tag:blogger.com,1999:blog-90730874467133043752024-02-21T06:24:05.457+01:00On landscapeA blog about my landscape image making. On landscape imaging in general, bits of history and related disciplines (Architecture, Geography, Neuro Science, Philosophy and whatever happens to get my attention)Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.comBlogger248125tag:blogger.com,1999:blog-9073087446713304375.post-46154529879884565372014-06-24T19:11:00.001+02:002014-06-25T12:30:18.567+02:00Questo Paese (This Country) <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioS1SB37gk7nqVHVSXK5qNW63cfT0RqUJglHPPGaxJIutGTDBmTFtsnE73dYDSQUFWX86lNKyEr2Wkb6CkAYJfd5rpiSl3SooAqIy6BkJ5mdbtEC277D367uTVV8cQrOgeWVXIXhm9lI0/s1600/Giancarlo_Rado.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioS1SB37gk7nqVHVSXK5qNW63cfT0RqUJglHPPGaxJIutGTDBmTFtsnE73dYDSQUFWX86lNKyEr2Wkb6CkAYJfd5rpiSl3SooAqIy6BkJ5mdbtEC277D367uTVV8cQrOgeWVXIXhm9lI0/s1600/Giancarlo_Rado.jpg" height="400" width="400" /></a></div>
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<i>©2013 Giancarlo Rado. </i></div>
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<i>Diego Rizza, la moglie Anna Zurek , il figlio Tomek e Savanna ritratti </i></div>
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<i>in Malga Fossernica di Dentro , Caoria, Trentino, prima </i></div>
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<i>della chiusura dell'alpeggio estivo.</i></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><b>Questo Paese (This Country) </b></span></h2>
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<span style="font-family: Arial;"><span style="font-size: 15px; line-height: 17px;"><i>photo observations on contemporary Italy</i></span></span></div>
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<span style="font-family: Arial; font-size: 15px; line-height: 1.15;">Book project preview and exhibit at <a href="http://corigliano%20calabro%20fotografia/">Corigliano Calabro Fotografia</a>, 2014 June 27-29</span></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">Curator Fulvio Bortolozzo</span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">Photographers: Antonio Armentano, Roberto Bianchi, Sandro Bini, Nino Cannizzaro, Luca Capello, Ilenio Celoria, Domenico Cipollina, Carlo Corradi, Claudia Corrent, Benedetta Falugi, Paolo Fusco, Mauro Thon Giudici, Salvatore Lembo, Andrea Lombardo, Luca Migliorini, Luca Moretti, Gaetano Paraggio, Mattia Parodi, Bruno Picca Garin, Giancarlo Rado, Mattia Sangiorgi, Tiziana Sansica, Franco Sortini, Giacomo Streliotto, Rodolfo Suppo.</span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><br />
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">It is exactly thirty years now since when Luigi Ghirri authored his cult book “Viaggio in Italia” (Italian Voyage). He included his pictures and those authored by nineteen other photographers originating what would had been later called “Scuola Italiana di Paesaggio” (The Italian landscape school). </span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">Since then many cultural, technological, social, economic and political alterations deeply changed Italy into something far from the one on display in “Viaggio in Italia”.</span></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">So, there’s a need to update the iconography of the places and of what is going on there, rethinking the way in which the imaging process itself is carried out, in an attempt to find a coherent mapping among the observed reality and its representation.</span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">The editorial project is rooted in the awareness that we (the curator and the involved photographers) are not alone. There are several worthy ventures made by other photographers, associations, groups and institutions, either public or private, sharing the same attempt. </span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"><br class="kix-line-break" /></span><span style="font-family: Arial; font-size: 15px; vertical-align: baseline;"> </span><br />
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">“Questo Paese” (This Country) is aimed as a contribution to the Italian photographers community and comes directly out of the social networks experience. The project is an offspring of a Facebook group named “We Do The Rest” (WDTR) owned by the curator.</span><br />
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">Interested in the verisimilitude with everyday’s life that the camera used as a technical instrument allows, several photographers joined the group. Each of them contributed pictures presenting a critical approach to the content of choice. The book is an attempt to reunite some of the most interesting proposals emerging from the group, stating the will to move past the tradition towards a renovation in the iconography of the Country. To complement this synergistic approach, bloggers and writers from the group contribute with their own critical texts.</span></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">The <a href="http://www.coriglianocalabrofotografia.it/collettiva-a-cura-di-fulvio-bortolozzo-questo-paese/">Corigliano Calabro exhibit</a> will be a preview of the forthcoming book, still in the making. A sample of pictures from ten of the twentyfive photographers involved will be on display. The intention here is to give out a preview to a competent audience coming to a well established event. </span></div>
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<span style="font-family: Arial; font-size: 15px; vertical-align: baseline;">Versione Italiana, orginaria, sul blog di <a href="http://borful.blogspot.it/2014/05/questo-paese.html">Fulvio Bortolozzo (curatore)</a></span></div>
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<i>Above and below a small sample of the exhibit</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdzmLoJzqIc5aLgB4ow5QTdbgh44ueADO2Lv2nYPmwJ8ClfmpxeRtBwurVFqTcY7RsfJ67jlRD5-QwAYV79ONUz4cwHznZ7zlhmbhu46hzqiMBDcoipyuQxBTx9UebRjSrLjBH6mDj-Q/s1600/10466668_10203123691507372_531809018_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdzmLoJzqIc5aLgB4ow5QTdbgh44ueADO2Lv2nYPmwJ8ClfmpxeRtBwurVFqTcY7RsfJ67jlRD5-QwAYV79ONUz4cwHznZ7zlhmbhu46hzqiMBDcoipyuQxBTx9UebRjSrLjBH6mDj-Q/s1600/10466668_10203123691507372_531809018_n.jpg" height="300" width="400" /></a></div>
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<span style="line-height: 18px;"><i>©2013 Antonio Armentano, Montebello Ionico (RC), Saline.</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWoMhoLDe-Dt4n2FA-pId7mAZuiWYA4790tFrgxE4mQI-0qRwWfL0o_wISfqdhlUqNVyi1hhaNyjxYLauQLXB6NG60ia8h4CQYs3zsq10L28AQC0QoKDE4n0fcu1yaeal3sPG_H5Q1FN4/s1600/10510307_10203123691547373_431705817_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWoMhoLDe-Dt4n2FA-pId7mAZuiWYA4790tFrgxE4mQI-0qRwWfL0o_wISfqdhlUqNVyi1hhaNyjxYLauQLXB6NG60ia8h4CQYs3zsq10L28AQC0QoKDE4n0fcu1yaeal3sPG_H5Q1FN4/s1600/10510307_10203123691547373_431705817_n.jpg" height="266" width="400" /></a></div>
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<i>©2012 Nino Cannizzaro, Palermo - Messina.</i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3RW0YfXqXlF7oMVK4M4UXlDL1bCL5yziKV-yKlDi-g4tR5J7x-qu36xNpoyYoN5hCoKCA63ItrTwgxTSLSzYxdgnarRptyxo7DoxRh2r9WmkQ-GHOdPuMrlIhPc-tFmo8xUKdSohJ0mY/s1600/10484735_10203123691427370_597818353_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3RW0YfXqXlF7oMVK4M4UXlDL1bCL5yziKV-yKlDi-g4tR5J7x-qu36xNpoyYoN5hCoKCA63ItrTwgxTSLSzYxdgnarRptyxo7DoxRh2r9WmkQ-GHOdPuMrlIhPc-tFmo8xUKdSohJ0mY/s1600/10484735_10203123691427370_597818353_n.jpg" height="285" width="400" /></a></div>
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<i>©2014 Claudia Corrent, Isola di Burano (VE).</i></div>
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<i>©2013 Benedetta Falugi, Follonica (GR).</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7ryBCrCR_EjXYTEQypwto46RCP1BFSRzc6IrWzbNIxYuPxeEpR7QAHE5v6uAZQEogY7eumcRAKTCXkRfxjFfHoTDESK1_W2X0lYz6aderogVnsSU4LtTrHN-3irusPWMCW9cyPylfMg/s1600/10503880_10203123693147413_1947831662_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7ryBCrCR_EjXYTEQypwto46RCP1BFSRzc6IrWzbNIxYuPxeEpR7QAHE5v6uAZQEogY7eumcRAKTCXkRfxjFfHoTDESK1_W2X0lYz6aderogVnsSU4LtTrHN-3irusPWMCW9cyPylfMg/s1600/10503880_10203123693147413_1947831662_o.jpg" height="266" width="400" /></a></div>
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<i>©2013 Mauro Thon Giudici, Milano.</i></div>
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<i>©2009 Salvatore Lembo, Roma, Testaccio.</i></div>
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<i>©2012 Andrea Lombardo, Genova.</i></div>
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<i>©2011 Gaetano Paraggio, Battipaglia (SA), litorale.</i></div>
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<span style="line-height: 18px;"><i>©2014 Giacomo Streliotto, Cartigliano (VI).</i></span></div>
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Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-8850369686949531452013-12-25T10:26:00.002+01:002013-12-25T10:26:46.744+01:002013 / 2014<div class="separator" style="clear: both; text-align: center;">
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Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-71823276115706104182013-08-07T22:40:00.001+02:002021-06-07T20:54:56.066+02:00Marcel's revenge. Looking at the land part II For a landscape-scholar a collective online photographic exhibit focusing on landscape is a great opportunity to explore the way people look at the land and depict it.Indeed landscape photography is all about the land and is a subject easily shared, equally Landscape depictions are able to raise emotions among humans of any culture and gender.<br />
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I’m not claiming that an exhibit, whatever its amplitude, can give us a definitive view of how people look at the land(scape) and depict it. Being incomplete is a peculiarity of our times. Probing into a vastly uncharted land, if conducted with sound criteria may provide us a set of coordinates in time and space.<br />
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Landscape appreciation does not rely only on pure aesthetic stimuli. The perceived attractiveness of a landscape may be the result of something wired into our brains by the evolutionary process or by the appreciation of the efforts of some Deity lending us a fraction of its sublime divinity. Anyway our interest in the representation of a piece of land appears to remain steadily high across generations. <br />
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A photo, regardless of any intent is always a document of a visual relation established between the observer and the fact. Nothing in visual imagery escapes the documentary fate even the most abstracted and far from the “real”. <br />
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But let's examine the core extracted by Andy Adams of <a href="http://flakphoto.com/">FlakPhoto.com</a> from the huge visual Internet stratum: <a href="http://flakphoto.com/content/looking-at-the-land-21st-century-american-views">Looking at The Land: 21st Century American Views</a><br />
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At first, the exhibit may resemble a flickr.com collection made by a clique of fervid devotees to a photographic Art practice. Some might find the one picture per photographer a bit restrictive however, there’s plenty of links to the owners websites. I like this format as it gives me plenty of space to wander. After all <a href="http://flakphoto.com/">FlakPhoto.com</a>, in its long internet presence, got us used to the "one image at a time" format. Consistency, needed for an evaluation of these proposals, can be achieved either spatially, in one multiple post, or in time with singleton posts.<br />
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But, more important, I find this format lets us derive the clear distinction between the roles of the curator and the artist. Living in post-Duchamp’s times picking pictures from the internet has an aesthetic value per se.<br />
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"Whether Mr. Mutt with his own hands made the fountain or not has no importance. He chose it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view -- he created a new thought for the object." Marcel Duchamp, 1917<br />
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The idea here is that a curator, by definition,is an artist, extracting a succession of "ready made" out of the vast sea of depictions she/he is fishing from. I understand that this is a quite strong statement but analyzing what ensues would take us far away so I'm leaving it for some next post.<br />
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But to the content: there is little not to like about each picture. Taken one by one the pictures are all interesting and looking at them offers many aesthetic rewards. If scrutinized under W.T.J. Mitchell’s paradigmatic proposition: “what does this picture want from me ?” each one seems to reply: "hey look at me I'm a piece of art". Nevertheless to draw a line you at least need two points therefore a small amount of inconsistency is to be expected when following the link to the photographer’s site. In some cases you might end up feeling stranded since the connection among the picture in the exhibit's context seems not to fit anywhere in the photographer’s site. This leaves some difficulties in establishing a genuine photographer's involvement with the landscape as a subject. <br />
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Landscape photography may be the quintessential representational domain, the subject matters from the beginning of the imaging process. The exhibit, in regards to the subject, displays the two opposite poles that have always characterized landscape photography. On one side is the “choice of the subject” in order to obtain a figurative proposition, think about “previsualization” just as a reminder. On the other side the subject is given and the photographer’s role is that to render it following some subjective readouts, the "objective" being just one of the many. Both the poles are well present in the exhibit, this is, aesthetic pleasures apart, one of its greatest value. But more on this in a next post after some overdue other things. I have to confess that this exhibit took a lot of time and rethinking.<br />
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The first part is the review is here: "<a href="http://onlandscape.blogspot.it/2013/01/and-yet-it-moves-looking-at-land.html">And yet it moves … Looking at the Land</a>"<br />
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By the way I've started a blog on <a href="http://blog.onlandscape.co/">tumblr: On Landscape</a> that I regularly update, mainly with pictures. This one will remain the one dedicated to my theoretical and critical thinking.<div>
<br />La vendetta di Marcel. Looking at the land parte II</div>
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Per uno studioso del paesaggio una esibizione fotografica collettiva, online, incentrata sul paesaggio costituisce una grande opportunità per esplorare i modi con cui la gente guarda alla terra e la rappresenta. La fotografia di paesaggio è tutta riferita alla Terra così da essere un soggetto di facile condivisione. Ugualmente le rappresentazioni del paesaggio sollevano emozioni tra gli umani di ogni cultura e genere sessuale.<br />
