, the current copy
not include the image of Mao, or with pan or without it.

Rotronic Logistic Drivers

"A maestro di vita, ma soprattutto a maestro di pensiero, di Dubbie a teacher, a person maieutica ..."

"L'unique to fare, intorno alla technology, all'Arte elettronica a umanistico discorso ... "

Extra Mucus Before Period

Gramsciategui, the egg poesimistes


"GRAMSCiátegui! AND THE MAN MADE WORLD ..."

Is it a line? A poem? A cry? Gramscientífico sounds, the middle name of Anthony and Joseph. Gramsci and Mariategui, a single word. As if Garibaldategui or Bolivariátegui, joining the symbols of the people of Gramsciátegui: synthesis linguistics, verbal contract, the association of languages. How do you talk the courage? How do you speak of fear? Reciting, explaining idioms Wittgenstein ... but not with gestures, the theatricality of thinking that re-evolves each neuron, each synapse. Thus

VideoPoemOpera John Totito, Gianni Toti, plasma word in motion: the moving pictures, images poetrónicas, esculptrónicas images, images danzatrónicas, verbotrónicas images, images arquitectrónicas, cromatrónicas images, all moving finally. Not like when there were only Photograf images, film or almost static movements ... Gianni Toti offers us "Gramsciátegui" Sonatas in Red Major (futuráneo movement starts).

Along with pictures of Monument the Third International Chlebnikov Tatlin and, similar to the images of DNA. (did you see the analogy rather poetic and ri-brain-revolutionary?)

At the same phantasmagoria of the Feathered Serpent, Quetzalcoatl, the Sixth Sun and the next Pachacuti, the "postfecia" anti-conquest, refuturación of peoples and the historical vengaza holocausts.

In our words, few, paused, shouted (The Gramscaitegui CRY, El Grito, not the song. Do not sing again, scream. From the Castle of the Castillitos Montbelliard of LAtinAmerIndia. And the other castles of our poetry.
Gramsci is dead. Mariátegui dead. Tupac Amaru has died. We scream. The desperation is strong. Liberators from falling into the milk!

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