Nissan Differential Socket

SURREALISM: science fiction and demystifies


Surfanta. Subconscia Reale Fantastica Arte. Così Alessandri, definisce la sua pittura. Ma un surrealismo rinnovato che affonda le sue radici non soltanto nel mondo del sogno ma anche in quello della science fiction e contemporaneamente immerso in una violenta ironia demistificatoria. Nascono così le serie delle "Bestie" e quelle delle "Doppie", in cui il giovane pittore torinese esprime il suo mondo, involuto e divertito, dramatic, and contradictorily family. A world in which the "monsters" of the unconscious and the figures, the images of a refined eroticism merge and shape in a game of mutual interdependence. Animals of unknown planets, paired girls (clothed and nude) in a game of false splitting, primitive vortex of life, a horrid collection of innocent and never scary, where we find clear and forgotten ancestral relationships of race.

(Taken from an article Playmen of 1968).

Opera entitled: RADIOGRAPHY OF COUNT DRACULA ALESSANDRI.

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WHO KNOWS '

Opera entitled: Here (Series Mini-Kulant private collection '89-).
maybe I'll spend my life on earth to torment her head and cry on my body, but does not regret never having tried with all my strength the Truth that escapes me, as an idea born not as a chimera heartless. And if one day it will be close so that I can grasp, then my hands shake with the force of desperation and a great treasure to tear the wings do not let it go again.
(From the unpublished diaries of Alessandria, Turin, 1956).

Opera entitled: Let '(Mini Series Kulant '89-private collection-).

How To Repair Shake Flashlight

AWAY FROM THE LETTERS OF THE MARKET INTELLIGENCE

These days looking out the window of the bus I ran the umpteenth ad writing school. "It's a business" I thought with ease, but the question does not seem so obvious to many, because the market is vast. You can teach writing? Sure you can, you start from the alphabet and you end up knowing how to compose a text in their own language, you learn that the instrument of language. But if next to "write" we get "creative" here is that the response changes: if anyone can teach writing for "creative writing" means the literature. There are different traditions or schools in the literature, methods and current, but all these things are a consequence of the knowledge of the past and come to this as a transgression, or born in the simple search that takes place in the art indefinable.

transgress the past gives rise to new methods. But if there are techniques that are used in the literature, then why can not you learn and why learning does not mean learning to do literature? Because I can learn how to write by Caius Sempronius, but I'll be writing him. The literature is not an execution of techniques, but it is the language that forms on the expression, is an invention, and many other things you do not learn. Is there anything that differentiates literature from all the arts, and is linked to its substance. In all the arts, cinema, visual arts, photography, it is likely that there are schools, because these arts provide certain matercità, on the one hand craft of composition, the physical ability to use the tools that mediate the matter, with materials that will make the language, tools and material without which the work could not exist. The literature is rather related to words and they can exist even without being written, and a composition can be made even without transcription. The words can be said. Or may be thought of and composition remain to be done in the mind. No one can teach how to write, since the literature is very personal and, as I said, and continued violation invention. Certainly it was not always so, and the steps of transgression were much slower than in the past but today more than ever on anyone have anything to teach, because millions of people access to literature and languages \u200b\u200bis constantly intersect, then the stillness is not provided. You must read, learn, explore and learn about the experiences of others, just to be able to go further, but be wary of anyone who wants to explain the methods of the cage to say or to say better. Making use of the devices are able to give effect, clarity, or whatever our blurry text in a classic, customs, attitudes in purely aesthetic.

Pokemon Platinum Garchomp Or Gyarados

What may characterize the modern era, one that has begun to dig a trench with the times that have become increasingly explicit in the past and different, was the progressive purification of the company irrationality: "The witches have ceased to exist when we stopped burning" Voltaire says, as we all know. But the mental condition of the "real witches" has not entirely abandoned. What the Enlightenment is a process just mentioned, so that gave outstanding results in scientific progress trusting or giving life to the French Revolution, but did not explode and is constantly under threat: did not finish pay off, most really do not know where to take us, not yet reached all, and is continually threatened because those who do not enjoy the lights are a threat to the lights themselves.
experience Emancipation man himself is therefore a process that is still open and long. The contributions to this process of emancipation and enlightenment, there are countless participates with great generosity. What is meant by the philosophes, it is the actual description of a free man. Citing Immanuel Kant, the famous definition of enlightenment, we have the exact description of the Enlightenment, the philosophe and the free man. Carryover:

"Enlightenment is the exit dell'uomo dallo stato di minorità che egli deve imputare a se stesso. Minorità è l'incapacità di servirsi del proprio intelletto senza la guida di un altro. Imputabile a se stesso è questa minorità, se la causa di essa non dipende da difetto di intelligenza, ma dalla mancanza di decisione e del coraggio di far uso del proprio intelletto senza essere guidato da un altro. Sapere aude! Abbi il coraggio di servirti della tua propria intelligenza! È questo il motto dell'Illuminismo"

