Seagate Barracuda Warranty

THE MORALITY 'OF DOGS: Lars von Trier's Dogville

The vast spaces of the Rocky Mountains, the snow-capped mountains and lakes as smooth as polished slabs, could be a backdrop in which set the sad story of a rural village forties. Yet the scene of
Dogville (Lars von Trier, Denmark 2003), which tells of an imaginary village in the Rockies U.S. consists only of a bare black stage. The characters move on a platform on which they are symbolically painted the walls of the houses, and a light artificial light per day. So essential for a dual purpose: Dogville - a city of dogs - a world that is oppressive, and the modesty reflects the most spectacular squalor of its inhabitants, or the human soul in general, which then focused the attention of the viewer .
The natural rhythm of the company alters the arrival of Dogville A woman (Nicole Kidman) on the run from an arrogant father, who wants his side in the activities of gangsters. Grace, grace , now stands as a purifier of the brutal nature of the villagers. He does it justify the faults of the poor people, while taking away their ability to view, moral intelligence.

The result is a severe criticism of the exaggerated gooders and the presumption that there is hidden. "Dogs can be taught many things" , warns the father of Grace in one of the key dialogues, condemning the paternalism of those exempt from the awareness, but in fact guilty of excluding the possibility of understanding, making for always prisoners of their character. Back to the 'evergreen comparison between the blind rage of the animal, but this time the animals can escape to nature that makes them slaves to a predetermined history and unconscious. Figurative meaning, but from the obvious philosophical implications.

Pokémon Emeraude Sur Itouch

sold out

day after the screening of "Soland" at Villa St. Ignatius.
great!
the hall was full, mostly full of young people.
received many positive responses, both on film and on the project in general.
I think we can say GOOD!

was a really nice evening ... and ran the images of "Soland" I was really excited, both for the story itself, both for interviews (very moving) and because I relived the moments when the story, these scenes were designed and implemented.

believe that "Soland" really convey strong meanings:

- both emotional involvement, emotion, co-participation in the events told Human
- makes you think that those people who are told they live here in our midst, we are (especially if you live in Trento and recognize some places of his everyday life)
- hits you the depth of the reflections and the '
intensity of the emotions of the respondents - the very idea that these people are not only "victims" or "in need of assistance," but the principal actors and bearers of ideas, stories, experience and expertise is a revelation for many

.... and many other senses and emotions that I invite you to add!

hours let's enjoy some fruits of our long and intense work, expect them to be ready copies of the DVD and look for other opportunities let us know and make known "Soland," he deserves it, and we deserve it.

hoping to embrace everyone together soon!

happy days

Rotel Velveeta Chicken Recipe Commercial

"Soland. magis / more / plus / more

... then! My dear Dec. 11 is coming!
meanwhile point out that on the South yesterday (Friday 5 / 12) there was talk of us in an insert event dedicated to being there - Rights. At the end of this large space to the screening of Soland "on Thursday evening.

also anticipates that you should speak to us again next Wednesday on the Trentino and the Tyrol again on Thursday.

... for those who come and visit us to learn more on "Soland and is deciding whether to come or not Thursday night (we know, Villa St. Ignatius is a bit awkward, we know it is a cold mouth, we know there down the ice that threatens to slide back to the city style without guide, we know on Friday morning he goes to work BUT! COME FROM! want to put the joy of challenge and defeat this ???), we say

For your self-esteem: Thursday 11 to come see and hear "Soland!

Director Hugo Munoz and young people who conceived the film will be present to talk about the thrill of a journey and the magic of an encounter. Also an opportunity to intrude into the "behind the scenes, as well as to keep us updated on the Law was a hard-recognized: the Asylum.

But what is "Soland? The following press release presenting the film and the path that led to its creation:

Young and refugees compared with the association "Centro Astalli Trento

It 's the result of over a year of work and seen working alongside young Italians, young refugees, volunteers in community service, filmmakers, sound engineers e. .. truck drivers, bus drivers, university students, musicians, educators, photographers and so on and so forth. All with one goal: to know first, and be known through language video.
The result is called "Soland" and is made possible thanks to financial support the Councillor for Education and Youth Policy of the Province of Trento, via the notice "Laboratories of youthful creativity" of Cassa Rurale di Aldershot and Cadine and the Foundation Center Astalli of Rome, as well as in partnership with Barycentro, Coop, Villa S. Ignazio and cultural association Bruno Muñoz. All this is good to say, designed by young people themselves at Villa St. Ignatius for the first time they came into contact with the world of political asylum, with the careful supervision of technical and artistic Hugo Roberto Muñoz and Gisella Marafante.
The story, no return, the journey of a young man came to Italy to seek asylum. The screen will scroll images of loneliness and meetings, interviews, talks, reflections and, of course, real and metaphorical journeys. Behind, or if you prefer to face the screen, will be the same young people who have made the film to convey the emotional storytelling and a year of work, demonstrating how the work itself beyond the main product of the path is precisely the " magic "of the meeting and knowledge.

Women Transparent Bra

reflection, REALITY' DISTORTED: THE DOUBLE LIFE OF VERONICA

scenes The Double Life of Veronique (Poland / France, Krzysztof Kieslowski, 1991, Irène Jacob) reflect a soft light, amber. Reminiscent of old sepia photographs, images, sharp-edged but faded. So impressive, although difficult to place precisely at a time and place.
Indeterminacy the flow of events, a vague feeling that the present and the past are based, the sense of déjà vu, are the feelings that we experience through the experience of the protagonist. He lives in Poland, is a particular student of music, decided to sing even under a heavy rain that scares away the entire choir, or at a hearing that was not to take part. It seems not to understand, Veronica, of being in the wrong time and place.
you hear it, but it is not fully aware, as in the scene where the landscape looks through a small glass sphere surface that can not interact with reality, but reflects it, doubles. She, too, in fact, warns is not unique.

Veronica fact, there is another in France, yet different scenario eerily similar, as the two characters. The second has the passions of the first, and also feels the influence of another life on their own.
His awareness is greater, however: he lives a kind of unconscious anticipation that differs from the Polish sister, feels that he has already lived in another time and another place not too far away.
Without realizing it, she foreshadows the events that you have already experienced from weathering ego strong past experience of his double, wins a degree of control over the unfolding of events, just enough to change the outcome.
A film that disrupts the space-time, an experience of abandonment in the world as possible.

Baldder Weakness And Premiture

Soland "on tour". s.ignazio villa. Thurs 11 December 2008

yessssirrrrr

a new projection for our film "Soland!

