Msds, Plaid, Clear Acrylic Sealer

Saturated Spaces / despachos saturados (House & Totiana Torreon de la Serna)

Msds, Plaid, Clear Acrylic

Subtus


I love it, Suad, I think I could if I only smiled, but I waited too, that smile, for not having noticed that just does not smile or, indeed, that smiles in installments, periodically, a bit 'from the left side of the lips and a bit 'to the right, or upper lip before and after the lower, and only with this or that part of the lips, the rest of the face and body does not smile even in part, does not know sottoridere, in fact. Or does it have any reason, poor Suada.

I told you, stupidly, and then does not smile at all, absolutely, or whole, from the root hair to the folds of the eyes, left and right, with all the facial muscles, teeth and then leaped around the sublanguage . Excessively, then smiles, and not even convince herself.

Forget, Suad, forget what I told myself and, more importantly, what did they tell you all, forget it, to smile, and if you want to laugh, to surridere, superridere, superridi well. It is not mandatory sottoridere, I did not tell you I ordered it, I do not want you to subway. Why underpass, you?

South Park Mens Pajamas

UNDER CONSTRUCTION - PRESENTATION SUBJECT

SUBJECT MOBILE - MARIA ROSA JIJONA

The construction of the concepts of Nation State, Country, Frontier, Public Safety, etc ... totally dependent and relies on the ability of the institution to generate an image easily digestible by society, to justify the actions and policies implemented to safeguard these nationalist discourses and federalists.

In Fortress Europe, immigrants have become the custodians of the responsibility of all social conflicts, insecurity, unemployment and loss of identity that affect these and prosperous societies in crisis. This production of information campaigns that portray the other outsider with negative characteristics that can generate rejection, fear, or at least perplexed citizenship, is an effective way to capture the uncritical support of a population that consumes messages without discriminating its content and purpose.

Racism and xenophobia are entitled to this kind of symbolic production and there are few examples of possible media resistance, compared to mastery of the official message.

these assumptions is seen as an opportune moment to use the anthropological portrait as a tool to reinforce the ironic mode of representation of the Other to call attention to racism and discrimination against immigrants and test a possible use, cultural and political of establishing the subject threatening.

The work

is a variable length video with sound and color.

The setting is a neutral-colored background, preferably gray, which is a portable frame that can be called in any public place.

characters or subjects are migrants from Equador, resident in Italy, before participating in this consensus and collective public action picture taken with video.

sequence length will be reached depending on the number of people who choose to work and live audio is recorded. Each subject will be filmed for a minute. No talking.

This video portrays people decontextualized twice, one because they are not in their country of origin and two because we can not see where they are thanks to the neutral background. The only possible clue is the characteristics acquired by individuals and ambient sound.

Methodology

Contact

presidents and representatives of associations of Ecuadorians in Rome and Genoa, expose the project and its objectives and distribution.

Establish a time and a place do the filming.

Shooting

Estimated Workload

Two weeks

Mount

A rear-projection video screen semi-transparent audio system.

Eplan 1.9.10 Dongles Emulator

ECUADOR MOBILE EMERGENCY

Ecuador in Emergency - DVD Launch from laundry wash art on Vimeo .

Patricia Nimocks, Msds

For a critique cinegrafica - Gianni Toti

Retrieved from VA, FOR A NEW CRITICISM. CONFERENCES Pesaresi
1965-1966, Marsilio, Venice 1989, pp. 51-53, 59-60