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Non sto affermando che una esposizione, qualunque sia l’ampiezza, possa darci una visione definitiva su come guardiamo e rappresentiamo il paesaggio. La parzialità è la cifra del nostro tempo. Però, trivellando in un vasto e sconosciuto terreno, se fatto con criteri consistenti, può fornirci delle coordinate nel tempo e nello spazio. <br />
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La percezione del paesaggio non è basata su stimoli puramente estetici. L’attrazione percepita di un paesaggio potrebbe essere qualcosa cablato nei nostri cervelli dal processo evoluzionistico o l’apprezzamento degli sforzi di un qualche Dio nel passarci una parte della propria sublime divinità. Ad ogni modo l’interesse per la rappresentazione di un qualche pezzo di Terra sembra stabile nelle generazioni.<br />
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Una fotografia, a dispetto delle intenzioni, costituisce sempre il documento della relazione intercorsa tra un osservatore ed un fatto. Nulla nella rappresentazione visiva sfugge al fato documentario anche la più astratta e lontana dal “reale”.<br />
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Ma esaminiamo la “carota” estratta da Andy Adams di <a href="http://flakphoto.com/">FlakPhoto.com</a> dai grandi strati visivi dell’Internet: <a href="http://flakphoto.com/">FlakPhoto.com</a> from the huge visual Internet stratum: <a href="http://flakphoto.com/content/looking-at-the-land-21st-century-american-views">Looking at The Land: 21st Century American Views</a><br />
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Sulle prime l’esposizione potrebbe sembrare una collezione su flickr.com composta da una accolita di fervidi devoti ad una pratica d’Arte fotografica. Alcuni potrebbero trovare che una sola foto per fotografo un po’ restrittiva, ci sono comunque abbondanti link ai rispettivi siti.<br />
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Mi piace questo formato, mi dà ampio spazio per scorazzare. Dopotutto <a href="http://flakphoto.com/">FlakPhoto.com</a>, con la sua lunga presenza sull’Internet, ci ha abituato sul formato: “una foto alla volta”. La coerenza, necessaria per la valutazione di queste proposte, può essere conseguita sia spazialmente con un solo post multiplo, o nel tempo con post singoli.<br />
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Ma, cosa ben più importante, ritengo che questo formato ci permetta di derivare una netta distinzione tra il ruolo del curatore e quello dell’artista. Vivere in tempi “post Duchamp” pigliando foto dall’internet ha di per sè un valore estetico.<br />
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“Che il signor Mutt abbia fatto o meno con le proprie mani l´Orinale non ha importanza. Lo ha scelto. Ha preso un oggetto della vita ordinaria e lo ha posto in modo che il suo significato utilitario sparisse sotto un nuovo titolo e punto di vista -- ha creato una pensabilità per l’oggetto. “ Marcel Duchamp, 1917.<br />
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L’idea è che il curatore sia per definizione un artista che estrae una successione di “ready made” <br />
dal vasto mare di raffigurazioni da cui pesca. Mi rendo conto che questa sia una affermazione non senza conseguenze tuttavia, ci porterebbe fuori dai binari di un bel po'e qundi rimando ad una analisi in un qualche post futuro. <br />
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Ma tornando al contenuto: c’è veramente poco che non possa piacere per ogni foto. Prese una ad una, le foto, sono tutte interessanti e guardarle offre molte gratificazioni estetiche. Se viste con la proposizione paradigmatica di W. T. J. Mitchell: “Che cosa vuole questa raffigurazione da me ?” ognuna sembra rispondere: “Hey sono un pezzo d’Arte”. Nondimeno per tracciare una linea sono richiesti almeno due punti e quindi c’è da aspettarsi una piccola dose di incoerenza seguendo i link al sito di ciascun fotografo. In alcuni casi ciò può rendere un po’ spaesati in quando la foto dal contesto espositivo sembra non inserirsi in alcun modo nel sito del fotografo. Questo crea qualche difficoltà nello stabilire una genuina connessione del fotografo con il paesaggio come soggetto.<br />
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La fotografia di paesaggio potrebbe essere il dominio quintessenziale della figurazione, il soggetto conta fin dall’inizio del processo immaginifico. L’esibizione, rispetto al soggetto, presenta entrambi i poli opposti che hanno sempre caratterizzato la fotografia di paesaggio. Da un lato la “scelta del soggetto” allo scopo di ottenere una specifica rappresentazione, si pensi, come promemoria, al discorso sulla “previsualizzazione”. Dall’altro lato il soggetto è “dato” e il ruolo del fotografo è di renderlo seguendo una qualche sua lettura soggettiva. Entrambi i poli sono ben presenti nella esposizione e questo, piacere estetico a parte, è il suo maggior valore. Ma tornerò su questo argomento in un prossimo post, dopo alcune altre cose dovute. Devo confessare che questa esibizione mi ha obbligato a una certa qual revisione.<br />
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La prima parte è qui: "<a href="http://onlandscape.blogspot.it/2013/01/and-yet-it-moves-looking-at-land.html">Eppur si muove ... Looking at the Land</a>"<br />
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Di passaggio ho attivato anche un nuovo blog su <a href="http://blog.onlandscape.co/">tumblr: On Landscape</a> che aggiorno perlopiù con foto. Questo resta il blog dedicato a pensieri più teoretici e critici.<br />
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<br />Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-26101042518600931102013-01-18T15:09:00.001+01:002013-08-09T06:33:45.419+02:00And yet it moves … Looking at the Land<span style="font-size: x-small;">Scroll past the video for the Italian version// Italiano dopo il video</span><br />
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Part I<br />
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2012 certainly will not be remembered for the end of the world. In photography, though, the past year might be remembered for at least a couple of things. <br />
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To begin with, the immense volume of pictures exchanged in pure digital form reached levels never thought of before. Millions of individuals willing to satisfy their aesthetic, emotional and cognitive needs, relying barely on virtual formats, are exchanging, liking, sharing and sieving out what does not receive a general consensus. Some kind of an evolutionary, bottom up, aesthetics is coming to life. As a consequence artists and curators are finally starting to realize how much they have been displaced. Nevertheless, the still dominating print culture among photographers is at risk to generate something like an Arcadia for “real” photographers. What happened with instagram, just to quote one of the many possible examples, is that people just had visual needs to satisfy and found a way to fulfill them. Online. Technique is a problem ? … use filters and other decorations. I suspect that aesthetic needs are quite adaptable to the available “flowers” (see <a href="http://bit.ly/13zrMUI" target="_blank">Denis Dutton</a> on this, beware that we are on a highly speculative hypothesis here, with lots of genre suppositions that have scarce evidences. His book take on the thing a bit more seriously though). Anyway the instagram phenomena, as far as I know, is still not completely understood.<br />
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Not that photography was not online prior to 2012. Indeed it is there since day one of the web and even before either with the free Usenet news in the comp. and alt. groups, and on some non free bbs services like “Compuserve”. Coming to the web, <a href="http://en.wikipedia.org/wiki/Philip_Greenspun" target="_blank">Philip Greenspun</a>’s sites on photography may be considered the main starting point. His “T<a href="http://philip.greenspun.com/samantha/" target="_blank">ravels with samantha</a>” became the blueprint for the forthcoming blogs. <a href="http://photo.net/">Photo.net</a>, by contrast, established a model for interaction between photographers - either for sharing pictures or exchanging ideas via forums. Flickr.com, which came in later, was mainly an enhanced version of the latter. Photo.net, that started in 1993, took some years to gain momentum. By the time it reached critical mass several other sites appeared over the Internet, some implementing the first instances of what was to become the “prints shop” model. By 2000 almost every conceivable interaction via some kind of site was available, and mainly everything new was made as a derivation of what was already sketched in photo.net. <br />
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The technical journals, were perhaps the first victims of forums and photography news sites. As a direct consequence several photography journalists, facing the need to find an alternative income source, went to the Internet as a way to reconnect with their former papery audience. The general enthusiasm hoisted by the rumors of what was to come, just a year away, the burst of the internet bubble, pushed several well known photographers and some historical archives to set up their own sites; to establish a presence and for self promotion purposes. Emulating those examples, in a very short time, the Net was filled up with portfolio sites and photoblogs with the good help of the digital revolution in photo techniques. Curators, coming from the agonizing journals, got the situation earlier. In some ways they realized that there was an option to gain a huge body of online followers and photographers, looking for some order in Net’s apparent chaos.<br />
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The “prints shop” model, though, still dominated the scene. Despite the high numbers in online circulation, serious things were to happen outside the Net. Exhibits, and galleries mainly relied, and still rely, on the internet exclusively as a broadcasting tool for strictly grounded initiatives. The audience, though, went elsewhere. The dominant expression in many internet photo places is that a “photo is always ways better seen when printed than on a monitor”, unfortunately as such not visible online. More, considering the abundance of good quality monitors there could be a lot to debate. But in the end it is enough to count and compare how many pictures each of us sees online and how many in printed form.<br />
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At this point the subject of the second 2012 notable event comes in: <a href="http://flakphoto.com/about" target="_blank">Flak Photo</a>. Launched in 2006, is one of the few photo galleries almost completely online devoted to “serious” photography. Based on a site, and not on a blog. Exclusively run on an aesthetic purpose and a user driven flair, the gallery begun its activities publishing selected pictures on a daily basis. The selected pictures were consistently connected to some of the “out of the Net” best art practices. Last year, 2012, the gallery launched a call for content from photographer’s who depicted, in one way or another, the US landscape from the beginning of the new millennium. In this way the gallery launched itself into what I believe is the second turning point for photography over the web. An online only gallery tackling on the uneasy goal to build up an overview of photographer’s gaze over the US Land. The subject connected, in a more or less explicit form, to the “new topographics” exhibit held for the first time 37 years before. The goal for <a href="http://flakphoto.com/content/looking-at-the-land-21st-century-american-views" target="_blank">Looking at the Land — 21st Century American Views</a> was that to make a selection of pictures, among the many sent in, and to present them in an online format. The format allowed for one picture for each photographer with a space for textual considerations, presentations and author’s web address. The theme, cleverly, focuses on the subjective view of each photographer avoiding the pitfall to pretend to have the sole possible imprint. And just this makes for a serious innovation among curators. Less ego and more content one would say. <br />
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Indeed for the few words and infos from <a href="http://flakphoto.com/about" target="_blank">Andy Adams</a> (the man behind all this) it took a lot of work to set up the whole thing. I firmly believe that there is a space for curators investing in infrastructure and time trying to be as open as possible in the curation. Taken this way the curator’s task is not free lunch, though. Well, seen in absolute numbers, flack photo may not compare to more generalist photography sites but I guess one could bet on it to have one of most consistent followers base. And that may have some weight. After all, the end of the era of the “absolute” unleashed many competing aesthetics. <br />
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But let us get back to the “prints shop” model for photographers and “Advertise only” model for exhibits, for a final note. Staying to the <a href="http://credibility.stanford.edu/" target="_blank">Stanford Web Crediblity Research</a> there is no worse thing than induce the web user into a doubt about the content she/he/it is looking at, or negate the accesses to the promoted event. Don’t you think that telling people they are seeing is just a bad copy, might upset a bit, or, at least, induce some doubts ? And the same does not apply to exhibits asking you to join in, without an online quality preview, maybe several hundred miles away ?<br />
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Fortunately Internet is still driven by its users.<br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="281" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/49855891?title=0&byline=0&portrait=0&color=c10a0f" webkitallowfullscreen="webkitallowfullscreen" width="500"></iframe> <br />
<a href="http://vimeo.com/49855891">Looking at the Land — 21st Century American Views</a> from <a href="http://vimeo.com/flakphoto">FlakPhoto.com</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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<h2>
Eppur si muove … Looking at the Land</h2>
Il 2012 non verrà ricordato per la fine del mondo. In fotografia però l’anno appena passato potrebbe venire ricordato per almeno un paio di cose.<br />
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La prima è che l’immenso volume di raffigurazioni scambiate in pura forma digitale ha raggiunto livelli impensabili. Milioni di individui, desiderosi di soddisfare i propri bisogni estetici, affettivi e cognitivi, affidandosi esclusivamente a formati virtuali, scambiano, apprezzano (con i “mi piace”) e crivellando quanto non riceva consenso. Una estetica evolutiva, bottom up (che cresce dal basso), sta prendendo vita. Come conseguenza artisti e curatori si stanno accorgendo di quanto sono stati spiazzati dagli eventi. Nondimeno l’ancora dominante cultura della stampa rischia di generare qualcosa come una Arcadia tra if fotografi “seri”. Quel che è successo con Instagram, solo per fare uno dei molti possibili esempi, è che la gente aveva delle necessità visive da soddisfare e ne ha trovato il modo. Online. La tecnica è un problema ? … usa filtri ed altre decorazioni. Sospetto che i bisogni estetici siano molto adattabili “ai fiori” disponibili (si veda <a href="http://bit.ly/13zrMUI" target="_blank">Denis Dutton</a> a proposito, si noti che qui siamo su una ipotesi fortemente speculativa, con un sacco di supposizioni in materia di genere che hanno scarse evidenze. Il libro affronta l’argomento con un po più di serietà). Ad ogni modo il fenomeno di instagram non è ancora stato completamente compreso.<br />