... and this time will be the final version! can we say? we say hugh?

with a master stroke of the volunteers of the center Astalli we entered into the program of the exhibition "To be there - Rights of Man" (found on the site www.essercionline.it clicking on "relay"), with our growing current issue of asylum.

is above all an opportunity to meet again in the final version, and those who had not had the opportunity to see "Soland" to barycentro.

Let us all because there will be an opportunity to showcase the group that made the film, and the route taken together. that for technical reasons we could not do during the first full screening at barycentro.

why we are all invited to the screening of Soland for

THURSDAY 'December 11 20:45
Salon Villa S. Ignatius - At Via Trento Laste 22

You have transportation problems? Do not know where you will find Villa S. Ignatius?
Good! Do not we have between us!

joke ... come on! for any info or call or write to giovanicreativi@alice.it smsate at 347.0643484.

Do not lose heart: Soland is back!

What Are People That Do Laser Hair Removal Called

sitting, waiting for my turn at the post office, I reflected on the rhythm of boredom. The sweat was now frozen in the armpits, traumatized by the air conditioning. The stomach intuzione contract for the wait would be long.
watched the sadistic regularity and quiet of the place. The automatic door is opened and closed periodically vibrating over and over, each time swallowing blocks of hot air. A cluster of yellow and blue metallic cold prevailed on furniture.
Mainly reflects the presence of the square, the king of all the shapes that made up the room of that office. Chairs square, lined up and sorted, as we waited. Tunes square on wallpaper, grigini but unmistakable. Unambiguous boxes in the brochures collected together with forms, notice boards, rectangular. Big square above our heads on the ceiling.
The muffled silence gave way to cries out of tune just a machine that marked the shift. Ticking of shoes on linoleum gray, shiny reflections of the faint and flickering glow of neon. Users responded to treble the faint voices of employees, beyond the glass doors. Small pieces of paper crumpled and abandoned lay with wads of dust in some desolate corner.

Tan Before Brazilian Or Brazilian Before Tanning

POST OFFICE AND HAVE TO BE RIGHT TO BE: THE AFFIRMATION OF IMAGINATION IN HAROLD AND MAUDE

The immediacy of the images allows the film to express social criticism so unrelenting, and that's why the protest of some heartfelt feature films so blatantly clear and crystalline.
Harold and Maude, directed by Hal Hasby in 1971, keeps us hanging in the conflict between "being right" and "ought", between the attempt of the individual institutions grasped, and the answer, irreverent and ironic, to them. Harold is an eighteen
oppressed by a mother who tries to find a wife, Maude is an old eccentric and lover of life. Both spend their time to attend the funerals of strangers - it is during one of those who meet for the first time
- or to see the bulldozers destroying the buildings on site. Harold
mother reacts to oppression staging fake suicides and using a car as a hearse. The role of the two protagonists, as well as that of the relationship of friendship and love which they establish, are immediately evident from the very first scene.
Behind their apparent morbidity, attachment to the death and destruction behind the ridicule of their relationship, there is all the irreverence and courage to show what's really painful, absurd and grotesque it is within the social context of those years. The funeral
from which they seem attracted to, and who look with ostentatious indifference is actually the detached observation of the real death, that induced by the social system, which kills vital energy and imagination of people, imposing models of attitude forged, sadly attacked exteriority in exchange for a promise of the afterlife is unlikely.
A comedy that is the bearer of a claim gloomy and glossy, certainly aware of the difficulty of being understood and accepted. References

film

Hal Ashby (director), Harold and Maude, USA 1971

Sunblock Met Foundation

One morning Market

This morning I look like a baby, my eyes are swollen because I stayed in taste. The fresh air invigorates me on the face, along with the taste of coffee that I have in my mouth. Along a desolate road, but soon I will see a warm heart and button in the neighborhood, a block of thought concentrated, hands and feet in motion, and food items. I leave the pavement and airy in a second I melt in that nucleus, are in the market in Via Bears. My head is a ball among other things, flowing rapidly over a sea of \u200b\u200bbodies that meet and clash. The meaning of stimuli that experience congestion dazed, enchanted. The current slams me against a yellow tablecloth hanging from a tent, I hear Italian music, hundreds of tired and happy expressions appear and disappear like lightning. Sellers sucking cigarettes, some old ladies rummaging through the stalls soft mouths moving. I imagine to be a dog or a child, in the midst of those messy waves, watching walk on foot, the constant trampling on a floor of torn newspaper, mashed vegetables and blackened remnants. Through the market every Saturday morning, as a shortcut to reach the center. It 's funny to resist the mass nervous buttarmici in for five minutes. Just outside, only few steps will not feel anything, and there is a new wind and silence, as always, in the streets width of this city.

Drying Fruit In The Oven Garland

Soland


Video Youth Creative Center Astalli was presented last Saturday, September 27 at the Barycentro of Piazza Venezia. Some technical problems have appeared during the projection addition to causing a bit 'late, have prevented us from proposing the final version of the film. It was cut a part, the film (played mostly in English) was without subtitles, and lacking in some parts of the soundtrack. We hope that despite these drawbacks, the vision, and throughout the evening, proved to be pleasant to the many, very many, people attending the event.

Remember that you can request a copy of the DVD of "Soland" by writing an email to segreteria.astallitn @ vsi.it or by calling 331/6083037 or by sending a text message stating the name, address and email and / or telephone number. Otherwise you can leave the request from the Barycentro, Piazza Venezia 38 (maybe while sipping a coffee!).
As soon as the DVD will be ready in its entirety, you will be contacted for delivery / shipment.


But what is "Soland? The following press release presenting the film and the path that led to its creation:

Young and refugees compared with the association "Centro Astalli Trento

will be presented on Saturday 27 / 9 from 20 onwards to Barycentro Piazza Venezia. It 's the result of over a year of work and work hand in hand saw the Italian youth, refugee youth, community service volunteers, filmmakers, sound engineers e. .. truck drivers, bus drivers, university students, musicians, educators, photographers and so on and so forth. All with one goal: to know first, and be known through language video.
The result is called "Soland" and is made possible thanks to financial support the Councillor for Education and Youth Policy of the Province of Trento, via the notice "Laboratories of youthful creativity" of Cassa Rurale di Aldershot and Cadine and the Foundation Center Astalli of Rome, as well as in partnership with Barycentro, Coop, Villa S. Ignazio and cultural association Bruno Muñoz. All this is good to say, designed by young people themselves at Villa St. Ignatius for the first time they came into contact with the world political asylum, with the careful supervision of technical and artistic Hugo Roberto Muñoz and Gisella Marafante.
The story is, no return, the journey of a young man came to Italy to seek asylum. Barycentro screen scrolling images of loneliness and meetings, interviews, talks, reflections and, of course, real and metaphorical journeys. Behind, or if you prefer to face the screen, will be the same young people who have made the film to convey the emotional storytelling and a year of work, demonstrating how the work itself beyond the main product of the path is precisely the " magic "of the meeting and knowledge.