Quale migliore focalizzazione del problema del progresso umano abbiamo a disposizione?
Questa idea dell'uomo era portata avanti da una manciata di individui che si indaffaravano nella circolazione delle idee. La necessità di una “intelligenza” presente e attiva, continuamente a lavoro è oggettiva ancora oggi, e parliamo di una importanza vitale per il futuro stesso della modernità, cioè per tenere in vita e portare avanti il progresso umano e quindi scientifico, culturale, artistico, tecnico e via dicendo, è indispensabile un'alimentazione continua. Il ruolo dell'intelligenza deve essere quello della continua ricerca e della continua discussione, cercando di diffondere il più possibile le idee sempre nuove e di coinvolgere più uomini e donne possibile.
L'intelligenza è diversa dalle stereotipate classi degli “artisti” o “intellettuali”, blessed by a culture and sensitivity in their unusual radiance, because these classes are enclosed in stagnant rooms and not contributing and do not establish authentic relationships with the company, except for rare cases.
When we talk about intelligence scholars, but not limited to, any talk of men, constantly engaged in the research of evolution, just as happened during the industrial revolution, when the men caught illiteracy bore ideas for the advancement of technology.
We may be led to think that today more than ever that human progress is possible, in fact, never before has this process is under threat: education, communications, technology, facilities and transport receptors not only new knowledge, new opportunities but also new ignorance, new obscurantism, for the most simple stupidity: the information for no reason, this is a new condition today are created those monsters born from the "sleep of reason "creatures that are much more complex than before, without education, but at the same time of unreason.
Reread the first draft of 26 August 1789 of the Universal Declaration of Human Rights and the Citizen "by the solemn and uplifting feeling of human achievement, universal. It is a text that should be chanted every morning before I wash my face and in the evening just before bedtime, as well as the establishment of the Italian Republic, considered among the most advanced and certainly it is a great work not only political, but humanistic.

"All men, without exception, are born free, live free and enjoy the same rights. Social distinctions can only be based on the common. These rights are liberty, property, wealth, and resistance to oppression. The principle of all sovereignty resides essentially in the nation. Political freedom is being able to do anything that does not harm others. Anything that is not prohibited by law can not be prevented. The law is an expression of general will, as equal citizens in front of it are equally eligible to all dignities, offices, and government jobs. No man can be accused, arrested, or held in captivity except in cases specified by law. Every man is presumed innocent until found guilty. No one shall be molested for his opinions, even religious, provided their manifestation does not disturb public order. The free communication of thoughts and opinions is one of the most precious rights of man. Every citizen may therefore speak, write and publish freely, except to the abuse of this liberty in cases determined by law. Guarantee the rights of man and citizen necessitates a public force, this force is therefore established for the benefit of all. The property is an inviolable and sacred right, no one can be deprived thereof except in the event of a legally established public necessity, and always with the condition of a just and prior compensation. "

The statements in the" Universal Declaration of Human Rights and the Citizen "(even if that statement was not entirely disinterested), beyond the personal political beliefs (in the context of the French Revolution created the right, left and center and are then named according to the place they occupy in the national assembly) legitimize the existence of each of us, if we think that then existed anywhere before the nobility, clergy, and "the rest", completely subjugated class would belong to which most of us. The fact that the party has become aware of its flattened condition and its role came from its right. The French Revolution is therefore a human revolution, its goals are goals Enlightenment humanists.
If it was necessary to specify these principles we can imagine what life must have been before this statement. You must reflect on many of these principles were violated in the years after that declaration, in particular during the twentieth century, and reflect on how these principles are currently applied or not applied only in part. So the process of human emancipation is fully open.
The return to prominence of religion and so-called "spirituality" (a term bleak and unstable in its legitimacy) report to the spread of dogmas, definitions and solutions to rain from above, the common membership and I think at the expense of individual reason: on various issues, emerged and re-emerged in various ways in the news, with views that go to undermine those principles and concepts of man who had brought to the center right, and as a result of democracy and enlightenment which has spent much effort.
It is no accident that often when we speak of religion we speak of obscurantism. When it comes to religion, dogma, not talking about dictatorship, the dictatorship is the power of one or more men forcefully imposed on others. God (if any) is not a man, then the imposition of his alleged intention is to force things intellectual, conceptual. We are therefore beyond the dictatorship.
The media, as mentioned above, offer new vehicles obscurantism, I would say in a new blunt science. There is indeed a curious phenomenon: it is spreading with transmissions, or real documentaries, a culture that pushes to create confusion, with unsubstantiated theories and no method or unproven: the exact opposite of science. These theories blatantly exaggerated, fanciful, in which snakes such as the obsession of the conspiracy. Television programs which makes a clear distinction between mainstream science and a science officer, working discourses which tend to cast a shadow on the historical, as if to hide something. Documentaries, however, many will circulate on the Internet, and are very Clicks. Often start with intent welcomed, but they lead us in trips between fabricated information (check for yourself) and reconstruction techniques absolutely dishonest: to compare different eras, peoples different cultures in different historical moments, not that there are possible contacts (such as the Mayans and the Romans). The result can be already found in the comments to these videos on YouTube. If history bores us, we should not change history. History is not a Hollywood movie.
Many problems stem from the meeting of the research, science and culture, including art, with the trade. This has, unfortunately, eliminated much of the spontaneity of discovery and research, with devastating results. Many processes
last flowers in their splendor: the policy made with the media, the policy operated by the reversal of reality through the media, the attempt to rewrite of history by politics, resizing, even conceptually, of the inalienable rights of man.
The birth of democracy and the development of the individual and his rights is a result of that history has given birth naturally, something that had to happen because the man is still growing thanks to its individual and collective nature of being reasonable.