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Non che la fotografia non fosse in linea prima del 2012. Al contrario è sul web dal primo giorno e anche prima sia con le News gratuite di Usenet, nei gruppi comp. e alt. e su alcuni servizi bbs non gratuiti come “Compuserve”. Venendo al web i siti di <a href="http://en.wikipedia.org/wiki/Philip_Greenspun" target="_blank">Philip Greenspun</a> sulla fotografia possono essere considerati il punto di partenza principale. Il suo “T<a href="http://philip.greenspun.com/samantha/" target="_blank">ravels with samantha</a>” divenne lo schema per i blog ancora da venire. Per contro <a href="http://photo.net/">Photo.net</a> stabilì il modello di interazione tra fotografi sia per scambiare foto sia per scambiare idee via i forum. Flickr.com, che arrivò dopo, si può considerare una versione avanzata di quest’ultimo. Photo.net, iniziata nel 1993, richiese diverso tempo per crescere. Quando raggiunse massa critica diversi altri siti erano apparsi sull’internet ed alcuni implementavano le prime istanze di cio che sarebbe diventato il modello del “negozio delle stampe”. Per il 2000 ogni tipo di interazione concepibile con un sito era disponibile, e quasi tutto veniva fatto in derivazione di quanto tratteggiato con photo.net. <br />
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I giornali tecnici, furuno forse le prime vittime dei forum e dei siti di notizie specializzati in fotografia. Come diretta conseguenza diversi giornalisti di fotografia, affrontando il bisogno di trovare fonti alternative di entrata, andarono per l’internet nel tentativo di recuperare l’audience cartacea. L’entusiasmo generale, amplificato da quelle credenze che un anno dopo avrebbero fronteggiato lo scoppio della bolla Internet, spinse diversi fotografi conosciuti e alcuni archivi storici a metter su i propri siti sia per stabilire una presenza sia per ragioni di auto promozione. Emulando questi esempi la rete si riempì presto di siti portfolio e photo blog. I curatori, arrivati dai giornali agonizzanti, colsero per primi la situazione. In qualche modo compresero che c’era l’opzione di guadagnare un grosso numero di utenti online e di fotografi, alla ricerca di un qualche ordine nell’apparente caos della rete.<br />
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Ma il modello “negozio di stampe” ancora dominava la scena. A dispetto degli elevati numeri di circolazione, le cose serie dovevano succedere fuori dalla rete. Esposizioni e gallerie si appoggiavano, e si appoggiano, sull’internet esclusivamente in quanto strumento di broadcasting per iniziative strettamente terrene. Il pubblico però, si spostò altrove. L’espressione dominante in molti luoghi di fotografia su internet è che “Una foto è sempre di parecchio meglio se stampata piuttosto che su un monitor”, sfortunatamente in quanto tale non risulta visibile online. Perdipiù se si considera l’abbondanza di ottimi monitor ci sarebbe molto da dibattere. Ma alla fine è sufficiente contare e comparare quante foto ciascuno di noi veda online e quante stampate. <br />
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E’ a questo punto che compare il secondo evento degno di nota del 2012: <a href="http://flakphoto.com/about" target="_blank">Flack Photo</a>. Lanciato nel 2006, è una delle poche foto gallerie online dedita alla fotografia “seria”. E’ basata su un sito e non su un blog. Condotta con intenzioni esclusivamente estetiche e con un tocco “user driven”, la galleria ha iniziato pubblicando selezioni fotografiche su base quotidiana. Le foto pubblicate si connettono consistentemente con le migliori pratiche artistiche extra rete. L’anno scorso, 2012, ha lanciato un richiesta di contenuti dai fotografi che hanno raffigurato, in un modo o in un altro, il paesaggio degli Stati Uniti a partire dal nuovo millennio. In questo modo la galleria ha lanciato se stessa in quello che ritengo essere il secondo passaggio determinante per la fotografia sul web. Una galleria esclusivamente online tesa a trattare il non semplice compito di costruire una vista d’insieme basata sullo sguardo dei fotografi sul territorio USA. Il soggetto si connette, in una forma più o meno espicita, alla esposizione “The new topographics” tenutasi 37 anni prima. L’obiettivo di “<a href="http://flakphoto.com/content/looking-at-the-land-21st-century-american-views" target="_blank">Looking at the Land — 21st Century American Views</a>” era di selezionare un corpo fotografico tra le molte foto ricevute. Il formato era di una foto per fotografo con uno spazio testuale per considerazioni, presentazioni e indirizzo web dell’autore. Il tema, abilmente, focalizza sulla visione soggettiva di ciascun fotografo, evitando così il pericolo di pretendere di avere la sola possibile visione. Questa, preso da sola, già costituisce una seria innovazione tra i curatori. Meno ego e più contenuto uno sarebbe tentato di dire.<br />
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In verità, dalle poche informazioni e parole pervenute da <a href="http://flakphoto.com/about" target="_blank">Andy Adams</a> (l’uomo che sta dietro a tutto ciò) ci è voluto un sacco di lavoro per mettere in piedi l’intera cosa. Penso fermamente che ci sia spazio per curatori che investano in infrastruttura e tempo cercando di essere il più possibile aperti nella curatela. Presa in questo modo il lavoro del curatore non è però una passeggiata. Vista in termini assoluti Flack Photo può non competere con i siti generalisti di fotografia ma credo si possa scommettere che abbia una delle basi di utenza più consistenti. E ciò potrebbe avere un peso. Dopo tutto, la fine dell’era degli “assoluti” ha scatenato molte estetiche in competizione tra loro. <br />
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Ma torniamo un attimo al modello del “negozio delle stampe” e al modello “di sola promozione” delle esposizioni, per una nota finale. Stando alla “<a href="http://credibility.stanford.edu/" target="_blank">Stanford Web Crediblity Research</a>” non c’è cosa peggiore che indurre il dubbio nell’utente sul contenuto che sta guardando, o negare l’accesso all’evento promosso. Non credete che dire alla gente che quel che stanno vedendo è solo una brutta copia possa disturbare un pò o come minimo ingenerare qualche dubbio ? E lo stesso non si applica per una esposizione che ti chiede di partecipare, senza una presentazione in linea, di qualità, magari a diverse centinaia di kilometri di distanza ?<br />
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Per fortuna l’Internet è ancora guidata dagli utenti.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-9484474217014943322012-12-24T13:40:00.003+01:002012-12-24T13:41:17.634+01:00Best wishes / Auguri<div class="separator" style="clear: both; text-align: center;">
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<br />Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-39940714303398595162012-12-15T00:41:00.002+01:002021-06-07T21:02:06.050+02:00Allegories / Allegorie<div style="text-align: left; width: 560px;">
<span style="font-size: x-small;"><i>Versione Italiana al fondo / Italian version at the bottom</i></span><br />
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<h3>Allegories</h3>
<div id="badge" style="position:relative; width:240px; height:120px; margin:0; padding:10px; background-color:white; border:1px dotted #f9f4e4;"> <div style="position:absolute; top:10px; left:10px; padding:0; margin:0; width:118px; height:100px; line-height:116px; text-align:center;"> <img src="https://bookshow.blurb.com/bookshow/cache/P6481014/lw/cover_2.jpeg?access_key=e50458c93d1d3f1a6f051509c572650b" alt="Ice / Ghiaccio" style="padding:0; margin:0; border:1px solid #a7a7a7; width:116px; vertical-align:middle;"/> </div> <div style="position:absolute; top:58px; left:138px; overflow:hidden; margin:0; padding:0; border:0; width:120px; text-align:left;"> <div style="width:105px; overflow:hidden; line-height:18px; margin:0; padding:0; border:0;"> Ice / Ghiaccio </div> <div style="font:bold 10px Arial, Helvetica, sans-serif; color:#545454; line-height:15px; margin:0; padding:0; border:0;"> An alpine allegory </div> <div style="font:10px Arial, Helvetica, sans-serif; color:#545454; line-height:15px; margin:0; padding:0; border:0;"> By Mauro Thon Giudici </div> </div> <div style="position:absolute; bottom:8px; left:138px; font:normal 10px Arial, Helvetica, sans-serif; color:#fd7820; line-height:15px; margin:0; padding:0; border:0;"> <a href="https://www.blurb.com/books/4098557-ice-ghiaccio" force="true" only_path="false" style="color:#fd7820; text-decoration:none;" title="Book Preview">Book Preview</a> </div> <div style="position:absolute; top:10px; right:10px; padding:0; margin:0;"> <img src="https://www.blurb.com/images/badge/photo-book.png" style="border:0; padding:0; margin:0;" alt="Photo book"/> </div> <div style="clear: both; border: 0px solid black;"></div></div>
<blockquote class="tr_bq">
"Allegory, from Greek ALLEGORÍA from ÀLLOS (other) and AGOREÌO (speak openly) description of one thing under the image of another".</blockquote>
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<blockquote class="tr_bq">
"Allegories are, in the realm of thoughts, what ruins are in the realm of things" <i>Walter Benjamin.</i></blockquote>
Sometimes ideas take form with the same suddenness of a bolt of lightning. Was looking at <a href="http://en.wikipedia.org/wiki/Allegory_of_Prudence">Tiziano's "Allegory of Prudence"</a> and realized how complex, for us, is the interpretation of the painting, with all its implied symbolic referents. The concept of allegory was something I was up to experiment! So i made some searches and found this interesting paper written by Craig Owens and titled: <a href="http://bit.ly/12dSa73">"The Allegorical Impulse: Toward a Theory of Postmodernism"</a>. In this paper Owens, without many turnarounds, explicitly situates photography as an allegory making device:
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<blockquote>
Site-specific works are impermanent, installed in particular locations for limited duration, their impermanence providing the measure of their circumstantiality. Yet they are rarely dismantled but simply abandoned to nature; Smithson consistently acknowledged as part of his works the forces which erode and eventually reclaim them for nature. In this, the site-specific work becomes an emblem of transience, the ephemerality of all phenomena; it is the memento mori of the twentieth century. </blockquote>
<blockquote>
Because of its impermanence, moreover, the work is frequently preserved only in photographs. This fact is crucial, for it suggests the allegorical potential of photography. </blockquote>
<blockquote>
"An appreciation of the transience of things, and the concern to rescue them for eternity, is one of the strongest impulses in allegory" (*). And photography, we might add. As an allegorical art, then, photography would represent our desire to fix the transitory, the ephemeral, in a stable and stabilizing image. </blockquote>
<blockquote>
In the photographs of Atget and Walker Evans, insofar as they self-consciously preserve that which threatens to disappear, that desire becomes the subject of the image. </blockquote>
<blockquote>
If their photographs are allegorical, however, it is because what they offer is only a fragment, and thus affirms its own arbitrariness and contingency. </blockquote>
The last passage is really important to understand. For Owens It is the partiality of the frame that makes photography inherently allegoric. Not its content as it was for the pictorialist photographers at the end of the nineteenth century or some frisky setup as currently taught in fashion photography schools. Italiano / Italian
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<h3>
Allegorie
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<blockquote class="tr_bq">
"Allegorìa dal greco ALLEGORÍA, composta da ÀLLOS (altro) e da AGOREÌO (dico, esprimo). Figura retorica, che sotto un'immagine ne adombra un'altra" </blockquote>
<blockquote class="tr_bq">
"Le allegorie sono. nel dominio del pensiero, ciò che le rovine sono nel dominio delle cose" <i>Walter Benjamin</i></blockquote>
A volte le idee prendono forma con la stessa immediatezza del lampo. Stavo guardando <a href="http://it.wikipedia.org/wiki/Allegoria_della_Prudenza">L'Allegoria della prudenza del Tiziano</a> e ho realizzato quanto complesso sia per noi l'interpretazione del dipinto, con tutti i sui referenti simbolici impliciti. Il concetto di allegoria era qualcosa che ero interessato a sperimentare! Così ho fatto un pò di ricerche e ho trovato un interessante scritto di Craig Owens intitolato: <a href="http://bit.ly/12dSa73">"The Allegorical Impulse: Toward a Theory of Postmodernism"</a>. In questo scritto Owens, senza tanti giri, colloca la fotografia come un dispositivo per la produzione di allegorie:
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<blockquote>
Le opere in situ sono impermanenti, installate in un luogo particolare per un periodo limitato,la loro impermanenza fornisce la misura della loro circonstanzialità. Sebbene raramente siano smantellate ma semplicemente abbandonate alla natura; Smithson riconosce consistentemente che siano parte del suo lavoro le forze che erodono ed eventualmente reclamano l'opera alla natura. In questo, l'opera in situ diventa un emblema della transitorietà, l'effimero di ogni fenomeno; è il memento mori del ventesimo secolo. </blockquote>
<blockquote>
A causa della sua impermanenza, inoltre, l'opera viene frequentemente conservata solo in fotografia. Questo fatto è cruciale, perchè suggerisce il potenziale allegorico della fotografia. </blockquote>
<blockquote>
"La percezione della transitorietà delle cose, e la preoccupazione di salvarle per l'eternità, è uno degli impulsi più forti nell'allegoria" (*). E in fotografia, potremmo aggiungere. Come arte allegorica, allora, la fotografia rappresenterebbe il nostro desiderio di fissare il transitorio, l'effimero, in una stabile e rassicurante immagine. </blockquote>
<blockquote>
Nelle foto di Atget e Walker Evans, in cui si cerca, coscientemente, di preservare quanto minaccia di sparire, quel desiderio diventa soggetto dell'immagine. </blockquote>
<blockquote>
Se le loro fotografie sono allegoriche, però, è perchè ciò che offrono è solo un frammento, che quindi afferma la propria arbitrarietà e contingenza. </blockquote>
Questo ultimo passaggio è davvero importante da capire. Per Owens è la parzialità dell'inquadratura, o del taglio se volete, che rende la fotografia inerentemente allegorica. Non il suo contenuto come era per i fotografi pittorialisti di fine diciannovesimo secolo o in qualche messa in scena frizzante come viene ora insegnato nelle scuole di fotografia di moda.
