Costruttori d’immaginari … GRAZIE!!!

Artigianub … Piazzetta Dante … GRAZIE a tutti coloro che hanno contribuito alla realizzazione del cantiere urbano aperto in Piazza Dante : GRAzie alla Regione Puglia, al Comune di Lecce, alla Scuola Edile della Provincia di Lecce (che ha messo a disposizione la propria struttura spostando i limiti della didattica adottando un cantiere di sperimentazione sociale); GRAziE al Direttore, a Gianni e a tutti i maestri artigiani (Salvatore Signore, Francesco Notaro, Orodé Deoro, Stefania Bruno, Carlo Luperto, Simone Fersino e Luciano Abadessa); gRAZIe ai fornitori (Mapei, Abstilcasa, Vetrerie Calasso, Pisacane srl, RI Costruzioni) che hanno messo a disposizione sia materiale di scarto che materiale di prima scelta; gRaZie ai corsisti che hanno dedicato la propria manualità in cambio di un nuovo sapere; grAziE a Bruno e Dominique e la loro squadra francese che ha soffiato una giovane energia;

graziE a Maira Marzioni e Michela Luperto per aver raccontato il divenire di un luogo;

GRAZIE a tutti gli abitanti ed in particolare GRAZIE Lele che ci ha accolti e ad Attilio per le fragole con la panna; grazie a Luana e alle sue mani; GRAZiE al thé e all’affetto con cui Sandrine, Ketis e Mukundén ci hanno rinforzato; alla signora Raffella e a tutta la strada un po diffidente; grazIe alla fantastica palazzina dove una scala-porta nel cosmo di Sabino, Milena, Enea, Francesca, Yassin, Adriano e Alessandra; gRAzie a Nuzzone grande e ai piccoli; a Mattia, Yuri e Cristiano per essersi messi in campo; a Francesca e Daniele per aver fatto la differenza; a Ilario per averci intrattenuti; GraZie a tutti i bambini che hanno continuato a giocare; a Manuela, Cristian e Francesco per la loro vicinanza vivace; graziE a Maria ed Alessandro; grAzIe a Marcella e al suo canto; grazIe a Mauro e Valentina per Ida ; GrazIe a Giacobbe e alla sua saggezza; al signor Gino e la sua fiducia; grAzie a Claudio, Natalie, Luce e Pace per saper sognare; GRAzie a Piazza Baratto per aver s-cambiato la piazzetta; grazIE alla signora Marisa ed alla sua cucina;  grazie alla Giacaranda e le rampicanti che resistono; e GRAZIE infinite a Carlo, Anna e tutta la famiglia Luperto per la loro grazia infinita !!!

Annunci

Nasse…

Con una pinza di ferro, le mani di Laura intrecciano il filo e la storia in una scultura di giunco, la nassa, un antico attrezzo da pesca. La giovane dalla pelle rossa e i capelli dorati, riproduce l’arte che ha appreso guardando gli uomini della sua famiglia e crea artigianalmente gli attrezzi del loro mestiere. Ci mettiamo ad osservare il suo lavoro, captiamo il ritmo della ripetizione, montiamo la tecnica in immagini e pensiamo come la nassa può diventare altro saltando la frontiera tra arte e artigianato.

| Installazione nasse 01, Afro Carpentieri, 2011 |
| Installazione nasse 02, Afro Carpentieri, 2011 |
| Installazione nasse 03, Afro Carpentieri, 2011 |
| Installazione nasse 04, Afro Carpentieri, 2011 |
| Installazione nasse 05, Afro Carpentieri, 2011 |
| Installazione nasse 06, Afro Carpentieri, 2011 |

Istallazione NASSE, Lecce 2011: Afro e Stelvio Carpentieri

Requiem

“I film, la televisione e i media audiovisivi in generale non si rivolgono soltanto all’occhio. Essi suscitano nel loro spettatore una specifica disposizione percettiva, disposizione che, nel presente lavoro, proponiamo di chiamare “audiovisione”. Un’attività, questa, che non è mai stata considerata nella sua novità: si continua a parlare di “vedere” un film o una trasmissione, trascurando la modificazione introdotta dalla colonna audio. Oppure ci si accontenta di uno schema aggiuntivo, per cui si vedono immagini e si sentono dei suoni, e ciascuna delle due percezioni resterebbe circoscritta nel proprio ambito.” Michel Chion

