Archive for March, 2010

Rete Scuole Alfamediali
logos alfabetico – olos audiovisivo
manifesto
http://www.scuolealfamediali.net

La Scuola Alfamediale (alfabetico-multimediale) insegna le tre più potenti culture storiche del nostro tempo e di quello futuro: Umanistica, Scientifica, Multimediale. Quest’ultima è un nuovo ambiente di vita, pensiero, arte, informazione, comunicazione, studio, lavoro, già attivo nelle società avanzate. L’alfamedialità innalza i livelli individuali e collettivi di coscienza, intelligenza, responsabilità e libertà degli uomini. Prospetta e progetta un nuovo umanesimo e una nuova civilizzazione attraverso l’incontro e la fusione di due diverse forme di pensiero riflessivo: il logos alfabetico della Cultura Umanistica e della Cultura Scientifica e l’olos audiovisivo della Cultura Multimediale.
Le Due Culture, Umanistica e Scientifica, generano e sono generate dal logos alfabetico del testo scritto, a mano e a stampa. Il logos funziona come un “motore” e procede per proposizioni (soggetto-predicato-complemento). Da più di 2.500 anni compie due grandi magie: rende visibili e dunque leggibili i pensieri attraverso pochi segni grafici su carta (punti, linee, forme, lettere, numeri, parole) e modella attraverso il lavoro testuale di lettura e di scrittura il pensiero riflessivo analitico-chiuso, al di là dei contenuti trattati. Con il passaggio al terzo millennio il sistema simbolico-culturale del logos alfabetico, forza e gloria del Mediterraneo classico e dell’Europa e dell’Occidente moderni, sembra entrato in crisi storica di sistema. La sua riflessività analitico-chiusa non riesce più a spiegare, prevedere ed affrontare le improvvise emergenze del mondo, divenuto sempre più globale, complesso, veloce, instabile, imprevedibile, “liquido”.
La Cultura Multimediale, la Terza Cultura, genera ed è generata dall’olos audiovisivo dello spettacolo su schermo (cinema, televisione, computer, internet, videofonino…). Diversamente dal logos alfabetico, l’olos audiovisivo funziona come un “organismo” e procede per inquadrature e sequenze. Come è facile notare, non si tratta più, o soltanto, di tessere in ordine lineare segni grafici su carta, ma di orchestrare direttamente su schermo lo spettacolo della Realtà, del Corpo e della Parola ovvero “lo spettacolo di noi stessi nel mondo”. Nasce da questo rispecchiamento olistico, poli-semico e molteplice il pensiero riflessivo sintetico-aperto dell’audiovisivo, che la Scuola Alfamediale innesta sul logos alfabetico delle Due Culture. L’olos audiovisivo è il risultato di un complesso, ragionato ed intuitivo lavoro d’integrazione culturale. Per fare spettacolo su schermo bisogna, infatti, sapere integrare tutti i linguaggi umani, tutte le forme testuali, arti e saperi diversi, retorica e logica, immedesimazione emotiva e distanziamento critico, immaginazione creativa e formalizzazione comunicativa, autorialità e casualità compositiva, tecniche analogiche e digitali. Il gioco di tutti questi fattori libera l’intelligenza olistico-riflessiva dello studente, indispensabile per capire e vivere da cittadino attivo la complessità dinamica dei fenomeni naturali e culturali, le relazioni profonde e superficiali dell’agire sociale, l’incastro sinergico di sistemi e sottosistemi e così via.
L’audiovisivo è il più spettacolare linguaggio umano. È scritto con la telecamera (la nuova penna) e si compone e si legge sullo schermo (la nuova carta-scena). La composizione audiovisiva riunifica tutto ciò che l’alfabeto separa: corpo e mente, uomo ed ambiente, spazio e tempo, reale e virtuale, emisfero destro ed emisfero sinistro.

Zeus, anche Zeus, scaglia
fulmini e saette, mettendo il mare in tempesta.
Ulisse, nonostante i continui naufragi, resiste.
ma con gravi perdite di marinai e navi.