Now, we look at the definition of Kant.

Black Nike Greco Supreme

No racist, I also have a black friend Hans


that liking those two builders who are making up the front of my building. They are called Said and Dumitru, respectively, a Moroccan and a Romanian, squeezed by four pounds.

Since I heard on TV the other night of the tragic robbery villa can not help but think about it. The only thing they could to distract me last night was the wife of China's first floor, which has brought me a cake made by her. I thanked her so much, I was very happy. As soon as I closed the door I headed straight to the trash and I threw away the cake. We know that the idea of \u200b\u200bhygiene in China.

While I went to yoga class this afternoon I stopped an African boy, very nice, and told me about these books of poetry and the situation in his country. Sometimes I think I'm really lucky, and we should do more for Africa. Less for these gypsies I smear the glass of the car at the traffic light in the morning, always in the same light.

But I will go to America, the great dream, there is completely different, the streets are huge and people are more open. I met an American girl, she preferred to Europe, says that the people here are better, because it is in contact with things better. Even the city, so full of history, art, culture, are better. In Europe, certainly in the rest of Europe. Everywhere you go everything worked, except here. In Europe forward.

Tonight I'll be out to dinner, ethnic cuisine. Then I'll be at Festival cinema Indiano. Poi questo fine settimana, massaggi Shiatsu e Concerto fusion.

Wedding Decoration Ideas In Silver And Brown

L'uomo che vedete nel video si chiama Hans Jurgen Weber. Per chi negli ultimi anni ha frequentato le strade di Firenze è un viso noto. Hans è un clochard tedesco che viveva fino a qualche settimana fa in Via dello Sprone, una via che sbuca in Piazza della Passera, proprio dietro Palazzo Pitti. Passava il suo tempo su questo muro, seduto nella rientranza

(scorcio gentilmente concesso da street wiew di google maps).
È un uomo che ha girato il mondo, conosce molto Italy well from personal experience. Moving in this way was possible to run in his encounters and can have long conversations. It is indeed a very cultured man, he spent his days reading nell'agolo street that he had chosen. What you saw was a man encountering biblical beard surrounded by piles of books and newspapers, as well as some cardboard.

time ago was over the newspapers for a bizarre story: he had received a letter inviting him to pay the fee and the fee Rai showed he enjoyed the newspaper page and cut out laughing telling the story.

quiet, pleasant, nice, intelligent, Hans seemed loved by the neighborhood. I have seen, according to chat with him, that people passing brought him gifts, a beer, a newspaper, with all - at least apparently - felt sympathy. For its appearance has often posed for painters to the sacred representations. The day I met him he showed me a catalog of the Florentine Academy in which there were several paintings in which he had laid. He used to tell many of his experiences, opinions, adventures, travels, and his human relations. For the case long ago I came across a book of photographs by Matthew Losciale, a photographer of Manfredonia (Fg), entitled Manfredonia and the Gargano, in which a photograph was taken from the name Madonnaro The young Hans. The caption described him as "artist pilgrim." This proof of the fact that Hans was truly a tireless traveler.

The magazine "The Malpensante" in the next issue will publish an excerpt of an interview conducted this year by Stephen Rubeo and Marco Pieraccini, a few months before he disappeared Hans (the video you see is made from them). Recently, in fact, one evening, I met a friend for a drink, I noticed that Hans has disappeared from the place where it spent most of his time and that the wall has been applied to a gate. No trace of him for now, no longer located in any street of the city, we shot a lot since then without him. Actually I'm not looking, and maybe it's just a few blocks later he is reading as usual, are just naturally curious to know what has happened to, and my hope is well, it is still a man who perhaps did a lost cause for life.

gave me a book, "Adults with reserve" by Edmondo Berselli, I have not opened (I've only tasted) and Hans had invited me to read with enthusiasm, speaking as a book not to be missed. In these pages will remember that evening and the speeches of the past always looking discussed by Hans.

Tamazepam How Long Does It Take

Item no 1 - Stunts from the center of the over

I

Downtown, the needle of the compass, is a scacchiera in centro, su un tavolino, schiacciato tra la pancia di un barbuto ubriaco e il mento di un ragliante avversario. I tocchetti verticali di legno a differenti colori alternati - come nel piano pure s'alternano - hanno mosse obbligate, con regole. Si può andare in avanti e indietro, a volte in diagonale a volte no, altre indietro non si può tornare, e soprattutto si mangia, mentre si beve, e si uccide. Hanno mosse obbligate i pedoni, fatte guardando la scacchiera, regole del pavimento, fanno passi seguendo le forme del suolo, proprio come certi giochi mentali fatti al mattino, di mattone in mattone, sul marciapiede. Regole del pedone legnoso i quadri, regole del pedone umano le strisce, i segnali, le scritte.

Misurando step with the culture from one neighborhood to another the rules of the road they decide where and how your foot rests.