Bump On Goldfish Head

Ammaniti with you and takes you away

literally dragged into his novel, published in 1999, thanks to Niccolo Ammaniti live not just a reading experience, but we can be present in history, to see and hear, as if you were watching a film. There is a boy, Peter, the typical child with great potential, but under the thumb of a family bleak and desolate. There's Flora, with thirty life devoid of emotions and many relief precariously held, that despite her experience is for all but the prof. middle school in the country. Then there Graziano, the stereotype that person, the cliché the womanizer well packaged. Three main characters they belong to three broad universe of thoughts, in a setting away from abstraction, which is realized before the reader thanks to the care of the details, so close to reality, and particulars of the place, with fictional names but obviously inspired by existing locations. The bubbles on the mosquito front of Peter, the Gipsy Kings played by Graziano, 're beautiful Loredana Berte played by Flora, give a flavor daily to each other, pretending to listen to the soundtrack. Changing the registry, which banned the rhetoric, dialogues and makes it so valuable considerations, now spontaneously vulgar or violent, now naturally sweet, depending on the character you're following the thread of thoughts. It 's a remarkable realism that, without any moralizing intent, this beautiful novel manages to achieve, and the fast pace and cinematic storytelling have the ability to fall into a deep reading and tireless. Do not read on the bus, unless you are unable to keep the mirth and excitement that the energy of this book is able to arouse.

Bibliographic Sources:
N. Ammaniti, I take you away, Mondadori Editore, Milan 1999

What Takes Pvc Primer Off Of Vinyle

Untitled

He put the sheets in the tray. She loved doing crafts, often heard that the hands-on activities away depression. He still had a few things to fix, but stopped before the mirror.
believed that beauty consisted in its ordered and curls drooping. On the front, from an imaginary vanishing point, stands two symmetrical arcs. The rosy cheeks and compact. He spent entire afternoons observed.
then sat down in front of the window and watching the charmed eddies of dust and light yellow, white and filled the street. The olive tree was a shrub with leathery bent by the wind. Relaxed look away, toward the foothills of the Sila. Beyond the campaign was the sea, certainly crowded, like many years ago. The brothers played football, the sisters in the water laughing. My mother wore the dough in the oven. He did not want to return. The silence was better, definitely ...
- Antonio!
The mother looked out from behind the curtain of the door.
- What? - The answer.
- Look below Joseph's, says you're down, you should not have to go to a mechanic? Why are you ever tempted? God damn you, Anto! Come on, walk waiting for you, and remember to take two mozzarella, for tonight I have nothing to prepare. He got
putting the chair under the table, without making any noise.
- Okay, but, 'I understand you have already told me. See you tonight.
opened the door and a cone of white light flooded the entrance to a second, I dived and went away.

Gallstones More Painful Than Kidneystones

video projection!


Finally, after a long and intense process, after months of filming and the joys and hardships, we are pleased to announce to the world that the Young Creatives Film

will be presented Saturday, September 27, 2008 at 20:00
to BARYCENTRO - Piazza Venezia 38

will be an opportunity not only to project the long-awaited video, but also to present the group of young people who conceived and carried out guided by our trainers, writers and directors.
will also be an opportunity to make some party snacks and drinks sweeten the evening, along with music and a relaxed and joyful environment.

For further information, write to giovanicreativi@alice.it

See you on Saturday 27th!

Adidas Megabounce Test

DIFFERENT IN THE U.S.: THE FIFTH CHILD by Doris Lessing

Up to that point you are ready to deal with the risk of an introspective journey to confront his dark side? This is the challenge that seems to Doris Lessing's novel The Fifth Child.
Harriet and David are two young people who wish to create a fruitful tree in a huge country house, away from the busy city of London in the 60s. Snob and proud to still feel connected to the genuine values \u200b\u200bof other times, they pursue their dreams with strong determination, but the hard little sweet little picture. The fifth and last pregnancy is difficult and painful. The newborn does not seem to be even a child, but a bad-tempered elf.
As the negative of a photograph, any hint of the situation diametrically opposed.

The banal normality of life, with no heroes and purity, is imposed through violence. Ben, the fifth son, apparently a metaphor for the negative emotions that you would not want to ever go out by themselves. He obliges parents to think again about their immunity from the corruption of the world and accept its normality, abandoning stereotypes. She is no longer a good mother, but a woman who feeds ambiguous feelings towards the son, who also tries to give up like a cat with a weak cub. David, impatient and aloof, is no longer the strong, protective father.
impossible not to empathize with the players wondering what would be done for them.
This book is really the ability to accept diversity, confrontadosi first of all with the basic requirement: the awareness of what is incomprehensible to us. Only in this way, probably, the acceptance of others could be called authentic.

References

Doris Lessing, The Fifth Child, Feltrinelli, Milano 2004

Nordic Ware Ginger Bread Recipe

scattered but creative

here's the typical summer situation in which we pay:

- our production manager ran away in South America in search of Pineapple

- our director, in the absence of production manager, is working to mad joy and pass the evening in front of the TV trash boxer

- our sound engineer wanders around the city by hiding under a wool hat with the colors of the flag of Tanzania and not find their way home more

- the director of the center Astalli and biblically escaped to Egypt includes a visit of some officials of the province to check on the progress of the project "Windows open to young creatives"

- the mayor of Riva del Garda is involved in the preparation of French cakes for the guests of Residence Monica, and plans an escape in Savoy looking

secret ingredient - the owner of the black backpack replacement of the original is locked in the room as punishment for having made it impossible for the vacation of his parents, who no longer find their favorite backpack

- this writer feels the lack of the South Seas

- his partner is Giacometo converting to organic farmer and, pending certification, grow rare species of exotic plants on the balcony

- the mysterious player has slipped in the bathtub injuring his hand with which he plays the mysteriously mysterious instrument from his mysterious lands

- many hopes are now pinned on a red cardboard suitcase buried under the third tree from the left half from within the forest of do before the ascent of the gnomes

- many surprises await us at the gate instead of our creativity

is finally my great pleasure to inform you that our blog has won first prize at the "blog of the best group of young designers who also was the only participant.