A cura di Tullio Sirchia Coordinatore pedagogico della RSA
Piazza S. Agostino, 2
91100 Trapani tel 0923 21500
tulliosirchia@virgilio.it

Shirin Neshat

Posted: March 26, 2010 in Artistic events

intervista a Shirin Neshat

L’artista iraniana, Leone d’argento a Venezia, si racconta a Gabi Scardi: dall’approccio nomade che la porta a sperimentare diversi linguaggi al rapporto irrisolto con il suo Paese d’origine.

Donne senza uomini, Shirin Neshat si è aggiudicata il Leone d’argento all’ultimo Festival del Cinema di Venezia. Con un linguaggio enigmatico e con lo stile curatissimo e perfetto che contraddistinguono il suo lavoro, nel film l’artista racconta una serie di storie individuali il cui elemento accomunante è avere un punto di riferimento in un magnifico giardino di orchidee: luogo interiore, spazio a parte in cui sfuggire alla quotidianità banale o brutale.

Il nuovo programma radiofonico.

Percorsi ondosi attraverso la letteratura, le arti e la cultura.

Un programma ideato e condotto da Max Ponte. Con la collaborazione di Daniela Terrile e Pietro Pedone. Alla consolle Alessandro Gianotti. Prodotto dal Club del Libro di Bruxelles e Poesia Totale di Torino.

Ondivago si propone di attraversare alcune esperienze letterarie contemporanee. La poesia di oggi come parte dell’oggi. La critica letteraria e la situazione del romanzo. Alcuni documenti sonori d’avanguardia. Uno sguardo attento sull’arte contemporanea e sul ruolo del design e dell’architettura. Uno scambio ondoso e possente in grado di destare l’attenzione su opere, autori, scrittori, artisti e insoliti personaggi. Incursioni ed estroversioni. In una prospettiva di integrazione delle arti. E di contenimento del naufragio nel plancton estetico.

Il programma verrà trasmesso su radio Alma, radio belga di Bruxelles, sulle frequenze FM 101.9 http://www.radioalma.blogspot.com/ E sulle emittenti e i canali che verranno segnalati.

Tutte le puntate saranno disponibili in rete.

Le registrazioni avverranno dagli studi di Torino. Per scrivere alla redazione e per eventuali interventi: ondivagoradio@gmail.com
http://ondivago.blogspot.com/

Phone (+39) 3341696877

POESIAPRESENTE2010

Posted: March 20, 2010 in Poesia

Poesia contemporanea in Monza e Brianza
Quarta edizione

GIOVEDì 18 FEBBRAIO ALLE ORE 21
presso il Teatro Binario 7 | via Turati 8, piazza Castello, Monza (di fianco alla stazione FS)

In collaborazione con Comune di Monza – Assessorato alla Cultura, Teatro Binario 7, La Danza Immobile, Provincia di Monza e Brianza

“NEL SEGNO DELLA PAROLA”
Jean-Jacques Viton (FRANCIA) intervista e reading in lingua originale con traduzioni
Biagio Cepollaro (MI) reading con videoproiezioni
Mario Bertasa (MB) reading con videoproiezioni