II

Almost like do not move from room to penetrate to the core, to enjoy the sense of this city.

And never thought it would see "the rest" those who were not motivated by the vital reasons: spaces, employment, poverty.

III

The son can also try to clear voice, shouting his name from the balcony.

And you can stay in the square white and slow to think about things slow and white and to speak in a broken voice and intrusive.

Or the sheriff in broad daylight.

IV

Humanity clotted seeking order.

shelters were erected in classes.

And as the center of civilization melts and drips into the margin, becoming thin, meeting the bestiality of natural things, and with these funds.

V

A spot that expands and sterilizes the soil teeming with life, buried under the chemistry and the right, under a new order. A substitution, the old dynamics redone, old habits change of name, to feed always the same demands of life that drag from the beginning.

VI

Yet you can not go as you want, but dug in the streets between the houses.

Yet one can not sink into the walls, past the houses, when you want to cross.

Whenever a choice is made choices between things, you already think. A choice made between the choices of others who frequently move among the choices. Here

moves up in the solid form of reason and the possibility of this bounded.

VII

Le case, i pensieri solidi urbani, i ragionamenti irrigiditi verso il cielo che in città ha le stesse forme delle strade.

Le case che pensavo solo irremovibili, che pensavo messe solo a guardia delle strade. E invece l'ho visto portarla tutta sul carrello del supermercato, un altro trascinarla su un minuscolo carretto di legno a due rotelle.

E poi tutti i luoghi tralasciati.

Non sempre so a quale dove gli altri affidano la stanchezza, cos'è a custode del loro riposo, dov'è il rifugio della loro intimità riscaldata dagli amici o dai cari, o in che luogo concepiscono i loro figli.

VIII

The parallel, that is where everything else is from the urban lives his life. The places where the gestures made in the city have a real consideration, as a consequence, an end and bring it to fruition.

places where the hand moves, mouth chewing, which covers the foot, they find a significant effect, a mirror.

The places where we gather complete, where everything that is not elected to participate in rallies, leaving the impression that when civilization has passed.

sewers, landfills, cemeteries, beyond a civilized society.

Photo: Roberto Cosenza, PRGC , 2007

How Many Calories In Stirfy

Editorial No 1 - The space of human

Stress and well-being are among the words at the center of attention in recent times. Increasingly, recent studies, the most diverse team, go to identify the environment as the principle of many phenomena. The "movements" of the person, his psychic events, physical, his or her health disorders are increasingly traced back to space as a cause: the "wise men" speak of the mysterious lowering of immune defenses, neurosis, weaknesses, but also regeneration phenomena due, apparently, environment in which we are immersed. But it is not difficult to imagine: without the space there would be no events, there would be no physical conditions that contribute to whatever happens and this important environment is the fact that the man seems to be a highly sensitive receptor: stores, reworks, reacts, not least unconsciously. The space in direct contact with the individual, ultimately, seems to be the place where everything has a beginning, the primordial impulse of any event that becomes human reaction accordingly.

For many of us the space has become essential precondition of any action. So, let's look for the ritual place can accommodate our actions, to celebrate our events, the place to be able to develop our goal: to think, study, relax, run, talk, drink and so on. At other times, this search was remote in time and then there are places ESTABLISHED: waiting rooms, factories and offices, railway stations. Places that we take for granted, places that are offered as standard to set some specific events, places that other people care for us. The spaces are divided into genres, categories, as well as our actions. Everything has its place: it would not like to talk about Qohelet, but there is a place to be born and a place to die (perhaps a department), a place to work and a place to rest, un posto per leggere e un posto per raccontare, o uno stesso posto per partire e per arrivare, un luogo dove stanno le cose vive e un luogo dove restano le cose morte eccetera.

Il luogo dove la nostra civiltà per gran parte si raggruppa sappiamo essere la città, con un serie di altri luoghi intermedi sicuramente marginali rispetto a questa, ma non meno importanti, come le vie di comunicazione o di commercio. Questo è uno scenario che in ogni parte del mondo ha richiesto tempo per formarsi. Sicuramente il divenire protagonista della città segna il principio dell'epoca moderna, assieme ad altre invenzioni che sono la pura conseguenza della convivenza di una moltitudine, come la stampa: esigenze di massa.

Ma come è could this happen? Not wanting to talk about history we can only imagine the process will certainly mental human beings, just like other forms of life, roamed the natural scenery found themselves living. Nature provides weather and weather provide shelter, these most probably be naked - they say - certainly bare of a dwelling, must have occupied the "cracks" of the earth and nature that gave them protection. Then the imitation can have space? Sure, just being able to find a container that encloses it. In the next step becomes a simple air area, which includes the oppression of the space by physical boundaries. Such as walls. A process almost certainly imitative - already in the idea - of nature. It is therefore natural to imagine the city as opposed to nature, or indeed civilization as opposed to nature: a report of the competition, antagonism. However, two places that are not always clearly separated, in many parts of the globe come together. Each of these has its own composition, logic, balance, dynamic pyramid - the hierarchy of life. Then we could still imagine the man as a son who seeks his own way outside of their family. This is the logic that we can imagine with the material available so far, the material that makes us think of the city as much from nature, where everything is different: we are led think for example that in nature a seed fallen to the ground can sprout in the city are not, nature is the fruit trees in the city is the fruit sellers, but it all ends here? The contrast is so clear? It is the only possible realities? On architecture has shown that the scenario may be different and that the two worlds come together only "inevitably" but they can be designed in a poetic and fruitful coexistence, see Emilio Ambasz.

