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giuliaratti · 6 years ago

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La grande causa: L’uomo contro gli uomini la donna contro le donne

“Questa è l’eredità del principe orfano e i figli illegittimi della sua famiglia non saranno sempre in grado di appropriarsene, perché dai campi che seminano con denti di drago e irrorano col sangue, sputano mostri che solo lui ha il potere di allontanare.”

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“ Il più alto ideale che l’uomo può realizzare grazie le sue capacità è ciò che egli è destinato a raggiungere.”

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Il castello dei destini incrociati- italo calvino “E il diavolo allora poteva ben scomparire con un sogghigno che pareva un ululato: vecchio abitatore dei campanili, avvezzo a contemplare, appollaiato su un pluviale, le distese dei tetti, sapeva che le città hanno anime più corpose e durature di quelle di tutti gli abitanti messi insieme. Era così che la fantasia farneticante di Orlando si figurava l’incedere fatato di Angelica nel bosco, era un’impronta di zoccoli volanti che egli inseguiva, più leggeri che zampe di farfalla, era uno spolverio d’oro sulle foglie, come lasciano cadere certe farfalle, la traccia che gli serviva da guida nell’intrico.Misero lui! “

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La casa delle belle addormentate

Yasunari Kawabata

Pg 16 17 (sleeping women)

21 memories

81 the prostitutes are the Buddha’s reincarnation <<Che vita aspetterà questa piccina?>> Mamma: guarda non c’è la faccio più!Siri: ci vuole del cioccolato, tanto cioccolato. La ragazza era fin troppo giovane, e forse per questo che il male si era tanto più insinuato in Eguchi; ma i vecchi che visitavano segretamente la casa delle “belle addormentate” sembravano cercarvi, oltre la semplice consolazione per la giovinezza perduta, qualcosa che facesse dimenticare loro le colpe di un’intera esistenza. […] I vecchi verosimilmente non avevano un Budda innanzi a cui inginocchiarsi e pregare. Stringendosi al petto le nude bellezze, versavano fredde lacrime, si abbandonavano al pianto e quand’anche urlassero le ragazze non ne sapevano nulla, non si svegliavano neppure. I vecchi non dovevano provare così vergogna o umiliazione. Si pentivano e si rattristavano in completa libertà. Sotto tale aspetto le “bellezze addormentate” non erano forse qualcosa di simile a un Budda? Ed erano corpi vivi. La giovane pelle e il profumo delle ragazze erano forse il perdono e la consolazione per quei poveri vecchi. […] “Che vita aspetterà questa piccina? Pur senza raggiungere il successo o la celebrità, sarà la sua una vita tranquilla?” pensò Eguchi. C’era da augurarsi che per aver dato consolazione ai vecchi in quella casa, conquistasse la felicità futura; parve quasi a lui che essa fosse, come in antiche leggende, la reincarnazione di qualche Budda. Non si raccontava di cortigiane e prostitute che erano reincarnazioni di Budda?

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Roxane Gay:

<<Ero sola e spaventata e il cibo mi offriva soddisfazione immediata, mi dava conforto quando avevo bisogno di essere confortata e non sapevo come chiederlo a chi mi amava. Il cibo aveva un buon sapore e mi faceva sentire meglio. Era l’unica cosa alla mia portata, il mio unico sollievo, un amico perché costante: quando mangiavo non avevo bisogno di altro.>> I chili costruiscono un’armatura, uno scudo per difendere ciò che di bello era rimasto della giovane Roxane: << Avevo un corpo di cui mi vergognavo ma che mi faceva sentire al sicuro e, più di ogni altra cosa, io volevo sentirmi al sicuro.>> <<Vivere nel mio corpo ha fatto crescere l’empatia verso le altre persone e verso la verità dei loro corpi. >> La compatibilità completa è l'apice tecnologico tutto vive in cloud senza possibilità di perdita. Solo una memori morta, museale ed inutile. Nonostante questo serve per dare una profonda sicurezza. Per garantire di avere un'anima L'incompatibilità è obsolescenza, inquinamento, disequilibrio Sei leggera e scattante. Nessun conforto è necessario (anche se sarebbe gradito). Il cibo è ingannevole perché ti sembra nutrimento, invece, come quel bicchierino di vodka che senza nessun preavviso arriva quasi a farti perdere i sensi, ti stordisce.Fanne a meno e potrai vivere senza il conforto esterno perché avrai la forza e il potere della sicurezza quasi assoluta.