Unfortunately, there is already collected and sorted, a body of
critical materials, and a finite collection of homogeneous texts
chosen based on a principle of limited relevance, similarity and difference which
'simulacrum' of objects
observed and studied to offer the possibility of a speech
from film critics. Neither shall constitute
myself I could easily
as it should be possible, however, through a serial
(how we miss, for example, "The film spectator
," a magazine that was closed, perhaps because
was so helpful, having to do to collect the
most significant texts of criticism, mind you, not the best
along the whole range of ideologies and interests). But perhaps this is better than
corpus - that would be needed to
a search on "systems of signification" of the critical current
not collected because after a round table
on film criticism, rather than reduced to an exercise
a meta-meta on another
be good to discuss on certain vectors converging
of action for the "New Cinema" which is dedicated this
First International Exhibition of Works Prime; 'first
"obviously, not only in chronological order or
master. Why - Why spending perhaps other speeches or collect other data and figures (we know them all in bulk)
- the situation of the cinema (including criticism, then)
is more than problematic, and we are still stuck to the repetition of alarms that
fail to alarm as
should - a sign that the warning signs is badly
set, perhaps. The situation is serious film, and talk
around the cinema, not just the Italian one - despite
the contemporary debates in Parliament and melancholy.
Seventy years from that historic night at the Salon Indien du Grand Café
at number 14, Boulevard de Capucines
when the sum of one franc a strange new
public discovered "the animated picture," while the Italian cinema continues
alarmed, and hence not really alarmed
, and similar to the nearest cinema market,
in France, Monsieur Paul Reverdy,
Inspector of Finances, a specific request of the Minister on his ability
survival of the national cinema (after the defection of
found three quarters of the audience) responded
that "by Forty-six million inhabitants with a high content
of life, and consequently various des loisirs (ie
availability of a varied use of leisure),
the French domestic market is, the film industry,
a limited market. Under these conditions there is
can hide that "the maintenance of a national
production is a form of luxury." To the extent that
this production loses its viability natural
the problem facing the community is whether it
accepts it or not, both for the way tax (lightening) and for the
via the budget (direct or indirect subsidies) to replace private capital
missing. This choice is
financial and cultural, then political ...». And the phrase "maintaining
domestic production is a form of luxury
" was underlined in the text of the report by the author himself: which shows how a modern capitalist state
can be envisaged in cold blood, the disappearance of one of the branches
most of its production system
culture. The film, obviously, does not yet considered by
official spheres of our country near
(mothers- and daughters-mean) even at the level of publishing
(which, at least for the school,
a permanent and indispensable to its justification): if
unprofitable, is not justified. The film, on the other hand, is really in crisis and the
phenomenon - even just to stay
statements brothers Siritzky
important masters of a circuit which is updated
as an alternative to other modern loisirs (courtesy campaigns, competitions
of comfort, combining entertainment, etc..), and then reacts
- is irreversible. Viewers
fall and the increase in receipts is illusory because it is based
on comparisons between non-homogeneous (the revenue of the past and current
compared as if the systems of assessment and control
official were the same between 1938 and
1956). Cinema is now a global business, and only the determination and concentration
oligopolistic
for now appears to allow room for quantitative growth (new markets, developing countries
cinematically etc...)
As the theater has started its phase Boulevard, so
is going to the cinema, attacked by competitively
altrimezzi use of leisure time, so that
one hand we have the end of the boulevard cinema, and
the other extreme intellectualist cinema, cinema
parallel with - the center - the vulgarity of the film for low mass and
appetites for the new youth market.
the cinema and the public should be masked, "playing
nascondarella", said Alain Resnais, "there are types of public and
types of films that will never meet, and
just when the audience shows no more a consumer
generic, but you choose your products (this is also
one of the causes of the crisis), because you have not yet found a way to provide
people
of the information required, namely those that satisfy the reality: advertising
now tends to his controfine: does the public believe
going to see a different product from what is projected
. And the critical ...». Dot dot dot. Fill these
dot dot dot, if we can. The criticism has not yet chosen
the vast majority of the solution that offers the
crisis: Film that is decisive support for the mass culture of mass
"because the only public film mass
you can select the public sufficient and necessary to create
the cultural foundation of the new cinema "(as Gramsci said
for literature, speaking of his relationship with
of the appendix), or diverse cinema for public
differentiated, or cinema cinema elite and mass (with consequent self-censorship
economic
would add to the political and cultural one, namely that the uneven development of language skills
film)
... Yet it is important that the film critics
choose, they realize the crisis for example,
in all its socio-ideological. For example,
always in France, where things are worse than us and
the crisis before us a few steps, the Minister of Cultural Affairs
and the National Centre of French Cinematography
have done to achieve the Company of Economics and
Applied Mathematics An investigation into the audience
on the situation and prospects in attendance at the cinema and was found to increase the means to kill time, but
decreases the time to kill. In other words, the failure
time "to live" together with the fact that cinema
no longer has a virtual monopoly of distractions
popular, is no longer the sort of physio-psychological
habit that had become the drug of mass (
has never been just that, of course), are other elements of the crisis
film, however, is not only more films, but
the same psychological and cultural life of the nation. In
Essentially, the public today has made the film an image that stimulates
as before, and cinema
retains an image of the public who is overcome by new consumer trends
existence as a total product,
commodification , totalizing reification and alienation.
criticism, in the middle, should be able to improve the two
pictures or bring them closer, to focus, but so far there
is successful, but ...