Blisters On Dog's Gums

THIS IN OUR SEVENTEENTH WITCHES

Antonia is a beautiful orphan girl, raised in the seventeenth century, in a small town in the Po valley. His life takes place at the time of the witch hunt: death at the stake is his conviction, after agonizing torture and approximate charges. "The chimera" by Sebastiano Vassalli, who tells his story, is not just a historical novel and not just a document on the processes of the Inquisition.
If you think it is just that, review it: find a manual for this. What

face justice and that has a domain, these are the questions that motivates us. Full of meaning and a description of the moments in which Antonia is hoisted at the stake, when the villagers shouting and praising his death. People, the author is at pains to point out that were not bad. He was hardworking people, the same as in our This crowded stadiums, watching TV, go to the polls. Normal people. Chilling truth that remains to be determined then.
Justice, far from being the moral virtue, is essentially what is socially accepted, roughly what the community thinks is right.

As we speak also of women, this book? The tortures of the Inquisition alternate sexual captors rape Antonia. With torture, ecclesiastical power inspects her body, investigates his flesh. Other characters, the tramp of the area, commenting that the woman is like a pig: you do not throw anything away. Reduced meat to handle, in fact it is not surprising the comparison that centuries of patriarchal culture have created between a woman and bestiality.
common destiny of oppression, justice as coarse popular belief, "The Chimaera" speaks not only that, but it surely is clear.

References

Sebastiano Vassalli, The chimera, Einaudi, Torino 1990

How To Know That A Cartier Is Real

the first warm

what to want from this post?

Us in calm, and we like it. there is to say that there are activities to be pursued. progressing quietly. editing, music, marketing, distribution.

and while we're here to tell us that:

- it's hot

- we want at least one wish come true

- many people eagerly await the screening of the video

- we are always looking

- we are not satisfied with what we offer TV

- people we know to be nice but even better

- everybody knows himself better than anyone else

propose the establishment of a prize for "Best Blog of the group of young designers to participate in this blog only to win the prize.

Period Blood Mucus Like

CLASSROOM # 1 - workshop by Salvatore Lacagnina

From May 15 to June 2, 2008 MADRE Museum houses the workshops Classroom # 1, edited by Salvatore Lacagnina - independent curator, former director of the Galleria Civica di Arte Contemporanea Syracuse - with Gigiotto Del Vecchio and Stefania Palumbo , curators of the Project Room, with the contribution of organizational Francesca Boenzi , independent curator and project manager Exposito - Centre Young Artists Naples.

included in the programming of the Project Room at the Museum, the workshop saw the participation of young Neapolitan artists and researchers from other disciplines: Francesco Bordo, Celesta Bufano, Christian Coach, Correale, Christian Costa, Giulio Delvè, Federico Del Vecchio, Maria Adele Del Vecchio, Corrado Folinea, Alberta Laurentino, Domenico Antonio Mancini, Luca Mattei, Ventina Miorandi, and Sivell Moio, Pasquale Pennacchio and Marisa Silver, Charles River Seine, Annamaria Tammaro, Eugenio Tibaldi.

Starting from the conditions of openness and exchange of knowledge between different fields that underpin the production of contemporary culture, the workshop is based on the concept of translation .

The project stems from the fact that the simple but clear idea of \u200b\u200btranslation is in recent years moved and enlarged by strict codes of transition between different linguistic foundation of any cognitive process that knowingly with respect society and the endless possibilities of representation and cognitive and interdisciplinary approaches. Through the involvement of representatives of various disciplines and fields of research - philosophy, sociology, theater - will analyze the issues related to switching between different codes of expression and the realization an efficient and reliable communication. We will see, how a sociologist can use the tools of art, art can become a tool for reading affect political and social phenomena, science can be translated art in symbolic values .

The workshop will consist of a series of lecture-meeting with visiting professor national and international curators and artists, theater actors, professors of physics, philosophy, linguistics, art historians . Meetings are scheduled with White Valente, Scarlett Bonito Oliva, Gennaro Carillo, Adam Szymczyk, Alberto Manco, Flavia Mastrella and Antonio Rezza, Diego Perrone and Lily Reynaud-Dewar, Giulia Piscitelli, Alessandro Rabottini, Peter Saville, Marinella Senatore, Padraig Timoney .

will be made available to participants a series of spaces within the museum to use as a studio during the course of work. At the end of three weeks of workshops will be held in the museum MADRE, an exhibition that will gather the results of the discussions and reflections developed during the previous weeks.

ENGLISH VERSION

From May 15 to June 2, 2008 the Madre Museum will host the workshop Classroom #1. The workshop will be included in the schedule of the Museum’s Project Room and will be open to young Neapolitan artists and researchers of other disciplines. It will be curated by Salvatore Lacagnina – independent curator, former director of the Civic Gallery of Contemporary Art in Syracuse – in collaboration with Gigiotto Del Vecchio and Stefania Palumbo, curators of the Project Room, with the contribution and organizational support of Francesca Boenzi , independent curator and person in charge of the project: Exposito – Young Artists Observatory Naples.

Given the openness and exchange of knowledge that lay at the basis of contemporary culture, the workshop will be based on the concept of translation .

The project takes its cue from the simple and unmistakable realization that in the past few years the idea of translation has changed and somewhat enlarged its scope: from being a mere passage from one linguistic code to another, to being the foundation of any cognitive process that deliberately confronts itself with the society and the countless possibilities of representation and of cognitive and interdisciplinary approaches. By involving representati ves of various disciplines and fields of research – arts, philosophy, sociology, poetry, history, theatre – the workshop will analyze the issues related to the passage between different expressive codes and to the development of an efficient and reliable communication. We will see how a sociologist can use the tools of art, how art can become a key to interpret social phenomena and affect political action, and how science can be translated into symbolical values by art.

The workshop will be organized into a series of lectures-meetings held by visiting professors from Italy and abroad, theatre actors, teachers of physics and of philosophy, art historians, sociologists, literary critics, and poets. During the workshop the artists will have a space available in the Museum to use as a studio. At the end of the three-week works the MADRE Museum will mount an exhibition that will display the results of the discussions developed during the workshop.

Indoor Shuffleboard Dimensions]

I was considering running in this morning as the train that I took today in our group that we should import a Australian / to (or New Zealand, Tonga / a, fijese ...) so that there would be in all of the continents! is a thought that sounds interesting? superficial? disappointing? stimulating?

dear children of four continents, here our video needs a title! do not tell me you do not have any idea of \u200b\u200bwearing a title for our video!

what you say, we begin to share everyone's ideas? in any language you want, share the proposals you have and begin to pursue the story here on the blog title. What do you say?

if you can not post comments (someone told me that he could not, but maybe it was the Gate, and already everything is explained. Ihihih) send your suggestions to giovanicreativi@alice.it mail and we'll put them Blog.