Un spazzolino elettrico

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Il vento eil vortice pg: 74

Ci sono due caratteristiche comuni distopiche: la paura e il lutto. Il lutto per una perdita e la paura del futuro. Ciò che viene perduto e rimpianto è la libertà di scelta fra il bene e il male come condizione umana.

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giuliaratti · 6 years ago

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Art is a process of critical thought. Artists are the ultimate researchers and their critical sensibility is precious. Digital is a humanistic practice. Experimentation is a practice shared by art and science.

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giuliaratti · 6 years ago

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SOME EXCERPTS FROM   Sensual Culture: The Socio-Sensual Practices of Clubbing. Philip Gordon Jackson University College London In Fulfilment of PhD in Social Anthropology Submitted in June 2001  

_core crowd

people become core crowd members by simply becoming regulars and partying hard, so that they get noticed and invited to other nights; they make an effort to add to the party by participating in it to a high degree; they will dress up, dance hard, socialize and play a role in "kneading" the party out of the more reserved clubbers.

over the course of the night, we don't spend a lot of time with each other, because we're circulating and chatting and dancing and trying to get other people to let their hair down and join in, that's the most important job of the core crowd.

The core crowd are the people who produce a party more than they consume it darkness holds an unknown quality about it that is a combination of both promise and threat. It is a time of invisibility or transformation where, shielded from the clarity of Foucault's gaze, people can become slippery in terms of the activities they seek out and the personas they present to the world. Night in the city is time out [...] For people who hold down boring or unsatisfactory jobs, night is the time when they feel they lead their real lives.

"Night is the final frontier because it's the only space and time, in the current system, that can be given over to things that won't necessarily make money. During the day you have to do things that will allow you to survive financially. Whereas the night you don't." (Male 28; 11 years experience.)

anonimity

darkness "covers", "penetrates" and "touches"

"It's hard to dance when a club's too light, you feel too vulnerable; it's like dancing during the daytime I find that a bit odd too, though once I've got going I don't mind as much, but there's something about really dark rooms that makes it easier to dance and go a bit wilder; it feels more natural." (Female 29; 7 years experience.)

Dancing in the dark is easier than dancing in broad daylight where the movements of the dancer are revealed to the world and open to scrutiny. You often see people closing their eyes, when they dance, enveloping themselves in their own darkness and allowing themselves to experience their own body in motion more intensely by cutting out the distraction of the crowd.

Out on the dancefloor, shrouded in this cimmerian world, the tyranny of vision is abandoned in favor of the delights of invisibility and the physical closeness of bodies getting serpentine on the beat. What you can't see you can't judge and can't be judged by. 

Shrouded by the darkness bodies became liquid, emotions rose to the surface, faces were hyper-expressive revealing joy, confusion, contemplation and sheer unadulterated bliss.

Some of these crowds may have difficult lives outside of the club space, others don't, but regardless of where they have come from the experience of clubbing itself adds something they value to their lives. I believe this sense of value arises from this point of sensual tension; it is an emotional and experiential value, rather than an ideological position; clubbing is about creating worlds that feel right.

"I get to be sexy; it seems silly but I really enjoy it, when I'm in a club dancing my whole body feels hot and horny and alive. I can dress up in a way that I could never do on the street or in pubs, because I think in clubs people will accept that you're doing it for yourself; they can watch you and enjoy you, but that's as far as it goes; it's playful rather than serious; It feels safe much safer than other places where it might cause hassle; I feel more in charge of the situation, less threatened by people watching me. You know that some guy might be getting turned on by the way you dance, but m a club that feels less dangerous because you expect the men to not behave like arseholes. If they're just smiling at you and watching you and enjoying or dancing along with you then they understand that It doesn’t necessarily mean you want to fuck them; it's just part of the might, part of the fun of clubbing." (Female 41; 19 years experience.) 