Serata nel segno del fare poesia con la parola, così come nel segno della parola poetica in quanto segno.
Jean-Jacques Viton: “Il commento definitivo”
Viton (1933), uno dei poeti francesi contemporanei più significativi, leggerà il suo “commento definitivo” (traduzioni di Andrea Inglese). Inoltre, grazie all’intervista live condotta dal poeta Andrea Raos, sarà possibile approfondire la poetica dell’autore, la cui ricerca è per prospettiva difficilmente rintracciabile in autori Italiani.
La sua scrittura predilige l’attraversamento burlesco e anarchico di eventi che si offrono senza gerarchie allo sguardo e alla memoria poetica. Spesso la sfera dell’esperienza quotidiana diviene terreno prediletto per un’esplorazione dei margini, dei resti, delle anomalie. I testi sono tratti da “Decollage” (P.O.L, 1986) e da “Il commento definitivo. Poesie 1984-2008”(Metauro, 2009)
Biagio Cepollaro: “Da strato a strato”
Cepollaro, poeta di punta del Gruppo 93, traccerà con testi rappresentativi, il suo percorso poetico-artistico con la proiezione di immagini della sua ultima produzione visiva e leggendo dall’ultimo libro “Da strato a strato” (La Camera verde, 2009), da “Scribeide” (P. Manni,1993), da “Nel fuoco della scrittura” (La Camera verde, 2008) e da “Lavoro da fare” (E-book, 2006). Si è distinto per l’acume critico e le sue doti di didatta, doti che per molti anni gli studenti del Liceo Scientifico Statale “P. Frisi” di Monza hanno potuto apprezzare.
Mario Bertasa: “Atroce #31-0 (Integrale 0.1)”
“Atroce”, la silloge poetica di una delle voci più rilevanti di MeB, inclusa nell’antologia “Mappa giovane”, debutta nella versione live, integrale, detta tutta d’un fiato, con articolazioni rapidissime della pronuncia e videoproiezione verbali e distorsori di voce.
Nel foyer, a disposizione del pubblico, “LaPoesiaSalvaLanima” distributore gratuito di poesie, realizzato secondo i principi della street art (installazioni create con materiale di riciclo e collocate in luoghi non convenzionali) dalle classi II E e III A della Scuola Secondaria di Primo Grado “Anna Frank” di Monza nel laboratorio di scrittura e lettura “pronto soccorso poetico” curato da Silvia Monti (con la collaborazione della prof. Licena Elli)

http://www.poesiapresente.it info@poesiapresente.it
347/0685951 – 340/2880586

guarda il video

Nous y voici !
Pour la troisième année de suite notre Maison s’animera de tous
ses feux en poésie, danse, musique et rencontres lors de
la journée du Nouvel An Poétique !
Comme l’an dernier, nous vous espérons nombreux à Amay ce jour-là.
Un buffet est prévu en soirée, ainsi qu’une grande Tombola et
une scène ouverte aux poètes et slameurs.

Ce sera le samedi 20 mars, à partir de 15 heures jusqu’à plus soif !
Nous aurons l’occasion d’inaugurer la fresque créée en nos locaux par
des participants aux ateliers de notre CEC Plume et Pinceau, ainsi
qu’une exposition qui se tiendra pendant un mois autour du thème
«Passages».
Nous vous inviterons également à découvrir quatre nouvelles
parutions spécialement éditées pour cette occasion : deux
collectifs sur le thème «Passages» (l’un faisant suite à un
appel à textes, l’autre issu de travaux d’ateliers),
l’agenda poétique 2010 et le calendrier poétique 2010.

Nouvel An pour d’anciennes traditions, Journée Mondiale de la Poésie
pour l’Unesco, ce samedi 20 mars sera à l’image de cette nouvelle
Maison de la Poésie d’Amay : une grande porte ouverte sur le monde,
sur le public, sur la poésie et l’art, en toute convivialité.

Car, comme l’écrit cet anonyme persan du XXIIe siècle : «N’attends pas
qu’on t’ouvre la porte : sois la porte».

Bienvenus !
David Giannoni
directeur

Metodi: progetto di ricerca su arte e società
“PROCESSI DI TRASFORMAZIONE”
OPEN CALL
5a edizione 2010 | workshop Cittadellarte-Fondazione Pistoletto, Biella, 20-24 Maggio 2010 workshop promosso da Love Difference e Cittadellarte-Fondazione Pistoletto, curato e condotto da Love Difference e artway of thinking, con il supporto del programma LLP Grundvig workshop.
Il progetto di ricerca “Metodi”, avviato nel 2004, indaga le metodologie adottate in processi creativi indirizzati alla trasformazione sociale responsabile. La ricerca interessa soggetti del mondo artistico che, a partire da specifiche problematiche sociali e attraverso una rete di comunità, enti e istituzioni pubbliche e private, realizzano nuove modalità di scambio, dialogo e co-creazione.
Dove e quando
Il workshop si terrà a Biella, presso Cittadellarte-Fondazione Pistoletto dal 20 al 24 Maggio 2010.
Il workshop ed i materiali saranno in lingua inglese.
Informazioni
http://www.lovedifference.org
http://www.artwayofthinking.it
info@lovedifference.org
info@artway.info
http://www.cittadellarte.it