As to space, matter, it is impossible to complete a speech on his logic, especially in relationship to time and then with his historicizing: space is made of matter and we do not know it at all its subcomponents, many of us imagine that there are entities in the air that we see, we have no knowledge of the dimensions of space as a universe in which we find ourselves well. The only way to be more confident in speaking is to speak of the places linked to our lives: places like experience.

Photo: Sara Buselli, Architecture, 2008

Nine Snooker Balls Problem

surfant EXHIBITION 25 September to 25 November 2009

On September 25, 2009 at the opening of collective art galleries in Turin associated with TAG, Art Galleries of AV Artevision Foundation will inaugurate the exhibition "surfant.

The exhibition is the result of the union of purpose, the Foundation and Art Gallery Artevision Lorenzo Alessandri, celebrate artistic excellence in one of Piedmont, as the group surfant, and to communicate the value to the general public Italian.

in 2010 will be the anniversary of 10 years after the death of two of the leaders of this movement, Lorenzo Alessandri, Mario Molina and this exhibition is intended to be, among other things, a moment of celebration.
The exhibition aims to document an important aspect of modern art, also notable for the breadth and for the participation of artists and for originality of themes, and is also an historical reflection on the cultural path of a city-faceted and eclectic such as Turin, open to multiple experiences.
In the 60s it developed the artistic movement in Turin "surfant" (in principle stands for Surrealism and FANTASY and as a result of the Subconscious Royal fantastic art), which involves artists like Habakkuk, Camerini, Lorenzo Alessandri, Colombotto Red Macciotta, Molinari and Ponte Corvo and thinkers such as Marianini, Ambesi and Kolosimo. The birth of the magazine of the same name to the group allowed the publication of the writings and, most importantly, the graphic works of the artists involved. In this period also organizes exhibitions of artists of the group in Europe and the United States as evidence of a greater openness to the experience surreal and fantastic European artists with Dutch, French and Eastern Europe. In the statement

"surfant", held at the facilities AV Art Galleries Via Santa Giulia 14 in Turin, will present works of great value Lorenzo Alessandri, Mario Molinari, Colombotto Red, Habakkuk, Lamberto Camerini, Giovanni and Raffaele Macciotta Pontecorvo.
In detail:
12 works by Lorenzo Alessandri
5 works of Habakkuk
5 tapestries Colombotto Red
8 works by Lamberto Camerini
5 sculptures of Mario Molinari
2 works of John Macciotta
two works by Raphael Pontecorvo

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Allow at sea

Many debates and appeals have defended the importance and the role of blogs in democracy. The importance of the blog is real, everyone should be free to say it to circulate ideas. Anyone using a blog can be found to truly participate in the contemporary forms of democracy. But the number of existing blogs is creating an overlapping effect of the information. A transposition

mirror the shape of the word real to the virtual in terms of numbers these invokes the effect of crowd chatter. Of course you can still navigate. What I listed is not able to undermine the fundamental role of blogs in a democracy, which could be (and perhaps is already happening) revolutionary prorpio mean in political terms. If in fact a major contribution to the French Revolution arrived Leaflets and often spontaneous as "L'ami du peuple" by Marat, a contribution today can change from one means even more accessible as the blog. Print during the French Revolution was one thing for a few as you can imagine, but today it is still difficult. In light of these aspects, the democratic value of the blog can be measured in purely economic terms. If in fact the freedom in capitalist society is measured by a money freedom = 1, in the sense of accessibility to resources and services (eg education or health, but this also applies to ideas, I repeat: who can afford to do a newspaper?), the blog with the cost distorts these rules (and this is a threat to the power). Among
dead zones, abandoned spaces, views date, the network is overcrowded. What is the point to start a blog? Need to write, but also serves to what I just described. What leads a person to open a blog? Surely the desire to mostrasi, the dream of being followed and therefore to be considered valuable, and the need to participate, but also set goals and informative debate.
For the second time I try to open a personal space.
From about 22:00 last night I sat at the computer, I got up to go to bed around 24.00, after searching in vain for a title for my blog. I had some idea, I put a few words in sequence, and of course included in Google to verify the originality I have seen that almost all sequences of words have been used. Out of a hundred (I think) included in the search, three if I'm wrong are never used. The sequences of course I will keep secret, know how precious and rare, until they be consumed in the sieges of those who surf the web and filled with words. However, what I found funny and I can tell, it's like in this game of research, I deliberately sbizarrito finding really hard to displace the virtual world: sequences as "mechanical fog", "fish fog", "apple jumping" lead a dignified existence on its website.
All day today I kept thinking. I just wanted to create a collection of writings that their inspiration from deriving a world where most of the time step. There are other things that are called "urban anthology," those who have used this sequence will forgive them if I had the same idea. Maybe the web is also used to discover that men move in a compound of choices, or Duen people may think the same thing in two distant parts of the world. Maybe. It 's definitely so for another space, blog, opened by an Argentinean woman named Silvana, always called "urban anthology" ( link). Returning to
sense today, returning from work in reviewing the usual train is Florence - Porta al Prato Seraglio, I discussed with my friend painter Ilaria Buselli sull'effettivo senso di un blog. L'unica conclusione ragionevole è che "è come pisciare nel mare".