(*) <i>Walter Benjamin</i> Origin of German Tragic Drama / Origini del dramma barocco tedesco Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-68777690178948272532012-12-05T07:07:00.000+01:002012-12-05T20:32:03.424+01:00pmc #12 desperate socialism // socialismo disperato<div class="separator" style="clear: both; text-align: center;">
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Versione Italiana al fondo<br />
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<h2>
Desperate socialism</h2>
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It has been a long vacation. In the meanwhile I went through so many things (photo projects, research topics and art history) that it I struggle to find out a point where to start. But first things first.<br />
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The general rule in social networking - that any “how to have success over the Internet for dummies” points to - is to fulfill the desires of the public. This easily translates into the “if you want to be cheered up give em what they want”. The Roman Empire, of good memory, with his “panem et circenses” still dominates here.<br />
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This rule of “general wisdom” clashes against another rule in use in the marketing of cultural artifacts, that states that to be of value, they cannot be adapted, unless risking a heavy loss in identity (and value as well). Instead you must search out for the audience interested in it.<br />
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The first rule easily explains the “kitten’s pest” (puppies do as well) plaguing the social networks. The desire to achieve the robotic numbers that some posters have, cruelly, sieves out any attempt to cultivate an offering that may want to get beyond the levels of immense idiocy required by the like and forget compulsions.<br />
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But the Net, as much as it has always been in the material world, requires a large amount of uniqueness to generate some interest. The only way to do that is to dig deeply into one’s emotional and intellectual resources, thus projecting the individual into a land of solitude where self questioning is hard to ration with wise measure.<br />
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This seems to me a pretty good example of what <a href="http://en.wikipedia.org/wiki/Double_bind">Gregory Bateson referred to as a “double bind”</a>. To get appreciated you must fulfill others' desires but in doing so you lose the option of getting their attention.<br />
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I suspect that this condition is making up a lot of pain among those who, more or less secretly, decided that an important goal in their life is to disseminate their own vision of the world.<br />
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Unfortunately I do not see any way out of this except to try and try again, as much as a fly does against the window’s glass.<br />
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However I’ve not spent this vacancy time just self questioning (flogging) myself, well partially I did, but also, just to measure up in the facebook arena I’ve opened a page and guess what ? I’ve called it <a href="http://www.facebook.com/landscape.on">“On Landscape”</a> you wont need to register to visit it. The same on twitter I’ve added to my usual account - <a href="https://twitter.com/cabrabesol">@cabrabesol</a> - this new one <a href="http://twitter.com/onlandscape">@onlandscape</a>. Even if you do not like those places you may find there some lighter works of mine.<br />
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Italian / Italiano<br />
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<h2>
Socialismo disperato</h2>
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È stata una lunga vacanza. Nel frattempo sono passato attraverso talmente tante cose (progetti fotografici, ricerche e storia dell’arte) che è difficile trovare un punto da cui partire.<br />
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La regola generale dei social networks, che ogni manuale su “Come avere successo sull’internet, per sprovveduti”, è di andare incontro ai desideri del pubblico. Questo si traduce facilmente nel “se vuoi essere apprezzato dagli quel che vogliono”. La memoria dell’impero Romano col suo “panem et circenses” in quei contesti, domina.<br />
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Questa regola di “generale saggezza” cozza contro un’altra, altrettanto importante, regola del marketing di manufatti culturali, che afferma che esso non possa essere adattato, pena la perdita della sua identà (e ugualmente valore). Al contrario occorre trovare il pubblico cui interessi.<br />
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La prima regola spiega piuttosto bene la “peste dei gattini”, i cuccioli vanno bene uguale, che infesta i social network. Il desiderio di arrivare ai numeri robotici, che alcuni poster frequenti hanno, crudelmente filtra ogni tentativo che possa andare oltre l’immensa idiozia generata dai mi piace compulsivamente clikkati e presto dimenticati.<br />
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Ma la Rete, esattamente come è sempre stato nel mondo materiale, richiede una larga dose di unicità per generare un qualche interesse. L’unico modo per averlo è quello di scavare profondamente nelle proprie risorse emotive ed intellettuali, proiettando così l´individuo in un mondo di solitudine dove il mettere in dubbio se stessi è difficile da razionare in saggia quantità.<br />
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Questo mi sembra un perfetto esempio di ciò che <a href="http://it.wikipedia.org/wiki/Doppio_legame_%28psicologia%29">Gregory Bateson chiamava “Doppio legame”</a>. Per essere apprezzato devi adempiere agli altrui desideri ma ciò facendo perdi la possibilità di avere la loro attenzione.<br />
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Sospetto che questa condizione causi una considerevole quantita di dolore a quanti, più o meno segretamente, abbiano deciso che un importante traguardo nella loro vita sia di disseminare la propria visione.<br />
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Sfortunatamente non vedo altra soluzione che provare e riprovare ancora, esattamente come fa una mosca sbattendo contro il vetro.<br />
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Ad ogni modo non ho speso il tempo di questa vacanza auto flagellandomi, bhe parzialmente si, ma anche, giusto per misurarmi con facebook, ho aperto una pagina che ho chiamato, indovinate ? <a href="http://www.facebook.com/landscape.on">“On Landscape”</a> non dovete registrarvi per visitarla. Allo stesso modo, su twitter al mio solito account, <a href="https://twitter.com/cabrabesol">@cabrabesol</a>, ho aggiunto <a href="http://twitter.com/onlandscape">@onlandscape</a>. Anche se non vi piacciono questi posti potrete trovarci alcuni miei lavori più leggeri.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com1tag:blogger.com,1999:blog-9073087446713304375.post-89096744642149311742011-12-22T16:00:00.000+01:002012-12-05T07:08:11.523+01:00pmc #11. Seasonal roundabout<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAkfmEr5OJQh3mTG6Yt1RHDQGu2R6Qtk7Xj7BEOEAvDf6p3pjktDkQxHubsABwyWUQBv_0ftRLwaw89LFJZh91KWfNKrc1hoZmFZGGHty010Aw8D7eyjAe6h6hB_F-wwkeBkakvUjVLYI/s1600/20111221-101639_DSC_1992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAkfmEr5OJQh3mTG6Yt1RHDQGu2R6Qtk7Xj7BEOEAvDf6p3pjktDkQxHubsABwyWUQBv_0ftRLwaw89LFJZh91KWfNKrc1hoZmFZGGHty010Aw8D7eyjAe6h6hB_F-wwkeBkakvUjVLYI/s400/20111221-101639_DSC_1992.jpg" width="400" /></a></div><br />
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pmc is an abbreviation for Post Modern Condition. <a href="http://onlandscape.blogspot.com/2009/12/pmc-10-seasonal-roundabout.html">A previous, similar, seasonal roundabout post is here</a>.<br />
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pmc è una abbreviazione di Post Modern Condition (condizione post moderna). <a href="http://onlandscape.blogspot.com/2009/12/pmc-10-seasonal-roundabout.html">Qui trovate un post simile su una rotonda di stagione</a>.<br />
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Best wishes / Auguri<br />
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Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com4tag:blogger.com,1999:blog-9073087446713304375.post-52846114076266787962011-11-23T19:34:00.000+01:002012-12-05T07:09:20.257+01:00Interstitial #10. City borders south east Milan<div class="separator" style="clear: both; text-align: center;">
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<b>Click the images for a larger view / click sull'immagine per ingrandire</b><br />
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<slanted>versione italiana in coda</slanted><br />
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<h3>
Complexity in landscape</h3>
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Despite the general rule that wants the project come first in the last years I have, frequently, tested some ideas assembling pictures before they got to the resemblance of a well defined project. One of these projects is about the <a href="http://onlandscape.blogspot.com/search/label/Interstitial">liminal places</a>, grown from my observations of the way in which the city of Milan goes on expanding in the south (/east,/west). <br />
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The urban expansion progresses occupying sparse spots that get filled up in time by a progressive division of the available space by roads or other connecting infrastructures. The remnants of this division lies there either as memories of the previous space either waiting to be part of the next landscape building plan. One may be tempted to expect this to be a geometrical progressive process. The linearity of the process, though, is broken by the the distribution of the private property, as it got configured along the time, by the persistence other human activities favoured by the richness of the soil and the need to preserve some kind of place identity. These are just few of the many factors coming into play. This is the way in which suburban spaces, as they are also called, reshape. The pace of the changes in those spaces is quite fast. Understanding, albeit partially, the dynamics of what is going on really gives and idea of what complexity in landscape formation is.<br />
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But complexity is also something that has always been considered evil in landscape image making (and, perhaps, at large, in all our western culture). It seems that the picturesque requires some simplifications to be successfully carried out. If I had to characterize most of the contemporary landscape photography I would certainly ground it into the cultural clash against complexity.<br />
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Those of you interested in complexity studies applied to landscape understanding may find some interesting insights from these <a href="http://www.spatialcomplexity.info/news">"Spatial Complexity Lectures" made by Michael Batty</a>.<br />
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<h3>
La complessità nel paesaggio</h3>
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Nonostante la regola generale che vuole che il progetto venga prima negli anni scorsi ho, spesso, verificato alcune idee assemblando immagini prima che raggiungessero lo stato di un progetto ben definito. Una di questi progetti riguarda gli <a href="http://onlandscape.blogspot.com/search/label/Interstitial">luoghi liminali</a>, cresciuto dalle mi osservazioni sul modo con cui la città di Milano si espande a sud (/est, /ovest).<br />
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L'espansione urbana procede occupando macchie sparse che vengono riempite nel tempo da una progressiva suddivisione dello spazio disponibile da strade o altre strutture di interconnessione. I resti della divisione giacciono sia come memorie dello spazio precedente sia in attesa di divenire parte del prossimo piano di costruzione paesaggistica. Si potrebbe essere tentati di paventare un processo geometricamente progressivo. La linearità del processo tuttavia è rotta dalla distribuzione della proprietà privata, cosi come si è configurata nel tempo, dalla persistenza di attività umane favorite dalla ricchezza del suolo e dalla necessità di preservare una qualche identità dello spazio. Questi sono solo alcuni dei fattori che entrano in gioco. Questo è il modo con cui gli spazi "suburbani" cambiano. Il ritmo del cambiamento in quegli spazi è piuttosto veloce. Capirne, seppur parzialmente, la dinamica da realmente una idea di cosa sia la complessità nella formazione del paesaggio.<br />
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La complessità però è anche una cosa che è sempre stata considerata un qualcosa di malvagio nella produzione di immagini di paesaggio (e forse in generale nella cultura occidentale). Sembra che il pittoresco richieda semplificazioni per essere conseguito con un qualche successo. Se dovessi caratterizzare molta della fotografia contemporanea di paesaggio mi baserei certamente nello scontro culturale con la complessità.<br />
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Chi è interessato negli studi sulla complessità applicati al paesaggio può trovare alcui interessanti spunti da queste <a href="http://www.spatialcomplexity.info/news">"Spatial Complexity Lectures" di Michael Batty</a><br />
<br />Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-9775150063608588592011-10-10T09:20:00.001+02:002012-12-05T07:10:25.601+01:00Interstitial #9. City borders. Pictures from the suburban Milano.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8cJ1J_e-KKd_XVJ7zrPYs7q87iEaXj9AJkcawqzuQBrANUuCXs87BpHVzoDV8J6ZoMjL0pINv_FaGJ5LafDIjv3tgMTf6b-EAYRmlkSB2SqbFbU0PXhrvOcoe7a6vdRDkrzWUE6v9ly0/s1600/20081025_5497.jpg" imageanchor="1" onclick="var w = window.open(this.href, 'popupwindow', 'width=1090, height=760, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8cJ1J_e-KKd_XVJ7zrPYs7q87iEaXj9AJkcawqzuQBrANUuCXs87BpHVzoDV8J6ZoMjL0pINv_FaGJ5LafDIjv3tgMTf6b-EAYRmlkSB2SqbFbU0PXhrvOcoe7a6vdRDkrzWUE6v9ly0/s400/20081025_5497.jpg" width="400" /></a></div>
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<h3>
A message from the afterlife and a massage from the past</h3>
I'm not sure if my Internet good friend Mike Chisholm was including me in his <a href="http://idiotic-hat.blogspot.com/2011/10/breaks-over-get-back-to-work.html">resurrection post</a> focusing on the blogs' blight but I suspect that for the usual parameters this blog may actually be dead. Instead, not to reassure anybody, it is not. To be honest I find that the migration of compulsive blog followers to other shores (facebook above all) is somewhat a liberation. Several times I felt guilty to not post enough but as I see it now it's only because it takes time, and a lot of effort to say something that i feel strongly enough. <br />
In the meanwhile my researches on paths, trails and roads took me to the medieval pilgrimages and in the detail that of the "Camino de Santiago". It is a bit early to say something that has not been said upon though. Mainly what fascinates me there is the spread of visual resemblances along the various routes, and the related issue of how visual cognition is transmitted among us. The idea that I started to caress is that a trail may also be considered a visual media, a very ancient one that, perhaps, we even share with other species. This idea was reinforced by a personal revival I had for Herbert Marshall McLuhan's "The media is the massage" in particular I've found these youtube videos: <a href="http://www.youtube.com/watch?v=U8YYM_7KUpw">part1</a> and <a href="http://www.youtube.com/watch?v=OQkWZqqvyCM&feature=related">part2</a> that I think maybe of interest to anyone who's engaged in understanding the current state of things in visual, and not only, media. An other interesting suggestion came from <a href="http://cryptoforest.blogspot.com/2011/06/forest-made-human-legacy-of-trail-trees.html">this post</a> that I've found that describes a tradition in molding trees along pathways walked by American Aboriginal peoples. <br />
As an aside consideration a thing that amazed me is McLuhan's prediction of the "easternalization" of the western culture that he viewed as a consequence of the diffusion of the electronic devices (or "electric" given the zeitgeist he was in). His general idea was that the spread of "electric" devices would led, as a consequence, to the lost of the western obsession with the identitarian ego as opposed to a "into the flow" perception of the self that, he says, characterizes the eastern culture. <br />
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<h3>
Un messaggio dall'aldilà e un massaggio dal passato</h3>
Non sono sicuro se il mio buon amico Internet Mike Chisholm mi abbia incluso nel <a href="http://idiotic-hat.blogspot.com/2011/10/breaks-over-get-back-to-work.html">suo post</a> sulla moria dei blog ma ho il sospetto che in base ad alcuni parametri questo blog possa considersi morto. Invece, non per rassicurare alcuno, non lo è. Per essere onesto trovo che la migrazione verso altre spiagge (facebook sopratutto) dei seguitori compulsivi di blog sia una liberazione. Spesso mi sono sentito in colpa di non "postare" a sufficienza ma per come la vedo ora è solo perchè ci vuole tempo e un sacco di sforzi per dire qualcosa che senta con sufficiente intensità. Nel frattempo la mia ricerca sui cammini, sentieri e strade mi ha portato ai pellegrinaggi medioevali e nel dettaglio sul "Cammino di Santiago". È tuttavia presto per dire qualcosa che non sia già stato detto in merito. Quello che mi affascina in tutto ciò è lo spargersi delle assomiglianze lungo le diverse strade e l'argomento relativo di come la cognizione visiva venga trasmessa tra di noi. L'idea che ho iniziato a carezzare è che un cammino possa anche essere considerato un media, uno molto antico che, forse, condividiamo anche con altre specie. L'idea è stata rinfrozata da un revival personale che ho avuto per McLuhan e il suo "Il media è il massaggio" e in particolare ho trovato questi video su youtube: <a href="http://www.youtube.com/watch?v=U8YYM_7KUpw">"parte 1"</a> e <a href="http://www.youtube.com/watch?v=OQkWZqqvyCM&feature=related">"parte 2"</a> che penso possano essere d'interesse per chi sia impegnato a capire lo stato delle cose nei media visivi e non solo. Una altra interessante suggestione è venuta da <a href="http://cryptoforest.blogspot.com/2011/06/forest-made-human-legacy-of-trail-trees.html">questo post</a> che descrive la tradizione di modellare le piante lungo i percorsi di alcuni Aborigeni Americani. <br />
Come considerazione a lato quello che mi ha stupito è la predizione di McLuhan circa l'orientalizzazione della cultura occidentale che egli ha visto come conseguenza della diffuzione dei dispositivi elettronici (o elettrici dato lo spirito dei tempi in cui era immerso). L'idea generale è che il diffondersi di dispositivi "elettrici" avrebbe portato, come conseguenza, alla perdita della ossessione occidentale incentrata sull'ego identitario opposta a quella orientale che è, lui dice, caratterizzata da una percezione del sè inserita nel flusso.<br />
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Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com3tag:blogger.com,1999:blog-9073087446713304375.post-43081678506407132662011-08-14T15:45:00.016+02:002012-12-05T07:13:19.765+01:00Landscape machines. Paths for the rescue.<div class="separator" style="clear: both; text-align: center;">
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<a href="http://maps.google.com/maps?q=Sacro+Monte,+Via+dell%27Assunzione,+Varese,+Italy&hl=en&sll=37.0625,-95.677068&sspn=36.094886,56.513672&z=16" target="_blank">Sacro monte di Varese</a></div>
<h3>
Landscape machines</h3>
Each time we approach a place, for whatever reason, some decision has to be taken on how to face or traverse it. Many times we decide to follow a predefined path planned by someone else. The path, freely chosen or not, will influence our representation of the place in both the intensional and extensional planes. The ambiguity of the participant's experience is the main obstacle in achieving such a thing. Historically the problem has been eluded either imposing a strict set of choices among the many possible paths either by the aid of some social constraints.