"I was dancing on my own and this group of women were on the floor with me; it was pretty empty, but they kept crowding in on me like there was no room and giving me horrible nasty looks and whispering to each other, then staring at me. It wasn't very nice; they seemed to resent me dancing on my own, like they were threatened by it or something. It hasn't happened very often at all, but when it does you just think, 'Oh you sad bastards just leave me alone and enjoy yourself, that's what we're all here for.' " (Female 42; 5 years experience.)

_The Dynamics of Dance

Stage 1 is the pre-dance stage, where punters begin to embody the practice of clubbing. They congregate at the peripheries of the space, around bars, at the edge of the dancefloor. Standing with their mates, scanning the crowd to see who's there, they drink, giggle, watch. Some are waiting for their drugs to "come on" and at this stage the crowd is still anxious about the night.

Club crowds must be hospitable and welcoming and this is again communicated physically: it is a bodily attitude that is relaxed, passionate and, most importantly, friendly.

Stage 2 is the point where a dancefloor tentatively begins. DJ drops a club favourite or a confident party posse arrives in force. people surreptitiously start to dance at the periphery, move into the visible space and then retire back to the edge.

This is a period where people feel particularly self conscious, by beginning to dance they must move from the safety and anonymity of the crowd, to the visibility of the floor. People at the edges often start dancing, while chatting with friends or facing away from the floor itself, as they attempt to conceal themselves and their movements by pretending that they're not actually dancing, more just moving about while talking.

Stage 3 is a warm-up periodThe temperature rises, muscles warm up, bodies start to relax

You become hyper-aware of your own self within the crowd. The joy of dancing in a club is that there is no wrong way to dance, as long as you're getting otT on it, lapping it up, lovin' it, then you can dance. The only bad dancer is a miserable one.

Stage 4 is the point where the dancefloor reaches a critical mass of bodies; it is the hottest and most intense stage in terms of being amongst others. Full dancefloors can become static, they reduce the range of potential movement, this is the hands in the air stage when you have to focus your movement vertically, rather than horizontally, to avoid collisions. As one informant explained:

"Dancing on a really packed floor, that's really going for it, can feel like leaping into a bucket full of eels; it's great, hot, bodies everywhere, all just squirming and getting sweaty; it's great." (Male)

The sweat which pours from your skin seems to cleanse you, draining out the toxic residue of frustrated plans, niggling worries, stupid arguments and petty insecurities. Nothing matters but the beat, the crowd, the dance.

Glorious. Some clubbers themselves see this experience in terms of escapism, but to the outside eye, it seems so social and physically creative, that it forces you to re-think the meaning of the term escapism itself.

The crowd has worked together to create this moment. They have put time, energy and hard cash into the night, but most importantly they have generated a sense of social camaraderie, within the club, that underpins their ability to cut loose and feel good amongst the people who surround them. The dance is one way in which that sensation manifests itself, in both individuals and groups, by allowing them to possess a different physicality in the world, one that is strong and fervent, relaxed yet powerful, one that has shed, even if only for a night, the physicality of the drudge.

"I was trained as a dancer; I worked as a dancer; I have always danced; I've always enjoyed dancing, but I never really felt like a dancer until I started taking drugs and dancing in clubs. That taught me more about dancing than any other experience of dancing ever has." (Female 41; 19 years experience)

The easiest way to describe it is that it feels like vertical fucking, but this fuck has a sense of humour, it is playful and intense simultaneously.

"I haven't had sex for almost two years and dancing allows me to enter a wonderful sensual place; it's almost as good as sex in terms of making your body feel fabulous" (Female 42; 5 years experience.)

The aches and pains of the week begin to evaporate through movement.

grey flees the building to be replaced by vivid reds, burning oranges, iridescent blues and a slither of topaz. You ain't in Kansas no more. You're on a dancefloor and it is fearsome fine.