(...) But the movie again today responds to a conception
macroscopic and naively romantic
of becoming social. Therefore his "gender" is reduced to a single genre
century romance, and has not gone beyond that step
- though critics pointed out sporadically
fundamental - namely the discovery of microscopic
deimovimenti outside, on the first floor as the nucleus of
figuration of a new language to be applied to
inner movements, the mechanisms of consciousness,
internalization of the show or for processing into
show the inner life of man. We do not know yet when
escape this kind of law that seems poetic
included in the rule of commercial success,
that may be declared only by
tens of millions of people at various levels of culture and sensitivity
(the success of the film is comparable to the success of
work that must be enjoyed through the ages, from different
humankind, as by means of time travel), but
is certain that we are still at the stage of emotional medicine
visual distributed in doses from horse to a humanity that
needed an urgent remedy against excessive
instrumentalization of reason, and in doses
took an hour and a half of uninterrupted inhibition and hypnosis.
In an era of overall planning of tipificazione
of mentality, culture is the antidote was so grossly
poetic, they followed the rules the popularization and standardization
emotional, collective neuroses. The
critics have reacted to the mechanism and its automatic
as he could, but his meta
remained mired in the same speech impediments, but did have to start from
renewal of its own tools of analysis
film, beginning with kinegram patterns as
linguistic signs, from semiotics, the study of the structures
language of cinema. Ourselves we should start, or restart
here. The structural anthropology
has shown us that everything is a system of signs and meanings
seconds. Although this festival, this "First International Exhibition
New Cinema "is a system of signs
. The title, for example, in its denotation
deceptively simple as that of the International Exhibition of New Cinema

implies a connotation of cultural trend. This is not new in cinema
sense of time and the names, advertising,
invitations, collateral events, round tables, invited the characters, the same hospitality, gestures and ways,
objects, same film at the end are all signs, rituals, protocols.
it shows, for example, means a certain
ambition and a degree of confidence. He believes in the "new" if only because it is
'new' because it is the 'first' and claims
precariously to a "verification" of the "ferment of the original
commitment to innovation in content and language
. The joint exhibition and means, in short. Notify
initiative, reports of work accomplished and make
. It means that the cinema is "new"? Or
must be "new"? If we are experiencing the "ferment of
linguistic renewal" means, for example, that
these enzymes have already been identified? Or I will identify here only
someone checks will
next? But if this show will be every year, we will see here that the film
will be "new" each year in the sense
polemical and programmatic
reason clearly implied in his title? It is this possible?

Where Can I Buy A Bowling Pin Cake Pan?

between cinema and Poetronics (and beyond): the writings of Gianni Toti - Sandra Lischi

In his memory of Gianni Toti on Cahiers du Cinéma "
(March 2007) Jean-Paul Fargier
begins with the recall of a sequence of SQUEEZANGEZAÙM (1988): the bow of the battleship Potemkin virtual
that splits the screen
white, as to head for viewers. RAI to
Turin, helped by its "montautori" and his "chimeramen"
Toti had experimented with instrumentation and electronic effects for
video made the idea of \u200b\u200bEisenstein,
he wanted at the end of his film, a real tear
screen by the image of the bow that
advances. LA CUIR POÈTEMKINE so
Toti had renamed the film in that its videopoema
which is a tribute to the artistic and political utopias of the twentieth century, the language of
transmental Khlebnikov, Mayakovsky's poetry.