William Shakespeare’s Sonnets for the First Time Globally Reprinted. A Quatercentenary Antholoogy 1609-2009.
Centenaries and their subdivisions and multiples bring out the worst and the best in us. They provide the commercially minded with opportunities to flog their wares — a thought that gives us cause to start dreading the deluge of Shakespearean events and publications that is to burst upon us in 2016. But Shakespearean jubilees also tend to generate wonderful ideas and projects. Such projects can be quite modest, such as the reappraisals of M. M. Mahood’s Shakespeare’s Wordplay in the Journal Connotations (issue 6:2, 2006-2007, online) occasioned by the fiftieth anniversary of the publication of Mahood’s classic study on Shakespeare’s puns. This half-century of Shakeaspeare’s Wordplay was in itself a perfectly trivial occasion, but surely one which produced fine results, including one of the last papers of Kenneth Muir and further¬more a Reply by Molly Mahood herself. Les excuses sont faites pour s’en servir, as French proverbial wisdom has it, and Manfred Pfister and Jürgen Gutsch have now taken advantage of the four centuries of Shakespeare’s Sonnets to bring out an absolutely intriguing anthology which gives a generous sampling of Shakespeare’s famous poems in dozens and dozens of languages and ver¬sions. Admittedly, it is not a cheap book, but it is worth every penny.
On the book spine it says Shakespeare’s Sonnets Global and that is short for the cover title William Shakespeares Sonnets for the First Time Globally Reprinted, which cleverly alludes to the title of the 1609 edition: Shake-speares Sonnets Neuer before Imprinted. The book cover reproduces the title page of the original edition in a soft grey lettering and nicely superimposes the new title and the other bibliographic data on it printed in a black Garamond typeface. It is an elegant and effective design which literally and figuratively establishes the 1609 edition as a palimpsest for the Sonnets’ global afterlife as represented in this anthology.
At first sight the volume has the traditional format of a literary anthology, except that it is radically multilingual. We are all familiar with the kind of translation anthology that renders poems by many authors and from many languages into one single target language; a typical example would be The Oxford Book of Verse in English Translation. But this conventional model is here turned inside out in a sweeping centrifugal movement, as one slim source-lang¬uage book of poetry appears in more than seventy different languages (but strangely also disappears into them: the English originals of the Sonnets are not reprinted and no back-trans¬lations into English are given). This anthology does not give multiple translations into a single target language which serves as an inclusive common denominator, bringing readers and texts together and closing the gaps between languages. More uncomfortably, Shakespeare’s Sonnets Global highlights translation as an uncompromising demonstration of the divisive reality of linguistic and cultural difference. This format of translation anthology has exclusive effects. I assume that not a single individual can be found who could read and understand all the translations in this book, as surely no one can be that much of polyglot. Even the linguistically gifted will be left out by most of the selections. In many cases one finds oneself staring at the strange but impenetrable beauty of a different alphabet or writing system.
Unsurprisingly, the book is produced and distributed not by a mainstream Anglo-American publisher but by what is for me anyway an obscure Swiss publishing house. True, the Eng-lish-speaking academic world is beginning to recognise the importance of multilingualism and translation but, even so, we find it to be more at ease speculating monolingually, philosophically and often metaphorically about translation than engaging hands-on with the stubborn material realities of language difference. And because „realities“ is the operative word here, Shakespeare’s Sonnets Global is such a welcome book.