You can literally feel these changes deep in the flesh, your posture becomes liquid, you can sense the energy pumping through your veins, as this sensorial realm begins to dominate consciousness. Your kinaesthetic sense is firing on all fronts, all that matters is the dance. The sensual residue of the week, your weaknesses, anxieties and strengths are channelled into the dance and so transmuted into movement, energy and heat. They are not simply forgotten, their form is altered, their shadows are expunged from the flesh. Those knots of tension, that are the physical manifestation of problems at work, the heaviness of depression, the stooped form of anxiety, are all cast-off and replaced with a body in lithe, supple motion.

At times this can feel transcendent; it is a physicality that takes you so far beyond the everyday experience of your own social body, that it felt as a sublime manifestation of self in world.

'I've never felt like that, because I've never moved like that'

the experience of dancing becomes a form of sensual knowledge in itself; it teaches you about your own body, how you can make that body feel and how you can intensify those feelings.

you don't have to look good, when you dance, it is enough to simply dance and express your passion for dancing and this freedom is one of the most important qualities of the club space.

once my body started to loosen up then I could look at people, catch their eyes and smile and feed off their energy, because I had space my dancing could get pretty wild.

“[…] It's not showing off; it's trying to provoke and tempt people to go further. It's not about performance; I don't want people to look at me; I want them to interact with me; to be with me; not stare at me. The display thing is all very silly really; it's a game”

dancing in a crowded room is very different from dancing alone, because you're immersed within and energized by the sociality of the space.

safe social space

What they actually communicate, when they're wrapped within the full force of the dance, is the feeling of being exquisitely and sensually ALIVE, more alive than they feel in many other areas of their lives. That sense of aliveness arises from a repossessing and re- sensualizing your own body through the practice of dancing.

Dressing up is a sensual practice […] it is fun in itself and people enjoy playing with the way they look.

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giuliaratti · 6 years ago

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Some copy/paste by Mark Fisher_Capitalist Realism

Being smart means being dynamic and nomadic, and against centralized bureaucracy; believing in dialogue and co-operation as against central authority; in flexibility as against routine; culture and knowledge as against industrial production; in spontaneous interaction and autopoiesis as against fixed hierarchy.

Slavoj Žižek

Since it is now clear that a certain amount of stability is necessary for cultural vibrancy, the question to be asked is: how can this stability be provided, and by what agencies?

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giuliaratti · 6 years ago

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giuliaratti · 6 years ago

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When I was a kid I used to desire to be that kind of kid that every evening writes her thoughts on the paper pages of a secret diary. Maybe it is unnecessary to say that in my mental picture I’ve always worn the tiny key hanged on my neck or on my hear.

#nostalgia

In the end, I didn’t make it: I have not been like this in my childhood, but, as a millennial, I’ve totally reached my aim.

I’m not saying that I write something every day (or every evening) but I need to write down some thoughts sometimes, and it really helps me.

And, as soon as I live in a world in which most of the people overshare everything regard them, I don’t even have to lock my words somewhere, because no one will ever care about them or read them. They are lost before I start to type. Meaningless like pleasure.

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giuliaratti · 6 years ago

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To be a machine - Mark O’Connell

Transhumanism is a liberation movement advocating nothing less than a total emancipation from biology itself. There is another way of seeing this, an equal and opposite interpretation, which is that this apparent liberation would apparently be nothing less than a final and total enslavement to technology. 6

* * * And in this techno-Darwinist view of our future, as much as we would be engineering our own evolution, we would be creating our own obsolescence.89

The explicit ideology behind the creation of these robots seems now, in its contradictory mix of ruthless corporatism and messianic rhetoric, strangely suggestive of Silicon Valley techno-progressivism, and some of the more extravagant predictions about AI. Domin- who the strange directions specify is seated at “a large American desk” backed by printed posters bearing messages like “the cheapest labour: Rossum’s Robots”- insists that technology will eradicate poverty entirely, that although people will be out of work, everything will be done by machines, and they will be free to live in pursuit of their own self-perfection. “Oh Adam Adam!” he says, “no longer will you have to earn your bread by the sweat of your brow; you will return to Paradise, when you were nourished by the hand of God.”105

* * *

Artificial superintelligence, I was repeatedly told, was a dangerous prospect precisely because of how unlike us it would be, how inhuman, how immune to anger and hatred and empathy. 106-107