I seem to be one of those teleshopping. call us at 0234567 to win just ... oh no. reduced to a telemarketer, sink and greet you. pending securities. sciabadabadùhù!

ps: who is sending the first proposal wins a sprig of rosemary

pps: For information on photos and on his way http://www.imonumenti.it/604/m_1765.html

Sister Sitting On Stomach

you to the light images from the path we

place a post. Today I want to write, to be with you. There are many words backward, which perhaps never recover. There are no photos, dispersed on machines that have swallowed the spit, and maybe one day. we try to be creative, please. There are two giornatone of filming done, unfinished, tiring, projected onto the future. we went through a day at the office and another at the bar. played and sung, and even then many other verbs.

Saturday arriving at other times, there's the bus stops, the benches, buildings. comes the sunset with him and old dreams and new journeys. maybe we're all a little tired, but our master blog tells us to "look forward, look ahead. think of the beauty of looking at, to read again, to reinvent ourselves. think of a big screen and magic, and our stories and our ideas and our visions that we run on. is not a magic?'ve always seen pictures of others who lived the stories of others, dreamed the dreams of others. now it's our turn. it's the turn of our little dreams of light and passion . so we said our master blog. tells us, and so passes, but does not close.

Creative Ct6840 Driver Indir

ROOM 4-cyan Bufano April 27 to May 5

27 APRILE – 5 MAGGIO

CELESTA BUFANO

OPENING HOURS Sunday, April 27 18:00

For the last show of the Four Rooms project space dedicated to the museum is transformed into the "Living Room "- site-specific installation, 2008 - Celesta Bufano (Naples, 1984), a personal space animated images and colors that come directly from the world and art history. The physical implementation of what is the magic box of Celesta, where everything, every object, image or thought is transformed into an artistic ability, an experience that brings the many suggestions and examples of trips that led Celesta Bufano around the world. Travel as an extreme amplification of the concept of movement, dynamism, as well as the concept of knowledge of, what you can not just explain, but you have to live on their skin. In this sense it is street art that changes in the many signs found in places as diverse as the people who speak up the most diverse and kaleidoscopic vision of life, the artist's own, a place to stay and go back to, a fixed point in geography rolling. Memories made as codes to be interpreted as places to discover.

A composition to the rhythm of the chants of African women that made by Fortuna Del Prete, a way to try to enter the whirling world of the artist and try to stop for a moment to tell us what he could see her reading thoughts that go in reverse.

... CHOKING AND BETWEEN AIR VENTS ... of LUCK OF THE PRIEST

... I saw myself forced to sit on the sofa cleaned, mended with beautiful tapestries. Hit for all to see. And then the music was fabulous. Fabulous ethnic popular radical visceral poor.

All full room. A room in a garden paradise. The Paradise of the Few. But popular. Enter a space and fill it all with lights, colors, leaves, paper dolls this past brushes photos desktop computer. ... Ahhhhhh ... good ... but I was choking.

discomfort. Overflow. Too everything. Too.

You have a paradise. You the earth. You a panoramic look. A third eye. And movements that give the idea of \u200b\u200ba permanent state of exception. Photos. Stop. Photos. Stop.

Behind the house there will be? Behind the room that will be there? There will be a behind? Yes yes yes. Take off your shoes, go with your feet in the heavy wet soil fertilized. That keeps the feet bound, his body immobilized. On second thought, I'd stay here in this paradise. It seems crazy, carving out a room, a room all to himself, out of time. Where the bread I do with my hands smell of tangerines and lemons and basil intoxicate me. So accustomed to having almost run. Maybe behind a tree or a tree, feel the beauty of a moment, and its precariousness.

then dropped.

The rope was too slack, the game has not gone very well. The risk was too much. I could hurt myself. Nope. The ground is wet, full of water, the earth would have kept me would have rocked. "Every place like home" at the bottom, or maybe a new home. Do you want us always a little 'time to get accustomed to the smells of the houses. Home, sweet home. Smells like home, this shirt smells of "home, mmm ... food. Home. Familiarity. Research on gestures in the eyes of others and the other that touch you and to your coming from the opposite direction, same side, same pitch, of whom we meet in "movements". Come home. The house, your home. Where there the room. a fake disorder, a rule to dial. Blur and overlap. I have fun. A cross between a photo album and three-dimensional images stored images but exposed. This will be smoking, or perhaps a desire to rebuild always a mental journey and return to who I will find in this corner of paradise. I'll call you know, I'll roll the walls of the room and invent it all again, again, I'll let you make time for your trip, I'll take the hand in hallucinations of the trip.

Look, I have a little 'music ...

Duerme, Duerme negrito

mama que tu estas in the field, negrito

... trabajando, trabajando hard

trabajando you

trabajando ... and not the pagan

Por Chiquitita negrito, negro por

Apumba chicapumba chicapum

Each trip is led by a primordial melody, as the background of research and experimentation, creation of more immediate. Marks the rhythm of the shares, gives meaning to the thoughts and emotions. The subjective experiential journey has a strong attraction for what is beyond, but it feeds, in an almost primitive than it was, we did not really know and just smelled. The pleasure of starting the imagination, to deconstruct the formulas of common life, constantly being in the game of life, emotional life in the yoke, on the edge of the acrobat, the land of men, including suffocation and air intakes, and between - and and O - o.

see the horizon and to get there.

Last night I fell off the bicycle. I peeled the elbows and scratched his nose, his hands were fine, just a little 'red. My house was far away. The legs I held up great.

Last night I went to bed late. I lost time.

E 'that was rolling in the colored forms of my eyes closed.

VERSIONE ITALIANA

APRIL 27 - MAY 5

CELESTE Bufano

OPENING SUNDAY 27 ^th of APRIL 6.00 p.m.

For the last show of the Four Rooms project the dedicated space of the museum is turned into a “Living Room” – the site-specific installation created in 2008 by Celesta Bufano (Naples, 1984), a personal space animated by images and colours belonging to the artist’s world and history.

The physical transposition of Celesta’s magic box, where everything, every object, image or thought is turned into a form of art, an experience that carries with itself the countless fascinations and stories collected by Celesta Bufano during her journeys around the world. The journey is seen as an extreme exaggeration of the concept of movement, dynamism, just like the concept of knowing the other, that which cannot be explained but needs to be experienced in the first person. In this respect hers is street art that turns itself into numerous marks found in different places, that tell of different people and make up the kaleidoscopic vision of life, typical of the artist; a place to stay and to go back to, a permanent point in her rolling geography. Memories that are formed like codes to be interpreted, like places to be discovered.

