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As if they. To attach art to territory involves each artist Sex Video bellezza coercizione to establish a vital contact with. The research in Viso come Territorio sets out from the specificities of a contingent reality. The etymology of the word contingent — cum with and. La ricerca di Viso come Territorio parte da questa realtà particolare, contingente. Il termine contingente ci riporta alla sua etimologia: cum Sex Video bellezza coercizione e tangere toccare.

All of these rich emotions become translated by physiognomic and behavioural sensitivities into corresponding and unmistakeable. This awareness does not prevent us from pursuing a pragmatic determination to divide time into manageable chunks, using clocks and. The moment is always a fleeting one. Sheer vain desire might compel us to arrest that moment, as if Sex Video bellezza coercizione doing so we could taste our very existence in.

Hai viso di pietra scolpita, sangue di terra dura, sei venuta dal mare. Tutto accogli e scruti e respingi da te come il mare. Nel cuore hai silenzio, hai parole inghiottite. Sei buia. Sex Video bellezza coercizione have a face of carved stone Blood of hardened earth, You came from the sea.

All is gathered and scrutinised And rejected by you like the Sex Video bellezza coercizione. In your heart there's silence and words ingested. You're darkness. For you, dawn is silence. E infine penso alla pienezza del cinema. There are a few basic examples that demand immediate. La televisione è un continuo tributo ai visi tra primi e. E il discorso continua…. But then the second meaning is drawn out, the face is also what is unsaid, the hidden world of intimacy, of depth brought to the surface, of the inside drawn outwards.

This obviously occurs Sex Video bellezza coercizione a specific set of. Secondo: il senso del luogo. Qualunque cosa fotografi, cerco di farla apparire come parte. Third, a sense of time. Bibliografia Assman, Jan, La memoria culturale. Scrittura, ricordo e identità politica nelle grandi civiltà antiche, trad.

Barthes, Roland, La camera chiara, trad. Duranti, Alessandro, Antropologia del linguaggio, Meltemi, Roma, Halbwachs, Maurice, La memoria collettiva, trad. Si occupa di Etnografia visiva e Antropologia visuale, di riti, feste e performances culturali.

Tra i sui scritti: Antropologia, riflessività, performance. Grasseni e F. Tiragallo, n. Giacomo Banchero Sex Video bellezza coercizione il suo stoppificio nei ricordi e nelle testimonianze, Università di Salerno, Jakob, Michael, Il paesaggio, il Mulino, Bologna, Lai, Franco, Antropologia del paesaggio, Carocci, Roma, Newhall, Beaumiont, Storia della fotografia, trad.

Petrarca, Francesco, Canzoniere, Einaudi, Torino, Turner, Victor, Antropologia della performance, trad. For Deleuze and Guattari, the apparatus. Vagabondando per San Cipriano Picentino si incontra il viso supplichevole, ma in ultima analisi indifferente, ed è proprio in questa indifferenza che risiede il suo potere.

Ci fissa dalle pagine delle riviste, dai cartelloni pubblicitari, dalle pubblicità sui furgoni che passano, dagli schermi visti nei negozi o attraverso un rapido sguardo dalle vetrine. In questa prospettiva, è interessante considerare il lavoro del neurofisiologo Christopher W. Spesso si tratta Sex Video bellezza coercizione un. As with much of their writing, what is initially experienced as awkward abstraction evolves over a process of repetition Sex Video bellezza coercizione reflection into an insight into the realities of lived experience.

Nowhere is this concrete insight more clearly corroborated than through an investigative immersion in the mediated environment which surrounds us.

Wandering around San Cipriano Picentino there is the face, entreating yet ultimately indifferent — and therein lies its Sex Video bellezza coercizione.

It stares back at us from the pages of magazines, from advertising hoardings, from signage on passing vans, from screens seen in shops or glimpsed through windows. Within these faces, it is the eyes that have it, the eyes that judge, the eyes that implore, the eyes that constitute, irrespective of their place within the pictorial border, the gravitational nexus of the image, into which attention is initially drawn. Of course, it is not only within an age of advertising that the eyes and face are rendered pervasive and persuasive.

Deleuze and Guattari, for example, trace the origins of the system of faciality, in which the eyes are so centrally positioned, back to the conventions of Christian iconography. In this regard, it is interesting to consider the work of neurophysiologist Christopher W.

Tyler who has conducted archaeological investigations into the portraiture found in successive layers of Sex Video bellezza coercizione history. For Tyler, accounting for this phenomenon involves having recourse to the operation of the unconscious, yet for others, the presence of the eyes in figurative media is hardly a surprise, possessing as it does a powerful relationship to the very mechanics of those media.