* * *

I began to wonder [...] whether the unspoken or unconscious intention here might not be to raise the robots to the level of human not only in terms of physical capability, but to elevate them in other ways, too. [...] These robots are literally inhuman [...]but there is something about these machines, their human form, with which it is possible to identify sufficently to make their failing deeply, horribly funny. 115

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Tim shook his head patiently. “But that’s not just a religious idea, man. Ask anyone who’s transgender. They’ll tell you they’re trapped in the wrong body. But me, I’m trapped in wrong body because I’m trapped in a body. All bodies are the wrong body.” 158

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About Terasem (religion):

Probably the most attention-grabbing aspect of the religion was one that Jason totally neglected to mention here, but which I knew about from research I’d done online: the practice of “mind-filing”, a idea taken from Kurzweil’s The Singularity Is Near. This is a daily techno-capitalism observance, whereby you upload some measure of data about yourself - a video, a memory, an impression, a photograph - to one of Terasem’s cloud servers, where it will be stored until such time as an unspecified future technology will be capable of reconstructing, from this accumulated data, a version of you, of your very soul, which can in turn be uploaded to an artificial body, that you might live eternally, blissfully, unencumbered by your mortal flesh. It’s not clear whether the practice is meant to be symbolic; the whole thing was a little sketchy in terms of detail. 172

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I kept thinking, in particular, of the “GOOGLE, PLEASE SOLVE DEATH” placard.

[…]

The word “solve”, in this context, seemed to me to encapsulate the Silicon Valley, ideology whereby all of life could neatly be divided in problems and solutions - solutions that always took the form od some or tother application of technology. 178

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And this went to the core of what I found so compelling strange about trashumanists as a whole., about their values and motivations: The idea that, as a culture, as a species, we needed to be shaken out of complacency of mortality. Not the existential sense that we should live with an abiding consciousness od death’s inevitability., but in the precisely opposite sense that such a believes in death’s inevitability was itself a form of complacency, an excuse not to address the problem. 200

My considerations:

- Can we imagine a kind of transhumanism which is not related to capitalism? - It seems to me that each transhumanist has a relational, a physical or/and a psychological issue. They don’t accept their trauma and instead of accepting it, they have been decided to devote all of their efforts to make the original problem disappears (illness, death, weakness, insecurity, etc…).

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giuliaratti · 6 years ago

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Let’s play a game.

Where’s Wally? So frustrating.

Would I be able to stand it? Of course I will, but please, tell me what’s the price I’ll have to pay.

Good night world, good night my viral friend. ◡ . ◡

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giuliaratti · 6 years ago

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Some quotes from Cyborg Manifesto by Donna Haraway (1984)

☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ

A world without gender it’s a world without genesis, and, consequentially, without end. The cyborg is not affected by the Oedipal complex.

☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ

They could not achieve man’s dream, only mock it.

☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ

Our best machines are made of sunshine; they are all light and clean because they are nothing but signals, electromagnetic waves, a section of a spectrum, and these machines are eminently portable, mobile—a matter of immense human pain in Detroit and Singapore. People are nowhere near so fluid, being both material and opaque. Cyborgs are ether, quintessence. The ubiquity and invisibility of cyborgs are precisely why these Sunshine Belt machines are so deadly. They are as hard to see politically as materially. They are about consciousness—or its simulation.

☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ

“Oh come on Z, I’m the same as I always was. And everything you do can damage you! You can’t let that stop you. Everything I have done to my self I consider part of being a human being. I mean, who wouldn’t do it if they could? I would be ashamed not to! It isn’t being post human, it’s beinf fully human. It would be stupid not to do the good things when you can, it would be anti human. “ 2312 pg 109

☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ☆ﾟ.*･｡ﾟ

Habits begin to form the very first repetition. After that there is trophism towards repetition, for the patterns involved are defenses, bulwarks against time and despair

2312 pg 56

All Watched Over by Machines of Loving Grace by Richard Brautigan (1967)

I like to think

(and  the sooner the better!)

 of a cybernetic meadow

 where mammals and computers 

live together in mutually 

programming harmony

 like pure water 

touching clear sky.

I like to think 

(right now, please!) 

of a cybernetic forest

 filled with pines and electronics

 where deer stroll peacefully 

past computers 

as if they were flowers

 with spinning blossoms.