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A case worth studying are the places where the paths have been planned in a way to achieve some kind of aesthetic experience in the participant. It is the case of the gardens, of the Palladio's villas and, to get to our times, land art and landscape design.
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So what I named a "landscape machine" is a place, shaped in a way to generate a controlled succession of views and emotions.
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An historical attempt in building up a "landscape machine", albeit not strictly intentional in all the above aspects, is that of the "<a href="http://en.wikipedia.org/wiki/Sacri_Monti_of_Piedmont_and_Lombardy">Sacri Monti</a>" (literally sacred mountains). They were built in middle mountain areas of Lombardy and Piedmont between 1500 and 1700. In those places the architect, that frequently was also a religious, attempted to use the space and aesthetic experience of the participant so to achieve a strong religious feeling (landscapes of faith so to say).
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A "Sacro Monte" is generally made of several stations, each one has a statuary set up depicting an episode of Christ's or Mary's life. Each station was connected with the other ones with a bordered, delimited, path. In the first realizations the path was merely a protected connection. Progressively it evolved in a succession of curves and ascents obtained by the remake of the hosting hillside, conducting the participant till the last station. The the epilogue may vary upon the main character: the Ascension in Christ's case or the Assumption in Mary's case.
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The complex was aimed in reminding to the participant the fatigue, the pain needed to achieve the final reward (uphill) in the forthcoming afterlife. Each station is also a place offering a rest for the body, for the “soul” and for the eyes. Opening to a larger view of the surrounding country and offering a delicate architectural composition made of openings and closures. The positioning of the curves along the path creates a liminal transition from a station to the next, preparing the mood for the forthcoming revelation.
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Along the connections with each station and from the stations themselves, statues and artifacts, carefully positioned, constrain the gaze with the aid of a clever use of the perspective axioms.
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Interestingly if the "Sacri monti" were built as a path for the rescue of the soul, the "<a href="http://onlandscape.blogspot.com/2011/07/metaphysics-in-alps.html">Ospedale Morelli, ex Villaggio Sanatoriale (formerly) Benito Mussolini</a>" was also conceived as a set of trails for the rescue and restoration of the body, and, not last, the formation of the new Italians, an attempt that in the thirties and twenties fascism was at.
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The cure for tuberculosis, before the pills age, was thought to require an alternation of rest and activities mainly made of short walks and breathing good air. The duration of the treatment, frequently more than six months, allowed, in the patient, the formation of a daily ritual related to the new place and its representation. The exceptional condition of the experience did favor the detachment from the everyday geography to form a new one albeit only for the time of the cure. The place has been the subject of a movie by Vittorio De Sica "La breve vacanza" (the short vacancy) that tells the story of a love grown in this sort of vacancy of the spirit.
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The new Italian , instead, confronted itself with the metaphysic idea of the industrious city and a life of ordered labor, represented in various forms and parts of the complex. The epilogue was that while the fight against tuberculosis was, in many cases, successful, that of forming the new Italians was instead a deadly failure. Tuberculosis was finally eradicated by the antibiotics, in the sixties, making sanatoriums obsolete. The new Italians, instead, became obsolete long before.
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But to close down I think it may be useful to present a case where the landscape machine has been derived, instead of being given. While in the case of the "Sacri Monti" or the "Villaggio Sanatoriale" the setups were realized top down, a priori so to say, here the trail was made bottom up by the frequent use and number of the walkers. The number and frequency of the visits creates a sort of social constraint incorporated <span class="POS2"></span> in to the trail.
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It is the case described in
<a href="http://www.photo-mark.com/articles/repertoire/">this post by Mark Meyer </a>where he depicts a sort of ritual, in approaching a frequently pictured landscape subject. A path going from the parking lot to the exact same view point some photographers of fame took a shot of the same thing. It comes clear how the whole setup, parking lot included, progressively grew to accommodate more and more people looking for a photographic inspiration from a notorious subject.
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The path walk, the ritual, in this case, is aimed at an other kind of salvation, that of the happiness in vacation and photography, unfortunately, I suspect, it is also a good starting point for a holiday blues.
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<h3>
Macchine paesaggistiche</h3>
Ogni volta che ci avviciniamo a un luogo, per qualsiasi motivo, dobbiamo prendere una qualche decisione su come affrontarlo o attraversarlo. Spesso si decide di seguire un percorso predefinito progettato da qualcun altro. Il percorso, scelto liberamente o meno, influenzerà la nostra rappresentazione del luogo sia sul piano intensionale sia su quello estensionale. La soggettività dell'esperienza del partecipante è il principale ostacolo da affrontare in questi casi.
Storicamente il problema è stato eluso sia imponendo una rigida serie di scelte tra i molti percorsi possibili sia con l'ausilio di alcuni vincoli sociali.
Un caso da studiare sono i luoghi dove i percorsi sono stati progettati in modo da raggiungere un qualche tipo di esperienza estetica del partecipante. E' il caso dei giardini sei/settecenteschi, delle ville del Palladio e, per arrivare ai nostri tempi, la land art e la costruzione del paesaggio.
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Quindi quello che ho chiamato una "macchina paesaggistica" è un luogo, formato in modo tale da favorire la generazione di una successione controllata di vedute e di emozioni.
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Un tentativo storico nella costruzione di una "macchina paesaggistica", anche se non strettamente intenzionale in tutti gli aspetti di cui sopra, è quello dei "<a href="http://www.rivistasitiunesco.it/sito.php?id_sito=36">Sacri Monti</a>", costruiti in zone di media montagna della Lombardia e del Piemonte tra il 1500 e il 1700. In quei luoghi l'architetto, che spesso era anche un religioso, ha cercato di utilizzare lo spazio e l'esperienza estetica del partecipante in modo da ottenere un forte sentimento religioso (per generare paesaggi della fede, per così dire).
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Un "Sacro Monte" è generalmente composto di diverse stazioni, ognuna delle quali dispone di un insieme statuario raffigurante un episodio della vita di Cristo o di Maria. Ogni stazione è collegata con le altre da un percorso delimitato. Nelle prime realizzazioni il percorso era semplicemente una connessione protetta. Progressivamente si è evoluto in un susseguirsi di curve e salite ottenute ricostruendo la collina ospite fino a condurre il partecipante all'ultima stazione. L'epilogo può variare in base alle personaggio principale: Ascensione nel caso di Cristo o l'Assunzione nel caso di Maria.
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Il complesso è stato finalizzato nel ricordare al partecipante la fatica, il dolore necessario per ottenere la ricompensa finale (in salita) nel dopo vita terreno. Ogni stazione è anche un luogo che offre un riposo per il corpo, per l '"anima" e per gli occhi anche tramite l'apertura a una veduta sul paese circostante accompagnata da una delicata composizione architettonica di aperti e chiusi. Il posizionamento delle curve lungo il percorso crea una transizione <a href="http://www.treccani.it/vocabolario/liminale/">liminale</a> da una stazione all'altra, preparando l'atmosfera per la prossima rivelazione.
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Lungo i collegamenti con tutte le stazioni e nelle stazioni stesse, statue e manufatti accuratamente posizionati costringono lo sguardo con l'aiuto di un abile uso degli assiomi della prospettiva.
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Interessante notare che se i "Sacri Monti" sono stati costruiti come un percorso salvifico per l'anima, lo "<a href="http://onlandscape.blogspot.com/2011/07/metaphysics-in-alps.html">Ospedale Morelli, ex Villaggio Sanatoriale (ex) Benito Mussolini</a>" è stato concepito come un insieme di percorsi per il salvataggio e la ricostituzione del corpo, e, non ultimo, la formazione dei nuovi italiani, un tentativo che negli anni trenta e venti fu al centro degli interessi del fascismo.
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La cura per la tubercolosi, prima dell'età delle pillole, è stata pensata per richiedere un alternanza di riposo e di attività, consistente, principalmente, in brevi passeggiate respirando aria buona ed esposizione alla stessa, a rigoroso riposo. La durata del trattamento, spesso più di sei mesi, ha consentito, nel paziente, la formazione di un rituale quotidiano legato alla nuova sede e la sua rappresentazione. L'eccezionalità dell'esperienza ha favorito il distacco dalla geografia di tutti i giorni per formarne una nuova anche se solo per il tempo della cura. Il luogo è stato oggetto di un film di Vittorio De Sica "La breve vacanza" che racconta la storia di un amore cresciuto in questo tipo di vacanza dello spirito.
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Il nuovo italiano, invece, fu messo a confronto con l'idea metafisica della città operosa e una vita di lavoro ordinato, rappresentato in varie forme e parti del complesso. L'epilogo fu che, mentre la lotta contro la tubercolosi è stata, in molti casi, di successo, quella di formare i nuovi italiani è stato invece un fallimento mortale. La tubercolosi è stata finalmente debellata dagli antibiotici, negli anni sessanta, rendendo obsoleti i sanatori. I nuovi italiani, invece, diventarono obsoleti molto prima.
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Per chiudere penso possa essere utile presentare un caso dove la "landscape machine" è stata derivata, piuttosto che data. Mentre nel caso dei Sacri Monti o del Villaggio Sanatoriale gli scenari vennero realizzati top down, a priori per così dire, il sentiero, qui, è stato fatto dall'uso frequente e dal numero dei camminatori. In questo caso la frequenza e il numero delle visite ha creato un vincolo sociale incorporato nel sentiero.
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E' il caso affrontato in questo <a href="http://www.photo-mark.com/articles/repertoire/">post dove Mark Meyer</a> descrive una sorta di rituale nell'approcciare un soggetto paesaggistico ritratto soventemente. Un cammino che va dal parcheggio fino allo stesso punto in cui alcuni fotografi famosi hanno tratto, dalla medesima veduta, fotografie divenute oggetti artistici. E' chiaro che l'intera scenografia, parcheggio incluso, è cresciuta progressivamente per accomodare sempre più gente alla ricerca di ispirazioni fotografiche da un soggetto noto.
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Il cammino, il rituale, in questo caso è orientato ad altra salvazione, quella della felicità in vacanza e in fotografia, sfortunatamente, io sospetto che sia anche un buon punto di partenza per una depressione da vacanze.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com1tag:blogger.com,1999:blog-9073087446713304375.post-29747701920673227692011-07-21T15:18:00.007+02:002011-08-11T16:01:45.346+02:00Metaphysics in the Alps<div style="margin: 0pt; overflow: hidden; padding: 0pt; width: 500px;">
<a href="http://www.flickr.com/photos/cabrabesol/5878717268/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110428-070813_DSC_9054"><img alt="20110428-070813_DSC_9054" src="http://farm6.static.flickr.com/5232/5878717268_7c6af55b6f_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5890303192/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110428-080941_DSC_9108"><img alt="20110428-080941_DSC_9108" src="http://farm6.static.flickr.com/5269/5890303192_280d4ddef3_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878731116/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110610-154531_DSC_3547"><img alt="20110610-154531_DSC_3547" src="http://farm6.static.flickr.com/5226/5878731116_11d2878c3e_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878157617/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110522-044621_DSC_0258"><img alt="20110522-044621_DSC_0258" src="http://farm6.static.flickr.com/5077/5878157617_e6df75e791_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878158069/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110522-045009_DSC_0275"><img alt="20110522-045009_DSC_0275" src="http://farm6.static.flickr.com/5108/5878158069_24d8e93562_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878732184/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 0pt 10px; width: 75px;" title="20110610-155307_DSC_3583"><img alt="20110610-155307_DSC_3583" src="http://farm6.static.flickr.com/5034/5878732184_26912634b5_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><br />
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<a href="http://www.flickr.com/photos/cabrabesol/5890301198/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110629-054310_DSC_6287"><img alt="20110629-054310_DSC_6287" src="http://farm6.static.flickr.com/5261/5890301198_159f120e0f_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5939482482/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110702-052013_DSC_6455"><img alt="20110702-052013_DSC_6455" src="http://farm7.static.flickr.com/6121/5939482482_43da793251_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5938928257/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110702-052340_DSC_6464"><img alt="20110702-052340_DSC_6464" src="http://farm7.static.flickr.com/6146/5938928257_2ef748b4a7_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5938928101/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110702-051816_DSC_6452"><img alt="20110702-051816_DSC_6452" src="http://farm7.static.flickr.com/6002/5938928101_32a191bcd1_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5938928019/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110702-050533_DSC_6416"><img alt="20110702-050533_DSC_6416" src="http://farm7.static.flickr.com/6018/5938928019_fca39a0231_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5890299920/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 0pt 10px; width: 75px;" title="20110629-060241_DSC_6347"><img alt="20110629-060241_DSC_6347" src="http://farm7.static.flickr.com/6099/5890299920_c048efda6c_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><br />
<a href="http://www.flickr.com/photos/cabrabesol/5890298834/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110610-152459_DSC_3466"><img alt="20110610-152459_DSC_3466" src="http://farm7.static.flickr.com/6051/5890298834_d2d2ba6e53_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5889733559/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110610-152403_DSC_3463"><img alt="20110610-152403_DSC_3463" src="http://farm6.static.flickr.com/5032/5889733559_3b53a60e36_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878167709/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110610-151459_DSC_3423"><img alt="20110610-151459_DSC_3423" src="http://farm6.static.flickr.com/5280/5878167709_b5384dcb7f_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878731704/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110610-153020_DSC_3491"><img alt="20110610-153020_DSC_3491" src="http://farm7.static.flickr.com/6032/5878731704_6a7b87dabf_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5878160379/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 10px 10px 0pt; width: 75px;" title="20110522-050512_DSC_0326"><img alt="20110522-050512_DSC_0326" src="http://farm6.static.flickr.com/5261/5878160379_3e118dc991_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a><a href="http://www.flickr.com/photos/cabrabesol/5890301348/in/set-72157626938340465/" style="display: block; float: left; height: 75px; padding: 0pt 0pt 10px; width: 75px;" title="20110629-053112_DSC_6239"><img alt="20110629-053112_DSC_6239" src="http://farm6.static.flickr.com/5319/5890301348_5f530fba60_s.jpg" style="border: medium none; height: 75px; margin: 0pt; padding: 0pt; width: 75px;" /></a></div>
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<a href="http://www.flickr.com/photos/cabrabesol/sets/72157626938340465/">Lines, curves and volumes clik here for the set on flikr</a><br />
<a href="http://www.flickr.com/photos/cabrabesol/sets/72157626938340465/">Clik qui per lo vedere tutto il set su flikr</a>
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Architecture photography stricto sensu has many rules and mainly is based on the architect and/or the commissioner interpretation, both dictates what is a viable depiction of the building. The Alinari's practice to send out photographers with included shooting instructions is an illuminating, historical, example. But more and more, and certainly Internet has its merits, we encounter photographic artifacts that are about the built environment that instead of being commissioned are simply taken as documents of a personal experience from very subjective POVs. Is this a less valuable documentation ? I'm not sure, in my view it is simply a different form of documentation, a pole of the bi partion suggested by Marc Augè in his <a href="http://books.google.com/books?id=AQzvyBHlAg0C&printsec=frontcover&dq=An+Anthropology+for+Contemporaneous+Worlds&hl=en&ei=9NAnTqzQPInVsgbwj92wCQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCwQ6AEwAA#v=onepage&q&f=false">"An Anthropology for Contemporaneous Worlds"</a> between official and non official documentation.