Fragments of films one after another, intertwined with music
: Toti reworks them just as it did with
words, to create meanings ("sognificati," he said) new
new combinations of memory and imagination.
"It was something new with the old - writes Fargier. With frantic
associations, clutches,
overlapping layers, fragments of straw. " Moreover, "in his lyrics teem
suitcase-words thrown in Italian, French, English
, in Russian, in English, with the voice of post-Joycean
multilingual inspired by the trans-linguismo, rolling the syllables as
a declaimer on the scene,
detaching them from each other to better enjoy the source of each
is often taken from different languages. His model was the "Zaum" of Khlebnikov: The Futurist pot, the melting-pot of all the languages \u200b\u200bcombined to create an outrageous talk, the only one worthy to express the novelty of
revolutionary times. " That movie is a
track running through reflection and artistic creation
Toti. From the battle for the big screen
poetry in postwar cultural debate. "I
and some others - a minority, actually - we were
opposed to all the excitement, the rhetoric in
neorealist cinema and other fields ... We, with its rejection and
output field, we did other things ... Cinema
celebrated around the world for us was against reactionary
of the great cinema of poetry ... that for realistic cinema,
course, Eisenstein did not exist ...»,
I had said in a conversation (Rome, 1995).

Zavattini Friend - with whom he had worked for the newsreels
FREE, never ceased to argue with a movie theater
understood as "machine prose" (as said), unable to articulate
, process, transform the reality in poetic language
"other" or, worse still, bent
needs of political propaganda, attempted dall'infausto
recall "message." It is illuminating to read today
his contributions to the journal Film & Cinema ', such as that
Eisenstein and Vertov (1967) in which it interacts with the
issues of truth and cine-cine-eye. There is glimpsed between the lines
, statements similar to those that will then Toti,
in the eighties and nineties, the alleged super-electronic eye.
"not enough to be" masters of Sight "- wrote in
1967 -, create things to see and that there are
in the truth of the human eye and visual film
if the author is not involved in mythopoeic
you know what to tell you that he has built his life
watched by the most refined, agile and intelligent
handled and even artistically. " A Dziga Vertov
was dedicated in 1994 PLANETOPOLIS: to him, the "top
soaring, "cited in images with fragments de
THE MAN WITH THE CAMERA, the gigantic project of this
" video-poem-work "had started from a Symposium on
filmmaker in Moscow in 1992 . It is a video SQUEEZANGEZAÙM
interwoven with homages to cinema: the classic
(John Ford), one animated, one of the historical avant
. Act of love towards
a century of performances and utopias schemiche,
those that have made us all "spettratori, viewers of shadows,
ghosts and dreams. A film that becomes, in the sense of
"Zaum" Language transmental of Velimir Khlebnikov
. Go back, repeat, play with himself,
is screwed up other images, runs through other forms, recreates
captions and titles, as will happen next in the entire production
"Poetronics" Toti. I remember, during the post-production of
PLANETOPOLIS, the imaging of
Eisenstein's October, with the crowd flow backwards
flags in red on black and white sequences Pelescian,
of Medvedkine of Vertov, but also of Ruttmann
scientific documentaries, Lang, Pennebaker, Marker ...

Indeed, perhaps his most moving video, the one that won
electronic arts
various authors and several critics (as has been said recently at the festival in Clermont-Ferrand
, during a tribute to Toti) is Chained to
FILM 1982 (a Party to the trilogy MAJAKOVSKIANA
Experimentation RAI). That piece of film, two minutes, saved from destruction and given to Toti Lilja Brik by his friend, his companion for many years
of Mayakovsky, came from the film Nikandr Turkin
1919: I recited the two, by staging the story
a dancer who leaves the screen for the sake of young
"real." Thanks to the intuition of the possibility of metamorphosis
and time dilation and alterations
spatial and color of the video, thanks to the words recited to
poetic quotations, the magnification of details and gestures, repetition,
enchantments, melancholy interest ("malincosmie," said Toti
like), the fragment (re) becomes work accomplished, in one hour
interprets the hopes and disappointments of an entire generation of fans
revolutionaries
word and art, and brings out a new life
memory chips otherwise destined to disappear.
In a poetic, evocative, sometimes enigmatic,
these works are a path to political reflection, offer
matter of doubt and thought
on the rise and decline (or the temporary silence) of communism, which was renamed
Toti "coSmunismo" to emphasize the
worldwide vocation, to come, beyond this or that
hasty and misguided application.