Foto: Sara Buselli, Cry , 2008

Fake Clip On Braces For Sale

PORTRAIT engraver

all'incisore The portrait is one of those jobs which releases all of its magic in the telling of those that see the "curriculum vitae" of the character portrait. A glassy-eyed face off and lucid suggest a person sick and suffering, and that is what the Master was able to magically deliver on the table. In fact the character was suffering from a bone disease that weakened and forced him to a life of drugs and tribulations, a painting of expression at most, so that the boy's father, asked the master not to expose it to show why he did feel bad; reminded him of both the sick child. Only the great artists are able to recount the lives and emotions through paintings and in this he could very well Alessandri, the painting of the first period, but even then one could imagine that Alexander was a magician and a genius of painting, notice the delicate pennellate di rosa cangiante sullo sfondo dorato che in qualche modo sottolineano la fragilità e l'instabilità di salute del giovane. Ovvio che quest'opera come tutte le altre andrebbe vista dal vero e da un attenta analisi si scoprirebbero cose nuove e interessanti.

Opera dal titolo: RITRATTO DELL'INCISORE (54.16).

Play-mate Of The Apes Clips

DREAM - MANDALA - PRAYER

Umilmente prostrato ai tuoi piedi, insieme al reverendo Livingstone, a Mister Stanley, al Dottor Schweitzer, io ti prego Vergine Africa: impubere, incontaminata, assente e presente, illimitata e imperturbabile. Spirati i venti , le acque si sono calmate. Il ciclone della storia ha dischiuso la grande fessura della mandorla mistica nella quale tu appari circonfusa di luce nuova, e nelle tue vene, sotto la pelle bruna scorrono musiche, aromi, fuochi, ori, diamanti e poesia. Ornata della tua casta nudità, tu ci porgi il dono di un uovo inquietante. Io ti prego o Vergine Africa di svelarmi il suo mistero, sia esso rivelazione, promessa, delusione o veleno. Così sia.
Alessandri.



Opera dal titolo: 1965 SOGNO DELLA VERGINE AFRICA

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Ho studiato le religioni orientali, le filosofie dell’antico oriente, ho studiato l’uomo, I tried to study God, I tried to explore myself in deeper and I am lost in a huge question mark with no limits. I have read many books, I discussed with scholars, innocent, criminals, priests, prostitutes, students and teachers. I suspect, in the souls of all those that I could bring. I tried, tried, and I looked everywhere for the truth I'm lost. I tried a way bigger than me and I failed.

(From the unpublished diaries of Alessandria, Turin, 1947).

Opera entitled: THE GREAT '47 80.26 exorcism.

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TO EAST AND 50S?

Nothing of the master is to burn, can like it or not, but all his works are part of a life dedicated to art, a life spent in art, his. As the work of the 50s of the period of the Attic Macabre, not appreciated by all as the brilliant works of the 60s onwards, the period surfant. Those are the 50 jobs that may well stand a comparison, because, even if it is another type of painting, it is a genuine painting, more immediate in the sense that the execution but still manages to give the right to emotionally charged the observer. There are nude studies that are done to perfection, nothing is out of place, and date of each stroke surge senza aggiungere o togliere qualcosa al lavoro finito. Alcuni con colori violenti quasi a ricordare dipinti espressionisti, con linee dure a spezzate, altri tanto delicati come il ritratto a Dina, dove una luce sembra accarezzarle il volto che sprigiona un innocente giovinezza. Tavole con colori abbinati in modo manieristico e certamente più materici come il "Brindisi in Cielo" dove il Maestro immortala un momento di raffinata allegria nello studio dell'amico Abacuc, denominato appunto "Cielo". Ritratti di giovani modelle e amiche ma anche di gente che Alessandri incontrava nelle piole della vecchia Torino come "Gina la scraciuna" o personaggi bizzarri quali "Cup il muto" o "Il venditore di noccioline" che bazzicava al Baloon. E non solo, in quegli anni Alessandri portrayed friends and fellow painters who frequented the attic of Death as the young Aschieri. What is striking in the soul it is these characters sometimes disturbing sometimes if we can be uncomfortable as the painting of a prostitute, but the beauty of those works of the '50s is its immediacy and simplicity that airway without a careful and studied research, so to give a time or better to capture those curious characters who were part of a company that long-gone but still if we look for are still present. Those under 50 are early works of course, but that line already the artistic talent of the Master. The irony was not lacking in those years already, Azalea and retract dupie CIAP is an illustration. A period that has grown artistically so that due consideration is to be taken, then satisfying us with its subsequent picture cycles gradually become more elegant, but in fact without the years of youth could not exist and we could not enjoy it !
Opera entitled: PORTRAIT IN RED DINA BACKLIGHT (51.8).