What should lower the threshold is that all the editorial matter is in English and that the an-thology is subdivided into seventy-three alphabetically arranged „contributions”, each dealing with a particular area or target language and being prefaced by an informative headnote which sets the translations in their literary and historical contexts. Take, for example, the first con-tribution, which presents the Afrikaans versions of the Sonnets: it is introduced by a headnote which really amounts to a short essay by Hennie van Coller and Burgert Senekal, complete with a bibliography (pp. 35-39); then comes the mini-anthology (pp. 40-44) comprising Afrikaans translations of sonnets 18, 30, 55, 71 and 116 (two different versions each) and of 106 (one version), followed by the list of sources for the translations (two of the translations were spe-cifically written for this project). This basic format is used in the seventy or so following sections. Languages or areas covered by the next sections include Albanian, Amharic, Arabic and Armenian and so on further down the alphabetical list ending with sections on Turkish, Ukrain¬ian, Yiddish and Visual Translations of the Sonnets. The book is concluded by a presentation of the many contributing authors.
As this sort listing may suggest, the book’s approach is a very democratic one. Even though the African continent is sadly underrepresented, the book lives up to the word „global“ in its title. Smaller languages are represented as well as large ones. Who has ever read a Shakespeare sonnet in Pennsylvania German, in West Frisian, or in Rhaeto-Romanic? The most extreme case is Cimbrian, an old Germanic language in Northern Italy that was „already said to be dying out before the beginning of the 20th century“ and that is „nowadays still spoken by a few hundred people“ (p. 135). However, the permanent threat of extinction has not dampened the spirits of the author of the head-note, who affirms that „Cimbrian literature [ … ] has continued to be alive and kicking to our days“ (ibid.) and goes on to demonstrate his belief in the viability of the language as a literary medium by offering his version of sonnet 151 — the one and only Cimbrian Shakespeare sonnet so far. This may strike us as a mere curiosity, but it has more than just anecdotal value. Not only does the contribution offer interesting linguistic and cultural information, it usefully challenges our dominant worldview in which English is unthinkingly taken for granted as an international language and in which national or official languages are the only other ones that count. It comes as no surprise that several of the sections representing smaller translating languages have an implicit and sometimes more explicit political agenda. They show a determination to put marginalized languages and literary cultures on the map, sharing an „ecolinguistic“ concern with linguistic and cultural diversity. Such a determination can grow out of deeply lived experience, as is shown for instance by Victor Shapoval’s intensely and engagingly personal „Attempt at a Romani Shakespeare“ (pp. 545-52).
Compared to some of the headnotes which were authored by the translators themselves and/or by scholars speaking on behalf of a minority language, most entries adopt a more strictly factual and descriptive attitude. Taken to¬gether, with all their variations in tone and length, the head-notes show fine scholarship, providing original surveys and in many cases making available previously undocumented findings concerning the worldwide reception of Shakespeare’s Son-nets. Where relevant, the translations chosen are usually rep¬resentative of different periods and translational approaches. Let us also note that in addition to the entry on „Visual Languages“ (a fascinating essay by Erika Greber), there are a few other contributions discussing and illustrating less conventional forms of „translation,“ such as „German Parodies“ and „Sign Languages.“ Of special interest are also the sections on the Shakespeare sonnets in Esperanto, Latin and in Klingon.
Shakespeare’s Sonnets Global has a general introduction by Manfred Pfister (pp. 9-32). Pfister comments on the history of the project and voices the edi¬tors’ regret that despite their manifold efforts collaborators could not always be found to make their anthology as global and as non-Eurocentric as they would have wished. Pfister explains the editors’ very open and flexible con¬cept of translation, which is particularly inclusive where non-canonical lan¬guages and ver-sions are concerned. He also asks the question what we can learn by juxtaposing and comparing the different materials and insights gath¬ered in the volume. Why is it that Shakespeare’s Sonnets were generally trans¬lated much later than the plays? How and why did the sonnet culture develop the way it did? How have the translators variously negotiated the philological and the aesthetic dimensions of their task? And who are all these translators anyway? Why have so few women translators taken up the gauntlet? How have translators dealt with the Sexual content and the erotic scenarios sug¬gested by the Sonnets? And how come the Sonnets seem to have had such a special appeal to readers and translators living in extreme circumstances, e.g. in prison or in exile? Pfister concludes his insightful introductory reflections by saying that Shakespeare’s Sonnets Global with its „polyphony of voices and plethora of Images“ bears testimony to the poems’ „continuing and ever-sur¬prising vitality“ (p. 29).