Cinema Gianni Toti had not only loved, commented,
studied, used in the video. At one point the
had also made, both as an actor (for Faccini, the
Straub, Gutierrez Alea and others) and as an author and screenwriter
of many texts that were at the stage of
project, both with two films : E Shaul AND
SICARI ON WAY DAMASCUS (1973) and ALICE IN
CARTAVIGLIE (1980, an operation which is also related
a book and a 45 music).

is interesting to read today's debates (especially on
Shaul, edited by and starring Roberto Perpignani
GeorgeWilson) magazines of the period, by 'Cineforum "
the' Review of the Cinema" to "New Cinema" and
"Cinemasessanta '. This is a film that reverses the
idea of \u200b\u200b"cinema history" and that it builds with time shifts,
provocations (the headlines in the middle of the film), effects such as
to call the video, more versatile and malleable Film,
more willing for its vibrant nature and point
to "bending" of the language. "I think the film (he says Toti
in one of these items) as a" picture books and audio visual
"which may then need to prefaces,
of post-factions, to work on the texture, useful to the reader
-spectator because it manufactures its own "key
Reading" or "slettura" or "illettura "...».

writer of all the scriptures, Toti shows us here as in his creative journey
it is not "jump" from one medium to another
, by writing to another (perhaps more technically advanced
). The Page -
literally and metaphorically - is one, white sheet and brightness of the screen,
projection surface film and
under the monitor. In the eighties Gianni Toti becomes unmaestro
of experimentation in electronic
internationally known, award-winning, celebrated (more abroad than in Italy,
must be said) among the pioneers of the more educated and more radical views
video. Back in the "Poetronics" the subversion of language,
back film (medium now "fully born" Toti
seconds) as a form of speech in video, but also born
figures never seen before, the adventures of forms, layouts
and creations - in digital -
extraordinary impact of sensory, intellectual and emotional.
If we read the critical analysis of his literary and poetic work (such as, piercing, Joseph Zagarrio) recognize the "rhetorical devices" totiane, his inventions, his twists of language, its deconstruction,
also in video images: as well as planetary and cosmic
his breath, his "irony antroposociologica"
his views on the possible future and "poesibile. As a young scholar
well established, Silvia Moretti
(how many young people around the work of Gianni Toti, how much attention
collecting his work and passion in students
that they approach or who met him in person), you
is a screen-video-page to go with the
write, browse, through, "a continuity of mutual
nourishment between writers and visual art. " Moreover, the video-
his poems are full of letters and words and lives
dancing, entertainment (futuristically)
containers become images or of images and the film itself, taken for
"sentences", it becomes an element of the speech:
moved a little muffled Gramsci, filmed in Moscow (in GRAMSCIATEGUI)
Lilja moves the dancer who has nostalgia for
white canvas screen, soldiers on horseback returning
back, advancing to the masses who do not progress more ... Page,
film, video? Word, writing, music? Perhaps the lesson

higher Gianni Toti, inseparable from
rigor and freshness that was taking him
detailed examination of the various arts that has spanned (and which was also a theorist
, formulating concepts and terminology coined) ,
lies precisely in this poetic and artistic co-
this practice of recruitment and "total" of
languages. Which is inseparable from the rest of the fruitful coexistence
passionate - in his art and his experience
of life - of many modern languages \u200b\u200band "death" of many
literary masterpieces of all time, of many different musical influences
, knowledge theater, films, scientific, philosophical.
But many countries visited, people
known and unknown, met and never forget, extraordinary adventures, extraordinary battles
: human, poetic, political, intellectual
. The partisan Vania, a militant of the "proletariat,"
willingly sang the verses of the poet and musician
Argentine Atuahalpa Yupanqui, singer of the Indians and
Wretched of the Earth, which had included in PLANETOPOLIS:
"be a man first, then poet ".