Opera entitled: TOAST IN THE SKY (57.30).

Opera entitled: STUDY OF SOLID CHAMPION DUPIE CIAP AZALEA SWIM IN THE SKY (57.34).

Opera entitled: STUDY FOR A PORTRAIT Aschieri (53.43)

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"THE BEAUTY immense". ART IN PHOTOGRAPHY. ANTONIO actinium.

It is not my usual style and never will be, use this space for other artists outside of the Master Alessandri, with the exception of one, the Maestro Antonio Attinà member and official photographer of the Archives Alessandri. On the occasion of the evening "at the table with the artist" to Ciacolon of Turin, I had the honor and pleasure to attend one of the most exciting works of Antonio. This is a video projection of photographs entitled "The Beauty immense". Yesterday evening, unfortunately because of my shyness I am not able to best express the feelings and emotions of this wonderful work. So, I take this opportunity now and I hope this space, knowing the humility of the Master anemones, which I do not want if the gift of a celebration and my thoughts on his work here on the Blog.

Define photographs, I find it rather banale e scontato, già, perchè quelle di Antonio vanno ben oltre al semplice scatto fine a se stesso. Sono dei veri e propri Capolavori D'Arte dove Madre Natura fa da modella all'occhio del fotografo. Definisco i suoi scatti dei Capolavori D'Arte perchè danno un emozione, la stessa che si prova davanti ad opere pittoriche. Le sensazioni allo scorrere delle immagini sono state un qualcosa di surreale, una sensazione di pace e lieta solitudine dove sei solamente Tu e la natura. Sembra quasi di entrare in contatto con Dio perchè alla fine Dio lo troviamo proprio in tutto quello che sta nel creato. Scatti che si fanno ammirare e contemplare, riportando alla mente anche capolavori dell'arte informale, dello spazialismo, del surreale. Il mare, il deserto with its dunes, rivers, rocks, in short, our Earth seen from a perspective that is not every day you see a show that lies in the beauty of the vast spaces that nature provides us with wise and Attinà shot is captured. Unnecessary further comment, who will have the opportunity and the chance to witness this extraordinary work can not help but be delighted with a bit more in the head and heart. Thanks Antonio!

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From Torinosette of 05/26/2000

last week and 'dead Lorenzo Alessandri, painter, and the news of his death and I' came before it was made public, making a strange and twisted path that I will not tell. I felt that to ask me something, a final gesture of friendship. Ten years ago, in the summer of 1990, had wanted to paint my portrait, inviting me with a polite letter in which he wrote that often meets me along the stalls of the course books Siccardi but had not dared to approach. Attracted by its reputation sulphurous I immediately accepted the invitation and went more 'times at his home in Giaveno to pose, as they say. Napoleon felt so in front of David. At the last visit, when it was no longer 'to pose but to withdraw the picture that Alexander had wanted to give me, I showed up with a tape recorder and asked him to tell me about his life. I listened to the tape, the first part consists of a long and heartfelt defense accusation that haunted him of being a demon, even the bishop of the Church of Satan. "The bishops are in a Mercedes, I with my broken-down VW Beetle, I could at most be a country priest." Alessandri's paintings reproduce real environments reproduced with meticulous, obsessive precision, in which burst into fantasy creatures, devils, above all, then monsters, witches, naked women, painted with the same attention to detail. To my objection that all the devils portrayed as if he had before his eyes could lead to some suspicion, he replied: 'It's like people are put in mind that Agatha Christie and 'a murderer just because' his novels are full of murderers. " Alessandri's voice sounds swell of indignation: "Some newspapers have written that this house of Giaveno and 'a castle and that giavenesi in full moon nights are afraid to leave the house as if I were a werewolf. A couple of young keepers that I was assuming they started to calm fear and I had to send them from my pastor to ask for information. " At the same time as if you walked away with disdain from 'the prosecution of businesses with Satan, Lorenzo Alessandri claimed his interest in the occult world, for all that' beyond 'the real: "I'm much more interested 'the world of the dead that the living world. " Passion cultivated from an early age, in parallel to that for drawing and painting, fields in which it was moved by self-taught. Born in 1927, son of the owner of a printing started, Lawrence had to study by reason, without any provision for the numbers. After working for 19 years in the family business when his father died and in agreement with the brothers, had retired to devote himself entirely to his two passions, painting and the world of the occult. From his long story I choose some significant events. We are in the fall of 1944, Lorenzo in February next REACHES '18 years to avoid forced recruitment father gets him to admit that the Order of Malta in Turin, in the hospital is located between via Giolitti and Piazza Carlina, in front of the barracks Pogdora, cure the wounded without regard to the uniform they wear. One spring day in '45 lead a German machine-gunned from a plane that is dying, there are cots available and Lorenzo gave her. The soldier wore to a leather bag and a nun who assists him off, heedless of his protests, and replace it with a crucifix. The nun went away, satisfied with the dying Lorenzo deferring to the bag neck and he, with his last strength that remain, is the gift from his box in an envelope of parchment tied with a black cord. Years later, having reached the necessary maturity, Lorenzo will use 'instructions contained in the envelope to learn that "the magic and 'a state of grace that has nothing to do with the show. We must dig, seek and find within themselves. The magician and 'as the guardian who has the keys to the treasure room, where you will' help others but not himself. " I asked him if these magical practices had sometimes helped in his work as a painter. "I painted female nudes in size and could not solve the problem of how to give a rose color on the body the same day to avoid the saw arrived. I remembered that Caravaggio had solved this problem and I have mentioned. That night I dreamed that Caravaggio had the face of Amedeo Nazzari 'cause baby I had seen a film, "Caravaggio," where Nazzari Caravaggio portrayed. We were a study in strange, full of things hanging, rags, ropes, chains, ladders, lanterns. I have explained my problem and he said: "What brushes do you use?" He asks. And I tell him, speaking in Piedmont says, "Campa via tuti 'sti ca servu martur Labour's useless! You have to use Chinese hog bristle brushes, long and hard. " The dream ends, I followed his instructions and solve my problem. "