With more than 750 pages between its hard covers, Shakespeare’s Sonnets Global is an im-pressive and indeed also a handsomely published book. Inas¬much as one is able to verify this, the number of typos appears to be quite low. True, the use of italicisation for titles of books and Journals is bizarrely inconsistent and I spotted some typographical oddities or typesetting errors. Also, the use of the book would definitely have been a lot easier with the help of an index and of running titles. But such small flaws hardly detract from one’s feeling that this volume is a thing of beauty, a joy to have and a pleasure to peruse. Shakespeare’s Sonnets Global is more than a book, however. It comes with a data disc which is an intrinsic part of the work and not just „a bonus disc.“
The data disc presents the whole book in digital format as a sequence of PDF-files (one file per contribution). It offers Shakespeare’s original poems in a variety of formats: a diplomatic reprint of the 1609 text; the text of the 1966 edition by John Dover Wilson; a sound recording of the poems read by Chris Hughes; and a complete word concordance. Furthermore, the disc has a polyglot sound archive with some 675 recordings of the various translations in the book, all recited by native speakers; we may be unable to understand the text of the translations and perhaps even to decipher their script, but at least we can now appreciate the sounds of them and begin to think in more concrete terms about what happened to Shakespeare’s prosodic patterns. The disc’s sound archive also offers a Selection of musical settings; copyright restrictions here got in the way of what might have been achieved, but the sampling is sufficient to suggest the range of possible musical interpretations and to whet our appetite for more of them. Then, there is a truly amazing picture library, with the carefully scanned covers of dozens of editions and translations, with „visual sonnets“ and some extraordinary artwork. The section with Son-nets-related footage including clips from films and videos is somewhat disappointing — again, copyright restrictions muss have been the main obstacle here — but it has some interesting items, such as sonnet 130 in Sign Language. I was rather underwhelmed by the Internet section (it is short and eclectic) but it does offer an excellent „Selected Guide to Shakespeare on the Internet“ compiled by Hardy M. Cook (editor of SHAKSPER), leading readers from the book via the disc into the endless universe of online Shakespeare.
All in all, the combination of the book and the data-disc constitutes an invaluable source of material for Shakespeareans and sonnet lovers. English Literature teachers will adore it and undoubtedly plunder it to bring their classes on the Sonnets to life. Shakespeare’s Sonnets Global will also serve as an inspiration and basic reference work for future theses and research projects in a range of areas beyond English Literature stricto sensu: Translation Studies, Comparative Literature and Word & Image Studies, to name but those. Given the abundance and the quality of what the book has to offer, it would be un¬fair to quibble about what is missing in it. But let it be permitted to express the hope that the book represents work-in-progress and that the project can continue to grow in the form of an Internet site possibly along the lines of the HyperHamlet project in Basel (http://www.hyperhamlet.unibas.ch/). This would also enable Shakespeare’s Sonnets Global to connect more intensely with the Anglophone afterlives of the Sonnets, to expand on the history of the critical and scholarly interpretations of the Sonnets, and to further document their presence in the modern media (from advertising to YouTube).
This volume is an essential addition to any collection of books on the Son¬nets. It certainly has pride of place on my personal Shakespearean bookshelf, where it is flanked by Stephen Booth’s edition of the Sonnets. Booth taught a whole generation how to read the Sonnets in English; Pfister and Gutsch have now dramatically raised our awareness of the extra semantic and cul-tural en¬ergies that are released once these great poems go global.