Requiem, 1973_MICHEL CHION

Giochi, Scherzi e Balli

“The lone man should find his symphony within himself, not only in conceiving the music in abstract, but in being his own instrument. A lone man possesses considerably more than the twelve notes of the pitched voice. He cries, he whistles, he walks, he thumps his fist, he laughs, he groans. His heart beats, his breathing accelerates, he utters words, launches calls and other calls reply to him. Nothing echoes more a solitary cry than the clamour of crowds” Schaeffer 1952

Symphonie Pour un Homme Seul_Schaeffer
con Pierre Henry

Imágenes de Andrés Giraldo

Symphonie pour un Homme Seul_Schaeffer
con Pierre Henrry

Imágenes de Hannah Höch

Symphonie pour un Homme Seul_Schaeffer
con Pierre Henry

Imágenes de Edvard Munch

Symphonie pour un Homme Seul_Schaeffer
con Pierre Henry

Imágenes de: Jules Pascin, Christian Schad, Egon Schiele y Man Ray

Soundscape_Musique Concrète

« Le miracle de la musique concrète, que je tente de faire ressentir à mon interlocuteur, c’est qu’au cours des expériences, les choses se mettent à parler d’elles-mêmes, comme si elles nous apportaient le message d’un monde qui nous serait inconnu » (À la recherche d’une musique concrète, Paris, Seuil, 1952)

The first piece of “musique concrete,” composed by Pierre Schaeffer in 1948 out of sounds produced by trains.

This is posted as a reference to a series of articles on the problems of composition posed by musique concrete. The article on Peirre Schaeffer can be found here:

http://againstthemodernworld.blogspot.com/2007/11/case-study-pierre-schaeffer…

Audio : A1 from ‘Le Trièdre Fertile’

Visual : A 3-dimensional schema for the analysis of sonic objects – from Pierre Schaeffer – À la recherche d’une musique concréte (1952)
http://eamusic.dartmouth.edu/~music3/week2.html

SUKH DEV La città invisibile

SUKH DEV

Regia: Giuseppe Frisino e Afro Carpentieri
Montaggio: Giuseppe Frisino e Afro Carpentieri
Produzione: Muud Produzioni
Italia, Anno 2010

Singh comincia la sua giornata in un vicolo del centro storico di Lecce e, accompagnato solo dal cigolio della bancarella, giunge nella sua piazza preparandosi ad una nuova giornata di lavoro. La luce e le ombre sul volto di un uomo, immobile decorazione alla transitorietà, sono gli echi di un Sud e del suo multiforme immaginario, raccon- tato attraverso l’impaziente attesa di un ritorno in India.

Sustainable mobility #1: think more, move less

An extract from Baraka

What’s in store for the future of individual mobility?