Fortuna Del Prete’s composition has the rhythm of African women’s songs. She tries to get into the artist’s whirling world and stop it for a moment so as to tell us what she saw reading her thoughts that go backwards.

…AMONG SUFFOCATING OBSTRUCTIONS AND AIR OUTLETS…

by FORTUNA DEL PRETE

…I had no choice but to sit on the clean sofa, darned with wonderful tapestry. It drew everyone’s attention. And the music was fantastic. Fantastic ethnic popular radical visceral poor.

The room was packed. A room a garden a paradise. The Paradise of the Few. But a popular one. Getting into a space and filling it completely, with lights, colours, sheets, papers brushes pictures dolls present past desk computer..... ahhhhhh….it’s so beautiful....but it suffocates me.

Unease. It’s too full. Too much everything. Too much.

You have Paradise . You have Earth. You have a panoramic outlook. A third eye. And movements that make one think of a perpetual state of exception. Picture. Stop. Picture. Stop.

What is there behind the house? What is there behind the room? Is there a behind? Yes yes yes. Take off your shoes, put your feet into the wet fertilized heavy earth. Which binds your feet and immobilizes your body. Come to think of it, I would stay here, in this paradise. It seems foolish, carving out a room, a room of my own, out of time. Where I make bread with my hands and the smell of tangerines and lemons and basil inebriates me. I become so inured that I almost want to run away. Maybe behind a tree or on a tree, feeling the beauty of one single moment and its precariousness.

And then falling down.

The rope was too loose, the game didn’t work well. The risk was too high. I could have got hurt. Naaay. The ground is wet, full of water, the earth would have held me back, cradled me. “Every place is like home”, after all, or maybe it is a new home. It always takes some time to get accustomed to the smells of the houses. Home sweet home. I can smell home, this sweater smells home...mmmhhh...the food. Home. Cosiness. You look for it in other people’s gestures, in the look of the other person coming from the opposite direction and almost touching you, same side, same pace. You go back home. Your home. Where your room is. A mess that is not a real mess, but rather a rule to be created. I scramble and overlay. It’s fun. Halfway between a 3D photo album and imagined imageries, archived yet shown. It’s probably because of this smoke, or maybe it is an attempt to trace a mental journey and to show it to those who come and see me in this corner of paradise. You’re invited, too. I’ll make you roll between the walls of the room and I’ll let you re-invent everything, from scratch, I’ll let you create the time of your journey, I’ll take you by the hand through the hallucinations of the journey.

If you want, I’ll put some music on ...

Sleep, sleep bold

For your mother these nel field, bold

... working, working hard

Working if

Working and not pay ...

tiny For bold by bold if

Apumba chicapumba chicapum

Every journey is driven by a primordial melody, like the background of research and experimentation, of the most immediate creation. It sets the pace of actions, makes sense of thoughts and emotions. The experiential path of the self longs for what is beyond, but – quite primitively - it feeds on what has already been, on what we couldn’t get to know in deep and of what we just had a glimpse. The pleasure of starting from imagination, of deconstructing common lifestyles, always playing the game of life, through the emotional yoke of life, on the acrobat’s tightrope, on men’s earth, among suffocating obstructions and air outlets.

Catching a glimpse of the horizon and getting there.

Yesterday night I fell from the bicycle. I skinned my elbows and scratched my nose, my hands were fine, just a little reddened. I was far from home. My legs could hardly carry me any longer.

Yesterday I had a late night. I wasted Time.

I was rolling in the colourful shapes of my closed eyes.

Movie With Explicit Scene

to calm the situation with a view the demanding day of shooting tomorrow ... let's remember as we were when we sat in peaceful secluded rooms in the city to think, plan, rest ...

Sample Letter Internet Disconnection

ROOM 3 / CORRADO FOLINEA April 13 to 21

April 13 to 21

CORRADO FOLINEA

OPENING HOURS Sunday, April 13 18:00

's work Corrado Folinea , although their aesthetic is the second show of conceptual art - minimal installation and small gestures of composition - it houses an important post and metaphorical narrative. Ideals of knowledge, analysis, ownership, occur through projects in which design, photography, video, installations make up the range of possibilities of expression used by the artist. A huge bunch of mussels can be significant from time, stillness, some riding, assimilation, nutrition continuously. An installation in which the presence of other important details stresses that all of the elements is the factor that builds but can also permanently cancel the account of a story. Although Corrado Folinea tends to reveal the same way try not to reveal too much, for an open work by the viewer. So suggests the muffled sound indefinite depth marine and an image from the series "Black Paintings", the dark vision of the possibilities.

The philosophical idea that these various elements is the theme that pervades the text of Christian Coach "Immersed in the sky." His reflection starts from the figure suggested to the man to an empty shell, a parasite in this life that has problems to find the proper awareness of self and of its sacred potential.

IMMERSED IN THIS HEAVEN of CHRISTIAN COACH

nauseating agglomeration fragile shellfish wrapped in a dark shell like a night without dawn, a night without a tomorrow, what I'm talking about? Of 'Man of course.

Divided in their own shell, vagabonds in their own world, yet, mysteriously united, clinging desperately to each other, each other, against each other! It 's the dilemma of' Man carries within himself the nature of all things ... but he, his, still does not have it ... then holding on where and how it can grow.

fight for survival, only this? Then no! ... there is no tomorrow! Yet inside the shell, something roars into our meat without a voice, is the 'soul ... the beast which longs to love in the bowels of' Man.

E 'be formed in a chaos (...) it's just, durable

operate everywhere without exhausting

(Laozi XXV)

fool is the 'man who buried his heart into the mouth of the beast, he is nothing but an empty shell. He eagerly, clutching a life that is not likely. And waiting in the shadow of himself so cunning and servile its prey, taking off his mask in the evening by men.

Conforto Do you think the night of your heart?

Listen, think, the question is more important than the answer.

We really believe that this false flesh that envelops us is the reality? How false? It's just ... we do not want to see, and just ... we do not want to hear the truth that yearns for our extinction. And we sleep, trapped in this shell meat, and that's where ... there are, we live near us, dreaming that one day, go out and play. The only certainty that remains is the awareness of ... a good reason, then avert our gaze and embody the ephemeral. And something inside fatally off, and never wakes up.

Back to real time,

looks up, breathe ... you're alive

that what you are you?

Only you can decide

Surrounded by the sea we call the sky, the man runs his time looking for and never succeeding. Search for his gift, his talent, but not found, it does not see him as he sits on it. The false time passes ... and there, beyond the sea, nothing appears.