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Anyway while I was googling for some subjects during the last December I found a reference to a study about an architectural complex -- I will get back to this in some next post -- that matched almost perfectly with my visual interests and has always been present, albeit in its hospital function, in my youth while living in Valtellina (Sondrio province, Italy). It is located not far from where my parents live in the Alps.
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I was considering how to approach it when I had the opportunity to meet Professor <a href="http://filosofia.unipv.it/index.php?pagina=docenti&id=10">Luisa Bonesio</a> a philosopher that has an interesting line of thought about landscape, perhaps one of the few in Italy, hers site is <a href="http://www.geofilosofia.it/">here</a>. One of the most amazing things is that we share some commonalities in picturing the complex, a thing worth investigating. Certainly the complex is a powerful landscape machine. Luisa is in charge of a small team of volunteers -- <a href="http://www.blogger.com/terraceleste.wordpress.com">Terraceleste</a> -- that are making the complex known and appreciated as an art masterpiece and cultural heritage, a rather heroic effort. She gave me a general view of the site and its location in the context of the Italian architecture, starting from 1920 till 1938 and including, among the many, the "Metaphysics" and "Futurist" influences, clearly appreciable, I hope, in the slideshow. Thanks to its patience and courtesy, I'm aware to be the nearest thing next to an alien in the academic world, I had the opportunity to conduct a small workshop about the photographic lecture of the complex to be held the 24 of July.
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The slideshow is about a fraction of the complex (I have inserted a large view of the place at the beginning) and the covered area is the one in focus during the workshop. The workshop is part of a set of guided visits held by Luisa and a group of architects, agronomists and an art historian this summer in the "Ospedale Morelli ex Villaggio Sanatoriale" located in Sondalo Italy <a href="http://terraceleste.wordpress.com/2011/07/15/visite-guidate-allex-villaggio-sanatoriale-e-morelli-di-sondalo-sondrio-luglio-agosto-2011/">here is a link with the complete programme</a>.
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The workshop will focus on how the complex could be photographed or has been photographed so it is not even required to carry a camera. A disposition for visual experiments may be of use.
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<slanted>Italian ...</slanted>
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<h3>
Metafisica nelle Alpi</h3>
La fotografia di architettura in senso stretto ha molte regole e in genere è basata sulla intepretazione dell'architetto o del committente, entrambi stabiliscono quale sia una illustrazione viabile dell'edificio. La pratica degli Alinari di spedire il fotografo con istruzioni di ripresa incluse ne è un illuminante esempio storico. Ma sempre di più, e certamente Internet ha i suoi meriti, si incontrano manufatti fotografici che invece di essere commissionati sono semplicemente presi come documenti di una esperienza individuale da punti di vista decisamente soggettivi. Forse questa è una documentazione di minor valore ? Non ne sono sicuro, dal mio punto di vista è semplicemente una forma diversa di documentazione, un polo della bipartizione operata da Marc Augè nel suo "Storie del presente" tra documentazione ufficiale e non.
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Ad ogni modo, lo scorso Dicembre stavo facendo ricerche su alcuni possibili soggetti su google e ho trovato delle referenze ad uno studio su un complesso architettonico, su cui tornerò in un prossimo post, che coincideva perfettamente con i miei interessi visivi e che è sempre stato presente, seppure nella sua funzione di ospedale, in tutta la mia infanzia valtellinese. Non è molto lontano da dove abitano i miei genitori, nelle Alpi.
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Stavo considerando dei criteri di approccio quando ho avuto l'opportunità di incontrare la Professoressa <a href="http://filosofia.unipv.it/index.php?pagina=docenti&id=10">Luisa Bonesio</a>, una filosofa che ha una interessante linea di pensiero sul paesaggio, quasi unica in Italia. <a href="http://www.geofilosofia.it/">Il suo sito è qui</a>. La cosa più divertente è che condividiamo alcune comunanze nel rappresentare il complesso, una cosa che vale la pena di investigare. Luisa è a capo dell'Associazione culturale <a href="http://www.blogger.com/terraceleste.wordpress.com">Terraceleste</a>, un gruppo di volontari che sta facendo conoscere ed apprezzare il complesso in quanto capolavoro artistico ed eredità culturale. Mi ha fornito una visione generale del sito e la sua collocazione nel contesto dell'architettura Italiana, a partire dal 1920 fino al 1938 incluse, tra le molte, le influenze "Metafisiche" e "Futuriste" che spero siano apprezzabili nello slideshow. Grazie alla sua pazienza e cortesia, sono consapevole di essere la cosa più vicina ad un alieno per un accademico, ho avuto l'opportunità di condurre un piccolo workshop sulla lettura fotografica del complesso che si terrà il 24 Luglio alle 14.30 (punto di raccolta per i partecipanti presso l'ufficio ProLoco di Sondalo). <a href="http://terraceleste.wordpress.com/2011/07/15/visite-guidate-allex-villaggio-sanatoriale-e-morelli-di-sondalo-sondrio-luglio-agosto-2011/">Qui trovate il programma completo</a>.
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Lo slideshow riguarda una piccola parte del complesso (di cui ho inserito una vista "larga" all'inizio) e lo spazio coperto è quello oggetto del workshop. Il workshop è parte di un insieme di visite guidate che Luisa e un gruppo di architetti, agronomi e uno storico dell'arte terranno in questa estate nell'Ospedale Morelli ex Villaggio Sanatoriale.
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Il workshop si focalizzerà su come si possa fotografare e come è stato fotografato il complesso così non è neppure necessario portare una macchina fotografica. Una disposizione per gli esperimenti visivi potrà essere d'aiuto.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-26910974937620696912011-05-11T09:54:00.000+02:002012-12-05T07:12:20.966+01:00Rites of passage #16 ... changes<div class="separator" style="clear: both; text-align: center;">
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Click the images to enlarge<br />
<a href="http://onlandscape.blogspot.com/search/label/rites%20of%20passage" target="_blank">Click here To browse the entire "Rites of passage" series</a></div>
<br />Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com1tag:blogger.com,1999:blog-9073087446713304375.post-83533357883712296892011-05-03T15:50:00.003+02:002011-05-03T17:35:50.134+02:00Rites of passage #15 ... New topographies south Milan<div class="separator" style="clear: both; text-align: center;">
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<h3 class="post-title entry-title">Landscape and architecture photography</h3>
Recently, due to a partial self assignment, I've been considering the role a photographer may have in a group of specialists trying to enhance the evaluation of architectures from the recent past.
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Most of the technical literature on architecture photography seems to situate the role in an ancillary position, one that is to follow, with some genre of fidelity, the intentions of the designer.
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The photographer's creativity comes in exclusively as a device to make compelling pictures of the given viewpoints. The short breath of this indication comes clear when the designer is not available anymore and the documentation left, as it is getting more and more the case, partly due to the role subdivision in carrying out the job, is restricted to the project, designs and models of the work and its photographic illustration leaving very little to the initial intentions and goals, except for the functional ones.
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And then there is a second not less important question. The need for a commanded photographer is getting less and less mandatory given the, apparent, selfishness of the modern digital photo boxes. As a consequence the presence of photographers, specialized as such, in teams focusing on visual knowledge, is marginal.
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<h3 class="post-title entry-title">
Fotografia di paesaggio e architettura</h3>
Recentemente, a seguito di un parziale autoassegnamento, ho cercato di immaginare il ruolo che un fotografo potrebbe avere in un gruppo di specialisti focalizzati nella rivalutazione di architetture del passato recente.
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La maggior parte della letteratura tecnica sulla fotografia di architettura sembra situarsi in una posizione ancillare, che è di seguire, con una qualche fedeltà, le intenzioni del designer. La scarsa portata di questa indicazione diventa chiara se i designer non è più disponibile e la documentazione disponibile, come succede sempre più spesso, in parte per la suddivisione dei ruoli nella conduzione dell'opera, si restringe al progetto, i disegni e i modelli del lavoro e della sua illustrazione fotografica lasciando poco o nulla sulle intenzioni e gli obiettivi ad eccezione di quelli funzionali.
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Un secondo problema è dato dalla apparente autonomia delle scatole digitali moderne. Come conseguenza la presenza di fotografi, specializzati in quanto tali in team che focalizzino sulla conoscenza visiva è marginale.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com4tag:blogger.com,1999:blog-9073087446713304375.post-86805171304212277342011-04-23T10:53:00.000+02:002011-04-23T10:53:47.489+02:00Trainscape #6. Spring<div class="separator" style="clear: both; text-align: center;">
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This April has been quite busy. This year we had, here in north Italy, an unusually high temperature raise in the beginning of the month causing an intense but short blooming period. I'm not exactly the flower photographer type but this year I had a book project fitting in the blooming season of the wild cherry tree (Prunus avium). This took almost all of my photographic time. These vagaries of climate change have the interesting, but a bit distressing, side effect to emphasize the uniqueness of a landscape in each moment.
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Questo aprile è stato molto indaffarato. Qui nel nord Italia un innalzamento inusuale della temperatura ha causato un intenso ma breve periodo di fioritura. Non sono esattamente un tipico fotografo di fiori ma quest'anno avevo un progetto di libro appoggiato sulla stagione di fioritura del ciliegio selvatico (Prunus avium) che si è preso quasi tutto il mio tempo fotografico. Questi capricci da cambio climatico hanno l'interessante, ma un po preoccupante, effetto collaterale di enfatizzare l'unicità di un paesaggio in ogni momento.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com4tag:blogger.com,1999:blog-9073087446713304375.post-73488266938751927662011-04-11T22:12:00.002+02:002011-04-11T22:46:22.182+02:00Trainscape #5. Spring<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.flickr.com/photos/cabrabesol/sets/72157625983155143/" linkindex="28" target="_blank">The ongoing set @Flikr ... updated with more images</a></div>
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<a href="http://onlandscape.blogspot.com/search/label/Trainscapes" target="_blank">Click here To browse the entire Trainscapes series</a></div>Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-41474005048989192702011-04-06T09:52:00.006+02:002011-04-11T22:44:52.934+02:00Rites of passage #14 ... New topographies south Milan<div class="separator" style="clear: both; text-align: center;">
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Despite its name the Parco Agricolo Sud Milano is a dense inhabited area. Agriculture has to be seen in a purely European fashion: heavily subsidized. Having lost in such a way its connection with its primeval function, agriculture, gets directed by the monetary stream that, depending on the general idea of European wealth, year after year (put in your preferred time scale), reflects the succession of different viewpoints characterizing the EEC high chairs rotations. I think that this is a "postmodern" imprint on the landscape in a deep sense. A form, derived by the agricultural intervention, who's primary function is to participate in a fund raising quest instead of responding to a need. I wont discuss this, perhaps without the heavy subsidizing there would even be nothing left. The built space, on the other side, reflects either a demand with a wish for a life in the country side either a search for less expensive real estate if compared to the northern metropolitan Milanese area. An interesting observed case is that of the transformation of old factories in small, guarded and closed villages. If, as <a href="http://onlandscape.blogspot.com/2010/06/milan-ordinary-landscapes-giardino.html">J.B. Jackson</a> pointed out, reading the landscape lets us glimpse into the future, those new enclosures raise some interesting questions about how human life will evolve there inside.