Even in this direction will be revisited and rethought and
"rewritten" his work. And re-lived. In different ways and new
but always thinking and writing and producing, filming and creating and inventing
never surrender to
easy, obvious, the known. And still writing and creating and
thinking and filming and producing and ...

I-catcher Console-web-moniter

Gianni Toti Bruno Torri (Omaggio a Gianni Toti - International New Cinema 43. Pesaro)

There are many reasons that led us, we of the Show
International Film Festival, to remember Gianni Toti,
to pay tribute in this edition of the event
which takes place six months after his disappearance. I want
indicate at least two. First, because John was
an intellectual and a very original artist, who occupied a position along
abnormal and relevant in the Italian cultural panorama
, earning more than
recognition at international level: in fact, with regard to his last
creative experiences, would be more accurate
say that his pioneering work in the field of electronic art is
been better appreciated abroad than in Italy.

addition to this reason, that in itself would be absolutely
enough, I also pointed out that John is
been from the beginning several times, very close to
Pesaro Film Festival. In fact, during the first year,
far in 1965, participates in the Round Table entitled
"Criticism and the new film," and also in two subsequent editions
cooperates with similar conventions, yet focused,
thematically, the film critic and
specificity of film language, keeping you each time a report and making it the only one, together with Pier Paolo Pasolini, to be more actively present. In
thus contributed to the realization and success of an initiative
precisely repeated for three consecutive years and
always characterized by the same objective, to reduce the
apparent gap between the progress of the then "new
cinema "- against which the Pesaro Film Festival
intended to act as a moment of reflection and identification, assessment and promotion of
- backwardness,
theory and practice of discourses on cinema and film.

Then his cooperation became even closer
1968 edition of the Festival, which that year was marked,
for better or for worse (but more than that from this), the
disputed. Gianni
was one of five members of the Selection Committee and during the days
Pesaro its relationship with the student movement, rather diffident
first but then very involved, was to
he was very decisive: so that, as in
after I got to say, somewhat serious and somewhat jokingly
, Pesaro, that year, was for him a sort of
road to Damascus. That still does not
away from the Communist Party which he had written a very young age, when in Rome
military in Resistance, if anything, even more radicalized
his Marxist beliefs details: Gianni
special because he knew
combine orthodoxy and doubt, and not to If the often quoted phrase of the same
Marx "I am not a Marxist." Since then John returned to Pesaro
other times as a spectator and, in
a couple of occasions over the years Nineties, even as the protagonist, that is, as
"Poetronics" (the new word is his) to present some of his videos and
to intervene in other conferences
as a theorist of the new audiovisual languages.

But then again, Gianni Toti, far beyond its contributions and its shares
Pesaro, was a person of the first floor
in different cultural fields;
A person with a multifaceted genius and extraordinary productive capacity
. As well as an insatiable reader and traveler planetary
was a journalist (his memorable items from
Vietnam), novelist, poet, essayist, translator, film critic
, filmmaker, director of a magazine
('secret papers') unique, especially
the rediscovery of literary essays or
Italian and foreign, expert editorial (created and edited the series "The
Pockets"), and , but I am not sure I remembered everything
, videomaker. This activity, which is dedicated
in the last decades of his life with great enthusiasm,
fail to enter, and to unify the call for
experimentation, ideological commitment and a vast cultural background
continuously fed and processed, and
confirmed, even in this area so expressive
unique and different, even working with images and
, a master of logos in the dual sense of
"word" and "reason" on the greek word.

Of everything we want to offer a witness in Pesaro,
projecting some of his videos and discussing his work in a
Roundtable, which brings together his most careful and insightful
interpreters. Which, I am sure, will end
speak to the person, ie, its quality
human, his love for life, the consistency with which he has always lived
his ideas, his sense of friendship,
in short, of all that, along with his own opera, Gianni
reminds us with admiration and gratitude.