We believe that this shell is the end ... the end product, but there is a possibility, albeit remote, that it is only half ... is an awareness deep, silent ... if the 'Man does not break the shell before the time he died without ever being born. For the second time the man come out of waters. Break the shell of this world before the return of the Fisherman, or shells that have never existed ... poor ... just hope you at least taste good.

VERSIONE ITALIANA

13 - 21 APRIL

CORRADO FOLINEA

THE SUNDAY OPENING 13 ^th of APRIL 6.00 p.m.

Although it follows the aesthetic canons of conceptual art - minimal installations and small compositions - Corrado Folinea ’s work has a strong narrative and metaphorical power. Ideals such as knowledge, analysis, appropriation are attained through the artist’s wide range of expressive possibilities: drawings, photography, videos, installations.

A huge bunch of mussels can mean a lot of things: immobility, a certain parasitism, assimilation, continuous nourishment. In this installation the presence of other important details shows that all the elements together can reveal a story, but also conceal it for good.

Corrado Folinea tends to reveal, but at the same time he tries not to reveal too much, to leave space for an open interpretation of the work by the spectator. In fact he uses an indefinite sound to evoke the muffled sea depths and an image drawn from the “Black Paintings” series to conjure up the obscure possibilities of the vision.

The philosophical cue offered by these various elements is the theme that pervades Christian Carrozza ’s text “Immersed in this sky”. In it Man is compared to an empty shell, a parasite in this life who finds it hard to regain awareness of himself and his potentials.

IMMERSED IN THIS SKY by Christian Carrozza

Nauseating agglomerates, fragile molluscs wrapped in a dark shell like a night without dawn, a night without tomorrow - what am I talking about? Men, of course.

Each closed in his own shell, wanderers in their own worlds, and yet something mysteriously unites them, they desperately hold on to one another, one above the other, one against the other! This is the Man’s dilemma... he has the nature of all things inside of himself, but he hasn’t got a nature of his own yet... then, he grows up hanging on to what he can.

Fight for survival, is this what it’s all about? If so....there’s no tomorrow! Yet, inside the shell, inside our flesh something roars voicelessly: it is our soul.... the beast craving for love in the bowels of Man.

It is a thing formed in chaos (…) it stands alone and never changes

It pervades everywhere and never becomes exhausted

(Laozi XXV)

Foolish is the Man who buried his heart into the jaws of the beast, he is nothing but an empty shell. He eagerly holds on to a life that is not a life. And in the shadow of himself he cleverly and servilely awaits his prey, and drops his Man’s disguise at night.

Do you think the night of your heart will bring you comfort?

Listen, think, the question is more important than the answer.

Do we really believe that this untruthful flesh that envelops us is the reality? How false! The thing is...we just don’t want to see, we just don’t want to listen to the truth that yearns for our extinction. And so we sleep, trapped in this flesh shell, where we just exist and nothing else, dreaming that one day we will go out and play.

The only certainty we’re left with is the awareness of our powerlessness.... we then avert our gaze and embody the ephemeral. And something inside fatally dies off and never comes to life anymore.

Go back to the real time,

raise your eyes, breathe… you’re alive

what will you make of yourself?

Only you can decide it

Immersed in this sea that they call sky, Man goes through his time looking for himself and never succeeding. He looks for his gift, his talent, but he can’t find it, he can’t see it because he is sitting on it. The false time passes by... and up there, beyond the sea, nothing appears.

We’re convinced that this shell is the terminus... the end product, but there is an off-chance that it is just a medium... it is a deep, silent awareness... if Man doesn’t break the shell before time, he will die without ever being born. For the second time Man will come out of waters. Break the shell of this world before the great Fisherman returns, otherwise... poor never-existed shell ... just hope you taste good at least.

Communication Boards Ideas

sabato29marzo - second take,

hard to tell Saturday ...

light assisted us, this light so much sought after, both friend and companion.

say that the organization has held. we all have cancer. the private bus arrived punctual to nine have been moments lively, those in which many extras who were actually waiting never appeared, and so between us telephone stunt has put a little bit to make it look new. but all were a great gentleness and patience. away from children, a whole morning on a hot bus and messed up and not a whimper, not a protest! Thanks Linda and Phil have been very strong! and all other then, Rosalba, Edda, Luciana, Stefano, Mohamed, Sylvia, we start from their presence because they were all very important! also Catherine, who is an appearance-disappearance, but the next morning curled up under the seat in a bus did not want to miss eh!

after an hour and a half of testing, retesting, agreements, schedules, changes, new and old ideas we sail from Piazza Dante, the Our driver is relaxed and helpful, a big thanks to him, then made a large contribution also to form our controller, giving him his tie (gosh, a controller must have a respectable tie!) and some savoir-faire (which is our actor has no shortage!). and okay, you take pictures of Q. who searches far away from the window, while the city runs the side as the backdrop of the theater of his thoughts, and then you get to the first stop. people going up people are coming down and all appears a strange musician, I say all, they stamp your ticket! second stop on lap two more coming and going this time divided by the controller gives the dreaded bumps and engine stop action stop Another round thousand revolutions still subjective allocation of him but then she had already fallen away then take, I climb and hide you from the bottom spout all smell of crackers and chocolate I'm sorry I have to pee we go down this bus go to? no no I take that bus to ask ... look at the links between reality and fiction brings us the one and doing it. we do the incredible! succeed do you finish in time!

break, break, break, all fried a slow and sumptuous lunch with different music. Thanks good greetings via applause some think it's over, gets on a machine at the other end of the broadcaster is not any more, but you should, however, a new survey for the next take, it takes continuity, continuity, we continue to repeat our director, then that's fine head, come on, let's see, it takes the look of today to think about tomorrow.

Zack Cody Jordin Sparks Song

What a beautiful sky boys,

you have created, and we

contributed

fortunately we are contributing, the project

"young creatives"

with all the people

their stories, their pictures

and their cultures.

is a blue,

like the sea,

is beautiful like a beautiful book,

just begun. An image

by will, solidarity

, availability,

not found everywhere, particularly

patience. Next

so guys,

between

a moment we will have the beauty,

consciousness

that he wrote some beautiful pages,

in our lives,

a piece of history.