<h3 class="post-title entry-title">Parco Agricolo Sud Milano. Riti di passaggio. Nuove topografie a sud di Milano</h3>
Nonostante il suo nome il Parco Agricolo Sud Milano è una area densamente abitata. L'agricoltura deve essere vista in una forma puramente Europea: pesantemente sussidiata. Avendo perso in questo modo la connessione con la sua funzione primeva, l'agricoltura, viene diretta dal flusso monetario che, sulla base della idea generale di benessere europeo, anno dopo anno (metteteci la vostra scala temporale preferita), riflette i diversi punti di vista che caratterizzano la rotazione degli alti scranni CEE. Penso che questo costituisca una vera e propria connotazione postmoderna del paesaggio derivante. Una forma, derivata dall'intervento agricolo, la cui funzione principale è di accedere a raccolte di fondi piuttosto che rispondere ad un bisogno. Tuttavia non discuto di ciò, probabilmente, senza la pesante sovvenzione, non ci sarebbe rimasto nulla. Lo spazio costruito, d'altro canto, riflette sia il sogno della vita in campagna sia la ricerca di costi immobiliari inferiori a quelli dell'area metropolitana Milanese a nord. Un interessante caso che ho osservato è quello delle vecchie fattorie trasformate in piccoli villaggi, chiusi e sorvegliati. Se, come indicato da <a href="http://en.wikipedia.org/wiki/J._B._Jackson">J.B. Jackson,</a> leggere il paesaggio ci permette di intravvedere il futuro, queste aree chiuse sollevano alcune interessanti domande circa il come la vita umana si andrà ivi evolvendo.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-23310802539457006882011-03-30T08:31:00.004+02:002012-12-19T09:02:50.983+01:00Parco Agricolo Sud Milano. Rites of passage #13. Actual life in the PASM<div class="separator" style="clear: both; text-align: center;">
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I do not like the idea to connect to much the blog with the seasonal ongoing. But, having to change subjects to reflect better the various ongoing of my production, and to not mortally annoy the few frequent followers,
I'm reopening the series <a href="http://onlandscape.blogspot.com/2010/04/parco-agricolo-sud-milano-rites-of_11.html">"Rites of passage" started last year</a>. It will go on for a couple of months intermixed with the still open other ones (trainscapes). This year continuation will be more about the newly (re)built areas in the "Parco Agricolo Sud Milano" (PASM). The "new" resulted far more difficult to approach. I'm trying to stay away as much as possible to any form of regret, or judgment, for what I have seen. "Going light", I would like to say. The questions the places pose are many though. Starting from the spatial insulation of these new loci to the sub dimensioned infrastructure, read roads and the such, but having a heavy dependence in car transportation.
<br />
... Italian ...<br />
<h3 class="post-title entry-title">
Parco Agricolo Sud Milano. Riti di passaggio. Vita reale nel PASM</h3>
Non mi piace molto connettere il blog con l'andamento stagionale. Ma, per meglio riflettere i diversi andamenti della mia produzione, e per non annoiare mortalmente i miei pochi frequentatori abituali, riapro la serie <a href="http://onlandscape.blogspot.com/2010/04/parco-agricolo-sud-milano-rites-of_11.html">"Rites of passage" (Riti di passaggio) iniziata l'anno scorso</a>. Andrà avanti un paio di mesi inframmezzata alle serie ancora aperte (trainscapes). La continuazione di quest'anno sarà focalizzata sulle aree (ri)costruite a nuovo nel "Parco Agricolo Sud Milano" (PASM). Il "nuovo" è risultato più difficile da approcciare. Cerco di stare il più lontano possibile da ogni forma di ripianto, o giudizio, in merito a quanto visto. "Andare Leggero", se possibile. Le domande che i luoghi pongono sono, però parecchie. A partire dall'isolamento spaziale, alle infrastrutture, leggi strade ad altro, sotto dimensionate, ma con una forte dipendenza dall'auto come mezzo di trasporto.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-48467196052221377752011-03-23T17:13:00.003+01:002013-10-06T09:31:20.103+02:00Trainscape #4. The photographic error<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi60QMf1O6Dj3M7LNR8MrdgKUtuYcL2ruD8SfrQCmlYcUZkt_TD_ONsOVBNdHo0daYMoLudOg2fgwM24-2FAGSoTb1a0-351wVQQDXA1tyRkpatNYNsgVqEgwLAe_JEZ10ainlK5wgpJE/s1600/20101123_1693.jpg" imageanchor="1" linkindex="33" onclick="var w = window.open(this.href, 'popupwindow', 'width=1090, height=760, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi60QMf1O6Dj3M7LNR8MrdgKUtuYcL2ruD8SfrQCmlYcUZkt_TD_ONsOVBNdHo0daYMoLudOg2fgwM24-2FAGSoTb1a0-351wVQQDXA1tyRkpatNYNsgVqEgwLAe_JEZ10ainlK5wgpJE/s400/20101123_1693.jpg" width="400" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWrS4WBo6FqEenBUKbSIeS8d5ET76JWL4VcVlwFXo6aVDqty9zSNTgmg13vfVlCQXQbfz3EPjs5U7RNL9X4h-mIx8JLDKnH2TyEEbCHGS3DVi86QpuQzOaDKMygyriqnhTcuMx_mmukXk/s1600/20101123_1699.jpg" imageanchor="1" linkindex="35" onclick="var w = window.open(this.href, 'popupwindow', 'width=1090, height=760, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWrS4WBo6FqEenBUKbSIeS8d5ET76JWL4VcVlwFXo6aVDqty9zSNTgmg13vfVlCQXQbfz3EPjs5U7RNL9X4h-mIx8JLDKnH2TyEEbCHGS3DVi86QpuQzOaDKMygyriqnhTcuMx_mmukXk/s400/20101123_1699.jpg" width="400" /></a></div><br />
<div style="clear: both; font-style: italic; text-align: center;"><a href="http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&ll=45.966425,9.500427&spn=1.300072,2.397766&z=9&msid=102624769119465433599.00049725a70318c3370b4&start=0" linkindex="27" target="_blank">Milano - Tirano (and back). Click the images to enlarge</a></div><div style="clear: both; font-style: italic; text-align: center;"><a href="http://www.flickr.com/photos/cabrabesol/sets/72157625983155143/" linkindex="28" target="_blank">The ongoing set @Flikr ... updated with more images</a></div><p> </p>While the RAW material grows relatively fast the editing process of this trainscape thing is taking a lot more processing time than usual. Mainly the problem is with the editing decision of which picture to show and not. Breaking the barrier of the technically unacceptable takes away several criteria (burdens ?) of selection. The mistakes mostly come from the optical flare, vague focusing criteria, unexpected obstacles or light sources, erratic exposure and late triggering. I'm not including blurr as an error, as a matter of fact it is somewhat contemplated albeit not controlled. Recently I've resumed reading a book on a history of the photographic error by Clément Chéroux "Fautographie : Petite histoire de l'erreur photographique". Unfortunately I did not find an English version. I have the Italian one. <a href="https://encrypted.google.com/url?sa=t&source=web&cd=2&ved=0CCQQFjAB&url=http%3A%2F%2Fliminalities.net%2F6-1%2Ffautographie.pdf&ei=GxGKTZGzGsPqOaOt1OsN&usg=AFQjCNGlG_CZcFqDT1mKp0Q8zRi7zJdX3Q&sig2=tTZvPBF36DpfZg7E9ZqicQ">This short article by the same author</a> contains most of the concept. <a href="http://memoirephotographiquechampenoise.org/fautographie.htm">This page</a> is a short digest, in French, that contains the main images upon which the book is based. A quote: <br />
<br />
<blockquote>"L'inconstance des erreurs repose essentiellement sur celui qui les juge comme telles ... Le verdict dépend donc de celui qui l'énonce et, par conséquent, de l'environnement culturel où il se situe."</blockquote>That translates ... (more or less) <br />
<blockquote>"The inconsistency of the errors is mainly based on those who judge them as such. Thus the verdict depends on who states it and, as a consequence, from the cultural environment surrounding him."</blockquote>I'm finding it refreshing and, even if it does not add up that much to the already known, consistent and systematic. I would have liked to add "anal as only a museum curator could be" but you know it may not be that polite. If you are looking for ways in which photographic aesthetic norms are made this may be a very useful reading. <br />
<p> </p><h3 class="post-title entry-title">L'errore fotografico</h3><br /><br />
Mentre il materiale RAW cresce relativamente in fretta questa faccenda dei Trainscapes sta prendendo molto più tempo di processamento rispetto al solito. Principalmente il problema sta nella decisione editoriale di cosa mostrare o no. Rompere la barriera del tecnicamente inaccettabile elimina diversi criteri (pesi) di decisione. Gli errori sono costituiti perlopiù da disturbi ottici (flare), criteri vaghi di focheggiatura, ostacoli e sorgenti luminose inattese, esposizioni casuali o scatto tardivo. Non includo il mosso come errore giacchè, seppur non controllato, è contemplato. Recentemente ho ripreso a leggere un libro sulla storia dell'errore fotografico scritto da Clément Chéroux "Fautographie : Petite histoire de l'erreur photographique" nella sua versione Italiana (per chi abita a Milano, mi pare ce ne siano diverse copie al Libraccio). Una breve citazione: <br />
<blockquote>"L'inconsistenza degli errori si basa essenzialmente su chi li giudica come tali ... Il verdetto dipende quindi da colui che lo enuncia e, conseguentemente, dall'ambiente culturale in cui è situato"</blockquote>L'ho trovato rinfrescante, e seppure non aggiunga molto al già noto, consistente e sistematico. Mi piacerebbe aggiungere "anale come solo un curatore museale può essere" ma potrebbe non essere molto equilibrato. Se cercate modi con cui si manifesta la norma estetica fotografica questo libro potrebbe essere una lettura molto utile.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-30576773798758105612011-03-21T09:47:00.003+01:002011-03-23T07:15:21.243+01:00Notes on Ruin porn. Amnesia Discoteque revisited<div><object style="width:420px;height:180px" ><param name="movie" value="http://static.issuu.com/webembed/viewers/style1/v1/IssuuViewer.swf?mode=embed&layout=http%3A%2F%2Fskin.issuu.com%2Fv%2Flight%2Flayout.xml&showFlipBtn=true&documentId=110320121402-081cfdbada49409ebf8b14adabd3c806&docName=amnesia&username=maurothongiudici&loadingInfoText=Amnesia&et=1300694568536&er=63" /><param name="allowfullscreen" value="true"/><param name="menu" value="false"/><embed src="http://static.issuu.com/webembed/viewers/style1/v1/IssuuViewer.swf" type="application/x-shockwave-flash" allowfullscreen="true" menu="false" style="width:420px;height:180px" flashvars="mode=embed&layout=http%3A%2F%2Fskin.issuu.com%2Fv%2Flight%2Flayout.xml&showFlipBtn=true&documentId=110320121402-081cfdbada49409ebf8b14adabd3c806&docName=amnesia&username=maurothongiudici&loadingInfoText=Amnesia&et=1300694568536&er=63" /></object><div style="width:420px;text-align:left;"><a href="http://issuu.com/maurothongiudici/docs/amnesia?mode=embed&layout=http%3A%2F%2Fskin.issuu.com%2Fv%2Flight%2Flayout.xml&showFlipBtn=true" target="_blank">Open publication</a> - Free <a href="http://issuu.com" target="_blank">publishing</a> - <a href="http://issuu.com/search?q=art" target="_blank">More art</a></div></div>
<p />
Finally I've got to a revision of my first published book on blurb.com. Before making it available over there I'm publishing a pdf version from <a href="http://issuu.com/maurothongiudici/docs/amnesia">issuu.com</a> an interesting service for online publication and consultation.
Mainly I've revised the book design, now lighter than the former, did a more careful selection of fonts and a bit of editing on the texts. The images have been completely processed ex novo. I'm happy with it for now and need to work on the next personal production.
Feel free to point out defects of any kind.
The first revision of the book <a href="http://onlandscape.blogspot.com/search/label/Corsica%20landscape">was presented here</a> grouped with some pictures from Corsica.
<p>
<it>Italian ...</it></p>
Sono finalmente riuscito ad ottenere una nuova revisione del mio primo libro pubblicato su blurb.com. Prima di renderlo disponibile pubblico qui una versione pdf su <a href="http://issuu.com/maurothongiudici/docs/amnesia">issuu.com </a> un interessante servizio di lettura e pubblicazione online. Principalmente ho alleggerito il disegno, ho fatto una selezione più attenta delle fonti a un po di editing del testo. Le immagini sono state processate ex novo al completo. Per ora ne sono contento e ho bisogno di lavorare sulla mia prossima produzione personale.
Segnalazioni di errori e critiche sono benvenute in qualsiasi forma.
Ho presentato la <a href="http://onlandscape.blogspot.com/search/label/Corsica%20landscape">prima revisione qui</a>, raggruppata con alcune immagini dalla Corsica.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com5tag:blogger.com,1999:blog-9073087446713304375.post-25990977371827900622011-03-18T14:07:00.005+01:002011-03-18T14:18:48.329+01:00Disasters and Aftermaths. A winterly view of the Mount Coppetto landslide<div class="separator" style="clear: both; text-align: center;">
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<a href="http://goo.gl/maps/rsIy" target="_blank">Le prese, Ponte del Diavolo. Click the images to enlarge</a></div>
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I still remember it as it was yesterday. I was in Spain partecipating to the annual "Logic Colloquium" held, that time, in Granada when, in a restaurant, I saw in the TV some scenes from a seamingly familiar place. To my surprise, and fear, it was Valtellina, and the news was that a large scale natural disaster was infuriating there. In the beginning it was torrents and rivers overflowing but then ... as in any complex system, the chain reaction shifted things to a gigantic landslide of an entire mountain. My parents, relative as well as the entire population of the area had been evacuated and temporaly went to the houses up in the mountains. <a href="http://en.wikipedia.org/wiki/Valtellina_disaster">You can find some more info on the disaster here</a>. This winter I decided to get back to the place 23 years after to make some photographic scouting and took the pictures above. I plan to get there more extensively this year.
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<it>Italian ...</it></p>
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Lo ricordo ancora come se fosse ieri. Ero in Spagna, partecipavo al Logic Colloquium annuale, tenuto, in quell'occasione, a Granada quando, in un ristorante, ho visto alla televisione alcune scene di luoghi apparentemente familiari. Era la Valtellina, e la notizia era che un disastro naturale di ampia scala stava infuriando da quelle parti. All'inizio erano torrenti e fiumi che straripavano poi ... come in ogni sistema complesso, la reazione a catena fece slittare le cose su una enorme frana di una intera montagna. <a href="http://it.wikipedia.org/wiki/Alluvione_della_Valtellina_del_luglio_1987">Potete trovare qui maggiori informazioni sul disastro</a>. Questo inverno 23 anni dopo ho deciso di tornare sul posto per fare un po di ricognizione e ho preso le foto di cui sopra. Quest'anno ho pianificato di tornarci con maggior frequenza.