(article GAMBAROTTA BRUNO).

Opera entitled: THE NIGHT RAINBOW 82.59 (first sketch for the cover of the book).

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I am a painter and, as such, in many occasions, I was taught, I left in my work of the signs, symbols, signs that my interpretation of the 'royal art' by which, unfortunately, only the truly initiated profitto.Tutti we can draw the unquestionable value of conscience "secret word" so I can not reveal which were my esperienze.Accontentatevi.
(From the unpublished diaries of Alessandria, Turin, 1982).


Opera entitled NAKED DANCING ALL AROUND (1976, oil on masonite, 150 x 105).

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"A TABLE WITH THE ARTIST"

The success of " DINING WITH THE ARTIST .

The restaurant The Ciacolon of Turin in collaboration with Expoarte organizes an evening dedicated to the Master Alessandri. The evening will be attended by members of the archive Alessandri, collectors and admirers of the Master. For event participants will be drawn 25 awards including 10 original drawings of the Master, a argentografia and boxes, postcards and catalogs.

The dinner will be held at the restaurant Ciacolon di Torino, Viale XXV Aprile 11 n on May 28, 2009 at 21.00 .

Reservation is 011 6610911.

More information can be found on the site http://www.expoart.it/home/

Or http://www.ilciacolon.it/home. htm

NOT MISS .

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ABACUC VISTO DA ALESSANDRI

messy, confusing and arruffone manages to complicate simple problems and then solve them with lavish dispendio di geniali accorgimenti che non saprebbe come utilizzare in altro modo. Affronta quindi le difficoltà con incosciente coraggio e aggredisce qualsiasi lavoro con furia selvaggia fino al punto da esaurire perfino chi lo sta a guardare. Eccitabile e impaziente, guida l'automobile come se dovesse domare una tigre e, vergognosamente puntuale, arriva sempre in anticipo su tutti noi, umiliandoci. Parsimonioso e a modo suo diligente, è un mostro di sincerità; sfiora il limite della decenza, ignora le piccole pietose bugie, i mezzi termini e le convenienze. Non è calcolatore nè uomo di mondo. Talvolta crede di essere un "volatario" come vorrebbe, ma dato il peso specifico del suo corpo simile a quello della pirite, non lo sarà mai. Però when he paints his soul as a poet wipes out everything: the mountains become crumbs and dust becomes beautiful clouds that rise higher and higher into the heavens.

(Critical text of Alexandria).

Opera entitled: STUDY PROFILE S. GILARDI BACKGROUND WITH EGYPTIAN 56.2

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UN PENSIERO SULL'ARTE

Art goes beyond the matter, is a ray of eternal, infinite, transcendent, a piece of God - or perhaps instead the Arts is the essence of matter the decline of the senses, the culmination of lust, love the maximum. At times the art is bellezza, equilibrio, giustizia, serenità e riposo, ma in pochi momenti. Il più delle volte, quando la mia anima di tutti i giorni è lo specchio di un mondo corrotto e cattivo, di un’umanità inclemente e testarda, peccatrice e perversa, egoista e brutale, ammalata e incorreggibile, da cristianizzare e scristianizzata, allora l’Arte è un fuoco. Un fuoco rosso e nero, un fuoco ombroso, cupo e terribile, è un veleno che soffoca il fiato, che elettrizza i nervi e che spreme lacrime sincere di dolore e di passione.

(Dai diari inediti di Alessandri, Torino, 1952).

Manifesto originale inerente alla mostra al DE HOLLAND MUSEUM Vaart 1969.

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RICORDO SOGNATO DELL' ASSAM

I was the Big Rhino 's Assam,
bringer of death
I was an impregnable fortress
My armor: invulnerable
My strength: deadly
My charge: overwhelming
My wisdom: Unlimited
My faith, unyielding
The boar, buffalo, elephant and tiger I feared.
... Then on a moonlit night
discover the beauty
and from that moment
my terrible fire horn
rises unnecessarily
looking for a target
I remember one time
I was the big Rinôçérôse. Assam.
ReDelirio 21/1/1966.

Rinoceronte 1964

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Christmas Lunch 2008


The family was a bit 'small, but we respected the tradition, rolling away after a meal and spent the afternoon (under the air conditioner) dozing and playing bingo.