We once hoped that the Internet would replace trips to the mall; that air travel would give way to teleconferencing; and that digital transmission would replace the physical delivery of books and videos. In the event, technology has indeed enabled some of these new kinds of mobility – but in addition to, not as replacements for, the old kinds. Roads built to relieve congestion increase total traffic, and the Internet has increased transport intensity in the economy as a whole. The rhetoric of a “weightless” economy, the “death of distance”, and the “displacement of matter by mind” sound ridiculous, in retrospect. The fundamental problem with the car and the plane is not that they burn too much of the wrong kind of fuel. The problem is that they enable, and perpetuate, patterns of land use, transport intensity, and the separation of functions in space and time, that render the whole way we live unsupportable. Rather than tinkering with symptoms – such as inventing hydrogen-powered vehicles, or turning gas stations into battery stations – the more interesting design task is to re-think the way we use time and space. Distributed computing is an inspiration, I believe, because it’s the information equivalent of sending the acorn, not the tree. There is an alternative way: reduce the movement of matter – whether goods or people – by changing the word faster, to closer. The speed-obsessed computer world, in which network designers rail against delays measured in milliseconds, are years ahead of the rest of us in rethinking space-time issues. They can teach us how to rethink relationships between place and time in the real world, too. Embedded on microchips, computer operations entail carefully accounting for the speed of light. The problem geeks struggle constantly with is called latency – the delay caused by the time it takes for a remote request to be serviced, or for a message to travel between two processing nodes. Another key word, attenuation, describes the loss of transmitted signal strength as a result of interference – a weakening of the signal as it travels further from its source – much as the taste of strawberries grown in Spain weakens as they are trucked to faraway places. The brick walls of latency and attenuation prompt computer designers to talk of a “light-speed crisis” in microprocessor design. The clever design solution to the light-speed crisis is to move processors closer to the data. In ecological terms, to re-localise the economy. Network designers, striving to reduce geodesic distance, have developed the so-called storewidth paradigm or “cache and carry”. They focus on copying, replicating and storing Web pages as close as possible to their final destination, at content access points. Thus, if you go online to retrieve a large software update from an online file library, you are often given a choice of countries from which to download it. This technique is called “load balancing” – even though the loads in question, packets of information, don’t actually weigh anything in real-world terms. Cacheand- carry companies maintain tens of thousand of such caches around the world. By monitoring demand for each item downloaded and making more copies available in its caches when demand rises, and fewer when demand falls, operators can help to smooth out huge fluctuations in traffic. Other companies combine the cache-andcarry approach with smart file sharing, or “portable shared memory parallel programming”. Users’ own computers, anywhere on the Internet, are used as shared memory systems so that recently accessed content can be delivered quickly when needed to other users nearby on the network.

The law of locality
My favourite example of decentralisation of production concerns drinks. The weight of beer and other drinks, especially mineral water, trucked from one rich nation to another is a large component of the freight flood that threatens to overwhelm us. But first Coca-Cola, and now a boom in microbreweries, demonstrate a radically lighter approach: export the recipe, and sometimes the production equipment, but source raw material and distribute locally. People and information want to be closer. When planning where to put capacity, network designers are guided by the law of locality; this law states that network traffic is at least 80 per cent local, 95 per cent continental, and only 5 per cent intercontinental. This is not the “death of distance” once promised by Internet pioneers. Communication network designers use another rule that we can learn from in the analogue world: “The less the space, the more the room.” In silicon, the trade-off between speed and heat generated improves dramatically as size diminishes: Small transistors run faster, cooler and cheaper. Hence the development of the socalled processor-in-memory (PIM) – an integrated circuit that contains both memory and logic on the same chip. So, too, in the analogue world: radically decentralised architectures of production and distribution can radically reduce the material costs of production. We need to build systems that take advantage of the power of networks – but that do so in ways that optimise local-ness. This design principle – “the less the space, the more the room” – is nowhere better demonstrated than in the human brain. The brain, in Edward O. Wilson’s words, is “like one hundred billion squids linked together…” An intricately wired system of a nerve cells, each a few millionths of a metre wide, that are connected to other nerve cells by hundreds of thousands of endings. Information transfer in brains is improved when neuron circuits, fulfilling specialised functions, are placed together in clusters. Neurobiologists have discovered an extraordinary array of such functions: sensory relay stations, integrative centres, memory modules, emotional control centres, among others. The ideal brain case is spherical, or close to it, Wilson observes, because a sphere has the smallest surface relative to volume of any geometric form. A sphere also allows more circuits to be placed close together; the average length of circuits can thus be minimised, which raises the speed of transmission while lowering the energy cost for their construction and maintenance. The mobility dilemma is not as hard as it looks. I have tried here to look at the issue through a fresh lens and to borrow from other domains such microprocessor design, network topography and the geodesy of the human brain. The biosphere itself is the result of 3.8 billion years of iterative, trial-and-error design – so we can safely assume it’s an optimised solution. As J anine Benyus explains in her wonderful book Biomimicry, biological communities, by and large, are localised or relatively closely connected in time and space. Their energy flux is low, distances covered are proximate. With the exception of a few high-flying species, in other words, “nature does not commute to work”.

| John Thackara, Domus 928 |

Traffic Congestion en Ciudad de Mexico