I like to think 

(it has to be!)

 of a cybernetic ecology

 where we are free of our labors 

and joined back to nature,

 returned to our mammal 

brothers and sisters,

 and all watched over 

by machines of loving grace.

#cyborg #donna haraway #cyborg manifesto #giulia ratti #oedipal complex #feminism #1967 #all watched over by machines of loving grace #richard brautigan #cyber

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giuliaratti · 7 years ago

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I had a very detailed and tactile dream.

By the time this dream will become a memory I won’t be able to deny it anymore, I will only be able to enjoy it.

But it is very hard to remember this dream, it is too dense and my eyes are not able to plow it.

It’s leaking away from me.

I always push myself to the edge, when the dream is going to disappear completely, because I need to remember that I must not get attached to anything.

There’s only the atmosphere left, now. I’m diving in the internet, knowing that I will find my dream back in each of its shades.

Am I the mirror, or are you?

“if for eight hours a day you work as a cutter of agate, onyx, chrysoprase, your labor which gives form to desire takes from desire its form, and you believe you are enjoying Anastasia wholly when you are only its slave. “

Make a wish.

Will I be happy when it comes true?

When it happens, you will make another one.

“…It is pointless trying to decide whether Zenobia is to be classified among happy cities or among the unhappy. It makes no sense to divide cities into these two species, but rather into another two: those that through the years and the changes continue to give their form to desires, and those in which desires either erase the city or are erased by it.”

“Journeys to relive your past?” was the Khan’s question at this point, a question which could also have been formulated: “Journeys to recover your future? And Marco’s answer was: “Elsewhere is a negative mirror. The traveler recognizes the little that is his, discovering the much he has not had and will never have.”

I prefer to listen, but when I’m alone I feel like telling something.

“it is not the voice that commands the story; it is the ear”

Who’s eavesdropping now?

There are those in command and then there’s the rest.

What will my role be?

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Quotes from “Invisible Cities” by Italo Calvino (1974)

Ho fatto un sogno dettagliatissimo, tattile.

Quando questo sogno diventerà memoria non potrò più negarlo, potrò solo goderne.

Ma ricordare questo sogno è molto difficile, è troppo denso e i miei occhi non sono in grado di fenderlo.

Sta goccialado via da me.

Arrivo sempre al limite, quando il sogno è quasi scomparso del tutto, perché ho bisogno ricordarmi che non devo affezionarmi a niente.

Rimane solo l'atmosfera adesso e mi immergo in internet sapendo che lì lo ritroverò in ogni sfumatura.

Lo specchio sono io o sei tu?

“Se per otto ore al giorno tu lavori come tagliatore d’agate, onici e crisopazi, la tua fatica che dà forma al desiderio prende dal desiderio la sua forma e tu credi di godere per tutta Anastasia, mentre non ne sei che lo schiavo.”

Esprimi un desiderio.

Quando si avvererà sarò felice?

Quando si avvererà ne esprimerai un altro.

“Detto questo, é inutile stabilire se Zenobia sia da classificare fra le città felici o tra quelle infelici. Non e in queste due specie che ha senso dividere la città, ma in altre due: quelle che continuano attraverso gli anni e le mutazioni a dare la loro forma ai desideri e quelle in cui i desideri o riescono a cancellare la città o ne sono cancellati.”

" Viaggi per rivivere il tuo passato?” era a questo punto la domanda del Khan, che poteva anche essere formulata così: “Viaggi per ritrovare il tuo futuro? "

E la risposta di Marco: “L’altrove è uno specchio in negativo. Il viaggiatore riconosce il poco che è suo, scoprendo il molto che non ha avuto e non avrà ."

Preferisco ascoltare, però quando sono da sola mi viene voglia di raccontare qualcosa.

Chi comanda al racconto non è la voce: è l'orecchio.

Chi sta origliando adesso?

C'è chi comanda e poi c'è il resto.

Quale sarà il mio ruolo?

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Citazioni da “Le città invisibili“ di Italo Calvino (1972)

#italo calvino #le città invisibili #villa d'este

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