</div>Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com3tag:blogger.com,1999:blog-9073087446713304375.post-14199541323845080662011-03-16T16:47:00.005+01:002011-04-22T18:32:36.422+02:00Trainscape #3. Picking frames from the Continuum.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNOm19nkBBuwsIr_XD1LPoq_qUjm922ZO22kAzem8BSU3ysIi2mwJbdIPwdLhS7ON8ZTlU9kCJlvtJAzmT9HRO3arE8K__fVgtEKyuVAJApr7ArpQ5rSMrKDqfryUK-zm2oQhXzb6OS70/s1600/20100904_7852.jpg" imageanchor="1" linkindex="189" onclick="var w = window.open(this.href, 'popupwindow', 'width=1090, height=760, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNOm19nkBBuwsIr_XD1LPoq_qUjm922ZO22kAzem8BSU3ysIi2mwJbdIPwdLhS7ON8ZTlU9kCJlvtJAzmT9HRO3arE8K__fVgtEKyuVAJApr7ArpQ5rSMrKDqfryUK-zm2oQhXzb6OS70/s400/20100904_7852.jpg" width="400" /></a></div>
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<a href="http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&ll=45.966425,9.500427&spn=1.300072,2.397766&z=9&msid=102624769119465433599.00049725a70318c3370b4&start=0" linkindex="192" target="_blank">Milano - Tirano (and back). Click the images to enlarge</a></div>
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<a href="http://www.flickr.com/photos/cabrabesol/sets/72157625983155143/" linkindex="193" target="_blank">The ongoing set @Flikr</a></div>
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What really makes me enjoy taking pictures from the train is the complete immersion that can be obtained. Literally I start to see everything as a stream of possible pictures. Each one suggests different feelings and thoughts. Something that I always happened to feel looking out of the train window before starting this photographic play. Sometimes, taking pictures, I have to decide which one, among the perceived, I'm going to take, sometimes in this process the image gets lost, timing is quite requiring. So I'm developing different shooting approaches. One of them is to act without trying to anticipate what is coming, looking straight out of the window, through the viewfinder trying to keep a 90 degree incidence with the horizon, in such a way I can operate with more steadiness and attention. This reduces the total sight I can have but I find that it reproduce the suggested approach to consumer photography as it may be found in some recent advertisement that suggested to look at the world exclusively through the camera LCD screen (I seem to remember that was from HP).
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Googling a bit for trainscapes and Evanses, <a href="http://onlandscape.blogspot.com/2011/01/trainscape-2-notes-on-new-topographics.html">see this previous post about Walker Evans' Trainscapes</a>, I've found another Photographer that seems to have came up with a more or less identical idea in the recent before <a href="http://staceyevans.photoshelter.com/gallery/TRAINSCAPES/G0000j6rJuRhaS30/P0000zbFZPkDDTZ8">here</a>.
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<p><it>Italian ...</it></p>
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Quello che davvero mi diverte nel prendere foto dal treno è la completa immersione che si può ottenere. Comincio a vedere tutto come un flusso di immagini che, balzando alla mia attenzione, suggeriscono sensazioni diverse. Questo mi succedeva anche prima di che cominciassi a farne delle foto. Sto sviluppando diversi approcci. In uno di essi agisco guardando dritto dalla finestra senza cercare di anticipare quel che arriva, attraverso il mirino cercando di tenere una incidenza di 90 gradi rispetto all'orizzonte, in questo modo riesco ad operare con maggiore stabilità e attenzione. Questo riduce la vista globale che posso avere ma trovo che riproduca il suggerimento che ho visto in una pubblicità che consigliava di guardare in genere dallo schermo lcd della compatta (credo fosse di HP).
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Facendo un pò di googling alla ricerca di trainscapes e Evans vari, si veda questo post precedente su <a href="http://onlandscape.blogspot.com/2011/01/trainscape-2-notes-on-new-topographics.html">Walker Evans e i Trainscapes (Paesaggi da treno)</a>, ho trovato un altro fotografo che sembra aver avuto la stessa idea nell'immediato prima che ha avuto più o meno la <a href="http://staceyevans.photoshelter.com/gallery/TRAINSCAPES/G0000j6rJuRhaS30/P0000zbFZPkDDTZ8">stessa idea</a>.
</div>Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-10462156237612978732011-02-28T09:30:00.009+01:002011-02-28T09:57:36.702+01:00Trainscapes from flikr<div style="padding: 3px; text-align: left;">
<a href="http://www.flickr.com/photos/cabrabesol/5467307133/" title="photo sharing"><img alt="" height="213" src="http://farm6.static.flickr.com/5220/5467307133_ee99daa1a3.jpg" style="border: 2px solid rgb(0, 0, 0);" width="320" /></a><br />
<span style="font-size: 0.8em; margin-top: 0px;"><a href="http://www.flickr.com/photos/cabrabesol/5467307133/">20110118</a>, originally uploaded by <a href="http://www.flickr.com/people/cabrabesol/">cabrabesol</a>.</span></div>
Trying to cope with the voluminous output the trainscape series is accumulating I have opened a flikr set to collect the ongoing selection. <a href="http://www.flickr.com/photos/cabrabesol/sets/72157625983155143/" target="_blank">The set is available here</a>. I had the same problem with some urbanscapes I've taken last year in Milan, as a matter of fact the other set I have published in flikr is about the area of <a href="http://onlandscape.blogspot.com/search/label/Milano%20Bicocca">Milano Bicocca.</a> The problem here is how to integrate the two sites in the best way.
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Per far fronte al voluminoso output che la serie dei "trainscapes" sta accumulando ho usato il mio account su flikr per assemblare un "set" in cui collezionare le selezioni in corso.
<a href="http://www.flickr.com/photos/cabrabesol/sets/72157625983155143/" target="_blank">Qui trovate il set Milano - Tirano</a>. Ho avuto lo stesso problema l'anno scorso con la raccolta di "urbanscapes", infatti l'altro set che potete trovare su flikr riguarda l'area <a href="http://onlandscape.blogspot.com/search/label/Milano%20Bicocca">Milano Bicocca.</a>. Il problema è come integrare al meglio i due siti (il blog e flikr).Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-24750722349635368992011-02-22T09:30:00.001+01:002011-02-22T09:36:07.114+01:00Trainscape #3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnqseCKPS8YICQvg07KgTmjfPie3xp_T4abkMIxvMGsWh8kIkB1WRMQRbBQGZajjX6LS0b8fjIC2YApLdufn3uB4fuMUZGCKTQvUoX5b_f9CYaYjrpjaFVrkyZkXpr-3tBrCARul5q7I/s1600/20110215_4028.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em" onclick="var w = window.open(this.href, 'popupwindow', 'width=1060, height=740, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;"><img border="0" height="276" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnqseCKPS8YICQvg07KgTmjfPie3xp_T4abkMIxvMGsWh8kIkB1WRMQRbBQGZajjX6LS0b8fjIC2YApLdufn3uB4fuMUZGCKTQvUoX5b_f9CYaYjrpjaFVrkyZkXpr-3tBrCARul5q7I/s400/20110215_4028.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyCvKCfs5Jq6rScUpA2_EFhiF3aqRxxEpOeWKrDabCrR6FIz0rGLHwQW3-6GEHJP-_xpkal-nb6iCiy9KlDWNDMbadCDc6N2FlGs9odls2RKTqV0k1OT0vhXhi4CtGZ6slxiIXppjQ7sU/s1600/20110215_4029.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em" onclick="var w = window.open(this.href, 'popupwindow', 'width=1060, height=740, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;"><img border="0" height="276" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyCvKCfs5Jq6rScUpA2_EFhiF3aqRxxEpOeWKrDabCrR6FIz0rGLHwQW3-6GEHJP-_xpkal-nb6iCiy9KlDWNDMbadCDc6N2FlGs9odls2RKTqV0k1OT0vhXhi4CtGZ6slxiIXppjQ7sU/s400/20110215_4029.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ky9E9Cosz56KFQD0UraIHv26ZLzF_Qx0bEWKesBZgq_XyIBtHCxtFvsMBWAzoeGJLfap2fH_0XfXDdfzyiKKVaTIPIaCJd05KkZn5i-pdzmRmkkodTug_0d4oUmh_5naxvyBez3j_dk/s1600/20110215_4030.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em" onclick="var w = window.open(this.href, 'popupwindow', 'width=1060, height=740, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;"><img border="0" height="276" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ky9E9Cosz56KFQD0UraIHv26ZLzF_Qx0bEWKesBZgq_XyIBtHCxtFvsMBWAzoeGJLfap2fH_0XfXDdfzyiKKVaTIPIaCJd05KkZn5i-pdzmRmkkodTug_0d4oUmh_5naxvyBez3j_dk/s400/20110215_4030.jpg" /></a></div>
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<a href="http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&ll=45.966425,9.500427&spn=1.300072,2.397766&z=9&msid=102624769119465433599.00049725a70318c3370b4&start=0" target=_blank>Milano - Tirano (and back). Click the images to enlarge</a></div>Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com0tag:blogger.com,1999:blog-9073087446713304375.post-15580959091226617512011-01-11T20:58:00.014+01:002012-12-06T09:56:42.518+01:00Trainscape #2. Notes on "The New Topographics" exhibit part 2<div class="separator" style="clear: both; float: none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhe9ZNp0i9Us_j6bS_wLYsC9ou_c9kBegafasdu0aHUqPdfvzcjFYn6-65wX29D2Oc8-7T9RqxNOFClReUoITACGFTqSxhfe1yaOvET_072bcW1U9OQgDosuqEUwXrvXQHetMWxd3aAc/s1600/20101015_9456.jpg" imageanchor="1" onclick="var w = window.open(this.href, 'popupwindow', 'width=1060, height=740, resizable=no, scrollbars=no, menubar=no, toolbar=no, location=no ,status=no'); w.focus(); return false;" style="clear: both; display: block; float: none;"><img border="none" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhe9ZNp0i9Us_j6bS_wLYsC9ou_c9kBegafasdu0aHUqPdfvzcjFYn6-65wX29D2Oc8-7T9RqxNOFClReUoITACGFTqSxhfe1yaOvET_072bcW1U9OQgDosuqEUwXrvXQHetMWxd3aAc/s400/20101015_9456.jpg" style="clear: both; float: none;" width="400" /></a></div>
<h3>
The New Topographics in Linz. Part 2</h3>
In the previous post I’ve reported some short impressions about the exhibit. I do no want to dig too much into the singularity of each photographer. Each of them is well documented and easy to look after from several Internet sources. Instead I think that its the exhibit as a whole that may be more interesting to comment. I’ve already praised its historical value but is there anything else ? I’m not sure. The more I think about it the more it seems that the exhibit does not come to a point of having a neat contour. In a good approximation I think that this is also its main value, in this perspective the exhibit somewhat mirrors exactly the state of photographic academy, in it’s beginnings, at the time. More it feels a bit like almost everything from the sixties/seventies of the last century. A time when many discovered that truth was not an absolute thing but instead a subjective, relativistic, artifact. It is not clear, however, if that understanding was produced by an unwanted side effect of consumerism applied to the schooling masses along with the need to give away some spending ability to every body or, instead, was intentionally achieved.
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Trainscapes</h3>
In its introduction to the Critique of Judgement Immanuel Kant strongly advises the philosopher to never look at what others are saying about the same questions upon which one is about to elaborate. Generally I apply strictly this advice to my creative activities. However in this case I decided to do some searches of “trainscapes” in google images and I’ve found a very interesting precursor: <a href="http://en.wikipedia.org/wiki/Walker_Evans">Walker Evans</a> who took several pictures from a train giving the same name to his work progressively <a href="http://www.google.com/images?hl=en&gbv=2&tbs=isch%3A1&sa=1&q=%22walker+evans%22+trainscapes+%22view+from+a+train%22+life.com&aq=f&aqi=&aql=&oq=&gs_rfai=">published in the LIFE magazine</a>.
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New Topographics a Linz parte seconda</h3>
Nel precedente post ho riportato alcune impressioni dalla mostra. Non voglio addentrarmi troppo nelle singolarità di ciascun fotografo. Ognuno di essi è ben documentato e facile da seguire tramite molte fonti Internet. Invece penso che la mostra nel suo insieme sia interessante da commentare. Ho gia apprezzato il suo valore storico ma oltre a quello c'è dell'altro ? Non ne sono sicuro. Più ci penso e meno mi pare di riuscire a distinguere un contorno netto. Con buona approssimazione credo che questo sia anche il suo maggior valore, in questa prospettiva la mostra rispecchia in qualche modo lo stato dell'accademia fotografica ai suoi inizi. Inoltre ha un sapore di più meno di ogni cosa dei sessanta/settanta dello scorso secolo. Un tempo in cui molti scoprirono che la verità non era una cosa assoluta ma, invece, un artefatto relativistico e soggettivo. Non è però chiaro se quella comprensione sia stata prodotta da un non voluto effetto collaterale del consumismpo applicato alle masse scolarizzanti associato al bisogno di distribuire una capacità di spesa a ciascuno o, invece, sia stata acquisita intenzionalmente.
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<h3>
Trainscapes</h3>
Nella sua introduzione alla Critica Del Giudizio Immanuel Kant raccomanda ai filosofi di non interessarsi di cosa dicano altri su argomenti in corso di elaborazione personale. In generale ho sempre applicato questo principio nelle mie attività creative. Questa volta, tuttavia,
ho deciso di fare alcune ricerche con il termine "Trainscapes" su Google Images e ho trovato un interessante precusorsore: <a href="http://en.wikipedia.org/wiki/Walker_Evans">Walker Evans</a> che ha "preso" parecchie immagini dal treno dando lo stesso nome al proprio lavoro progressivamente <a href="http://www.google.com/images?hl=en&gbv=2&tbs=isch%3A1&sa=1&q=%22walker+evans%22+trainscapes+%22view+from+a+train%22+life.com&aq=f&aqi=&aql=&oq=&gs_rfai=">pubblicato su LIFE magazine</a>.Mauro Thon Giudicihttp://www.blogger.com/profile/17596131985430080494noreply@blogger.com3