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The Daily Owl
Italian Journal of Psychology and Internet
Psicologia Online

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ARCHIVIO

nelle pagine dell'archivio si ritrova la storia di
Italian Journal of Psychology and Internet - Psicologia Online
ma anche la storia della psicologia italiana e mondiale in rete
dal 1996 al 2000
(i link alle pagine web o alle immagini possono risultare datati e dunque errati)
Visualizzazione post con etichetta antonin artaud poete poète poesie poésie litterature littérature metteur en scène scene philosophie philo biographie oeuvre litteraire littéraire lecture. Mostra tutti i post
Visualizzazione post con etichetta antonin artaud poete poète poesie poésie litterature littérature metteur en scène scene philosophie philo biographie oeuvre litteraire littéraire lecture. Mostra tutti i post

sabato 10 aprile 2010

Independent Artists Crushed By Simowners

More and more poor skilled simowners find themselves more important than the artist they host. In the beginning they keep up an image of being art lovers who love to host the works from various artists, but the turning point has come where the simowners wants the audience to focus on themselves and expect compliments for their good Samaritan behaviour. The ones who saw the poor painting ability of Merlina Rokocoko (PIRATS) or Josina Burgess (CARP) compared with the exposure they create for themselves must agree that is pure injustice that those amateurs decide who is in or out of the SL art scène. Of course it comes always down to the point that the one who pays decide, but it’s a sad development. Now they are all day busy tagging themselves in the most boring movies in the metaverse, the ones who are of openings of exhibitions. PIRATS produce this bullshit weekly, so a hell of a lot tagging to do, CARP is a little less frequent as they are the champions of reproduction, remakes of The Wall or Metropolis, done over and over again, and the openings, just as PIRATS, always the same ritual. At PIRATS nobody looks at the artwork as it is a sad market of 100 “artists” a week, where it is obligate to say coucou to Newbab Zsigmond or Merlina Rokocoko. In Carp you are not forced to say hello to Josina Burgess or Velazquez Bonetto but you have to wear sunglasses as they love to crush you under a firestorm of floating screensavers and particles from which they love to take millions of pics. And of course Josina expect you to accept her invitation to join her dancehud. That means floating like a hippie thru her texture bombardment.

The space an artist is given is also always of the same boring construction, the labyrinth tree structure of PIRATS, where an artist almost can’t present any work, is holy like the sacred grey wander fields of CARP. The simowners of both places think they invented the Columbus egg.

Al those developments, together with the sad contests organized everywhere by simowners too lazy to do themselves some work make the environment in which artists have to do their work a business of artwhores who listen as dogs to their bosses.

It’s time for a league of artists who decide themselves where and under what conditions they present their work, not controlled by simowners or secondlife owners who tell them what to make, in what colors, and how big.

OMG….did I really write that down??? Of course it’s only a scream for attention from a sad avatar that lost all credibility (quote from Debbie Trilling). I am begging on my knees…please Merlina and Josina, close me in your arms again, please…I need a mother.

sabato 12 maggio 2007

Antonin Artaud


ARTAUD 01/10
Caricato da Sacripan

LA SUITE sur ce lien :
http://www.dailymotion.com/Sacripan/artaud/video/x1r8ok_artaud-0210

Artaud est un metteur en scène. Il prône le retour au chaos, au désordre originel (sur scène, sinon on serait dans de beaux draps). Ce texte représente sa pensée sur le théâtre, il y poétise cette réflexion en associant la fécalité, ce que tout le monde exècre, au retour de l'homme à la nature.
Artaud voit 2 sortes de théâtre celui de la raison, avec intrigue, continuité, logique, et le théâtre de l'instinct, comme les modernes le défloreront par exemple avec le théâtre de l'absurde, et comme lui même l'envisagera, mais plus violement, avec son "théâtre de la crauté". Pour lui, on a eu dans l'antiquité le choix entre créer des pièces d'instinct ou de raison, et on aura choisit la raison.
C'est donc pour représenter le chaos originel sur les planches qu'il reprend très souvent l'image de la merde ou de la peste (plus communément admise et moins choquante) pour évoquer sa vision du spectacle vivant moderne.
Pour en finir avec le jugement de dieu, est une création radiophonique d’Antonin Artaud, enregistrée dans les studios de la radio française entre le 22 et 29 novembre 1947. Ce texte radiophonique, une commande de l’ORTF, fut censuré la veille de sa première diffusion, et il fallut attendre 20 ans pour qu’il passe sur les ondes. C’est toute la puissance subversive d’Artaud qui y parle, qui crie, qui hurle : poésie de la cruauté, éructation verbale dénonçant avec une vigueur effrayante tout ordre moral, religieux, détruisant tous les tabous.

http://dailymotion.alice.it/video/x1rnmu_artaud-recherche-de-la-fecalite