An old

Garip

Naseptin Nasal Cream Price

ROOM 2 / GIULIO Delve March 30 to April 7

30 MARZO – 7 APRILE

GIULIO DELVÈ

OPENING DOMENICA 30 MARZO ORE 18.00

series "Tumbleweed" (a term used in military radio communications to deliver the request for information if you give a little awareness of the situation), which is the first mature work of Giulio Delvè , is developed on the basis of a general interest for mechanics, for the cool devices, mechanisms to be studied and replicated, assembled by himself, which relies, in some cases, the artificial propagation of movements and elementary sounds that he is not capable of making naturally. Giulio Delvè the "machine" have analog soul, simple and complex at. The need therefore to understand, to respond to the destructive power of high technology eva ta to its extreme potency is expressed in a straightforward manner: those that should be efficient means of war, become embalmed silhouettes, immobilized by a simple lint that prevents them from moving and bandages memory. The video - Untitled ( Tumbleweed series), 2007 - exposes the impotence, the folly of technology at the service of war, repeated the lament of a maniac embroiled in a straitjacket.

The text Flora Visca, accompanying the exhibition, analyzes what might be termed the mental state of man after the advent of powerful technology. An analysis in the first person of the ethical implications of "machine" and its unfair use.

NO SHADOW MY of FLORA VISCA

Tumbleweed is the echo of a voice I hear inside me, a silent cry out not only by men but also from other living beings from inanimate elements, the nature of humanity.

From the bottom of the third millennium comes the deafening noise of an engine, a loud noise that blunts my mind ... the "machine" takes the headway to leave, but was almost immediately stopped by an obstacle that lies behind the camera and who, by virtue of this position, as if bearing witness to the impossibility that is the source of the mechanical device.

The machine will "persist" in the recurrence of the same operation.

I look around, my eyes trying to understand who triggered the car, but I do not see my other shadow. L 'idea that there is no controlling that device strikes me some anxiety because I suddenly feel that the car in which I should spot a trace of humanity, in fact, is completely alien to me.

I have the urge to escape, get away, break free ... but its pathology ves you, now, even me.

The beat of my heart begins to accelerate, fueled by fear, the idea that in front of me there is something you can not hear that beat, that does not know that I exist, do not even know that it itself exists.

I immediately comes to mind that a machine is not self-conscious and therefore can not self-government, is not capable of thinking, feeling and process my own emotions. It is an ambivalent feeling what I feel, the instinct is to flee, the need is, however, remain.

In any case I feel I can not escape the grip of the big auto blindfolded because it is present, under different guises in every aspect of life in the world is on the fields of war in the streets, in the workspaces in my home, on my desk, in pockets of my ves titi, is on the tv screen, including children's games. Is on the body and body, and its presence invasive and all a devaluation of life itself: it comes in and holds it, the harnesses, paralyzes it, edit it, and forces it to change its habits.

But life is not only crushed by the machine, there by man, a particular type of machine that can even destroy the life: the war machine, the most hideous inventions human symbol of despicable ambition, still alive in the minds of contemporary men.

When I was a child I thought that the war was one thing away from me in both time and space. I had the naive belief that it was something that went from studying it in books for this reason. Growing up I had also learned the bitter truth that, in reality, war is present, even when it is absent, no matter where he plays a war, how far it is from me, because I feel, I feel its injustice.

War do not understand, although I explain, I do not understand.

makes me want to ves tire again my clothes as a child to give birth to a dream, perhaps through one of those countless drawings I did as a child. Draw a huge war machine, wrapped in so many strings and they would keep close to wake up.

VERSIONE ITALIANA

30 MARCH - 7 APRIL

GIULIO Delve

OPENING SUNDAY 30 MARCH 6:00 pm

The "Tumbleweed" series (tumbleweed is a term used in military radio communications to request information about an on-going situation) is the first mature work by Giulio Delvè . It draws on the artist’s interest for mechanics, complex devices, mechanisms to be studied and replicated, that he assembles himself and that he sometimes uses to artificially reproduce elementary movements and sounds that he is not capable of making naturally. For Giulio Delvè the “machine” has still got an analogical soul, simple and complex at the same time. Therefore the need to understand, to react to the destructive power of high technology is expressed in a straightforward manner: powerful war equipment become embalmed silhouettes, immobilized by a simple gauze that prevents them from moving and bandages their memory. The video – Untitled ( Tumbleweed series ), 2007 – reveals the powerlessness, the foolishness of technique at the service of war; the repetitive groan of a maniac bridled in a strait jacket.

The text written by Flora Visca for the exhibition analyses what could be defined as the man’s state of mind after the appearance of the powerful technology. A first-person analysis of the ethical implications of “machine” and its iniquitous use.

NO SHADOW BUT MINE by FLORA VISCA

Tumbleweed is the echo of a voice that I hear inside of me, a silent cry let out not only by men, but also by other living beings, by inanimate elements, by the very nature of humanity.

From the bottom of the third millennium there comes the deafening noise of an engine, a strong noise that blunts my mind....the “car” gathers way to start, but it is almost immediately stopped by an obstacle that is located just behind the car itself and that becomes, for the position it occupies, the witness of the impossibility that lies at the origin of the mechanical device.

The car reiterates the same operation over and over again with obstinacy.

I look around, my eyes trying to understand who started the car, but I see no other shadow but mine. The idea that nobody is controlling that device gi ves me anguish because I suddenly feel that the car, in which I should spot some trace of humanity, is instead completely alien to me.

I impulsively want to run away, go far, free myself.... but I am affected by the same pathology of the car by now.

My heart starts to beat faster because I am scared, because of the idea that in front of me there is something that cannot hear that beat, that doesn’t know I exist, doesn’t even know it itself exists.

It suddenly comes to my mind that cars are not self-conscious, and as a consequence

they can’t drive themsel ves ; they cannot think, nor feel the emotions I feel. I have mixed feelings...on one side I want to run away, on the other I feel the need to stay.

In any case I feel I can’t escape the grip of the big blindfold automaton because it is present, under different guises, in every aspect of life: on the war fields, on the city streets, in the workspaces, in my home, on my desk, in the pockets of my clothes, on the tv screen, in children’s games. It is on the body and inside the body; its invasive and all-absorbing presence debases life: it penetrates it and holds it, it bridles it, paralyzes it, modifies it, and forces it to change its habits.

But machines do not just crush life; man, in fact has created a particular type of machine that can even destroy life: the war machine, the most hideous of human inventions, the symbol of a despicable ambition, still alive in the heart of the contemporary man.

When I was a child I thought that war was something far from me both in time and space; I naively believed it was something that belonged to the past and in fact you study it at school. Growing up I had to face the bitter truth that war is present also where it is not present; no matter where a war is taking place, or how far it is from where I am, I still feel it, I feel its injustice.

I do not understand war, even if they explain it to me, I just do not understand it.

It makes me want to go back to when I was a child, and bring a dream to life, maybe through one of many drawings I used to make at that time. I would draw a huge war machine, wrapped in a lot of laces, and I would hold tight until I wake up Them.