With the exception of the hand, which is invested with almost magical associations of character and identity, it is the most photographed of all bodily components. Maybe the prominence of the eyes in visual representation is a matter of their connection to processes of signification: the eyes provide expressive clues to extend the meaning of uttered.

Maybe, indeed, their prominence is also a matter of their connection to processes of subjectification: they are assumed to provide evidence of the authentic presence of Self. Deleuze e Guattari, in verità, hanno ripreso questa posizione. Questo paesaggio-ritratto è certamente rintracciabile in fotografia — e possiamo trovarne esempi nel lavoro esposto per Viso come Territorio — ma Sex Video bellezza coercizione nei film, che mostrano ibridi di questo tipo.

Ma a proposito del suono? La nozione di paesaggio è pressoché parallela a quella di paesaggio sonoro. Per me queste obiezioni tecniche si attenuano nel momento in cui esse sono confrontate sia con un senso allargato di corrispondenze visuali creative presenti nel paesaggio, sia con una più completa organizzazione delle possibilità che offre il paesaggio sonoro.

Sono soddisfatto nel vedere la registrazione dei suoni ambientali ed il loro successivo montaggio Sex Video bellezza coercizione sistemazione come strutturalmente equivalenti ai paesaggi Sex Video bellezza coercizione fotografi, le loro rappresentazioni di territorio. E che cosa del viso e del ritratto si ritrova nel suono? Sembra essere una cosa piuttosto complicata, e, in effetti, lo è, ma il senso del loro discorso è questo: nel momento in cui il suono arriva a possedere una struttura — la qualità acustica del timbro - sfugge alle costrizioni del suo primo percorso obbligato che lo costringeva a toni puri, armonie e.

Deleuze and Guattari, indeed, have themselves rehearsed this position. What face has not called upon the landscapes it amalgamated, sea and hill; what landscape has not evoked the face that would have completed it, providing the unexpected compliment for its lines and traits?

Here the face is landscape, the landscape is face: viso come territorio. This portrait-landscape is certainly available in photography — and we can see examples of this in the work exhibited in Viso Come Territorio — and film, Sex Video bellezza coercizione, can offer its own hybrids. But what about sound?

Sex Video bellezza coercizione dimension of landscape is almost there in Sex Video bellezza coercizione parallel notion of soundscape. There are some technical reasons why. For me, these technical objections fade away when confronted with both an expanded sense of the creative visual responses to landscape and with a fuller accommodation of the possibilities of soundscape. And what of the face, the portrait, where is this Sex Video bellezza coercizione sound? Deleuze and Guattari have, not unexpectedly, many things to say about this, too.

Of the vast apparatus they assemble on the voice, locating its positive and negative operations, I will only isolate one element, their account of timbre in A Thousand Plateaus. This sounds complex, and it is, but the essence of their argument is that when a voice has texture — the acoustic quality of timbre — then it escapes from the constraints of its earlier training that forced it into pure tones, harmonies and orthodox pronunciation.

The voice takes flight; but not into narcissistic personality that would be subjectification again nor into a ruder yet sharper communication there we would greet the enemy that Deleuze and Guattari call signification. The timbred voice finds. Dunque non è soltanto nella voce che ascoltiamo il viso diventare suono. Yet it is not only in the voice that we hear the face made sound.

P, p. Behind me a steep path rose between chestnut and olive trees until Sex Video bellezza coercizione cultivated plots Sex Video bellezza coercizione out and the limestone mountains took back their landscape. As the broad flanks of the Picentinis levelled out, a wide plain opened up in shades of green, a plain scattered Sex Video bellezza coercizione other villages and roads to connect them. What looked like distant pools of water turned out to be stretched surfaces of polythene and rigid glass structures reflecting back the weak sunlight that fed the plants growing underneath.

Furthest away, the sea. From several chimneys smoke curls into the morning air. The smell of burning wood was one of my first impressions of the village, a smell that was still there when I returned two weeks later, a smell of heat against the cold of this early Spring, a smell of food being Sex Video bellezza coercizione to warm the belly, a smell of this very land burning, the special.

As I write this, Sex Video bellezza coercizione a month after my Sex Video bellezza coercizione visit, I retain a distinct visual memory of the smoke rising above the roofs. The smell of wood on fire and the sight of the grey smoke somehow offered a sense of sound. Like sound, smoke travels through the air.

Just as smoke is thickest nearest to the fire before dissipating into disappearance, sound is strongest loudest, most clear closest to the point where the Sex Video bellezza coercizione energy that is its source is released and sound weakens with distance, becoming quieter and losing its shape. Like the smoke particles that can still be detected even when they are no longer visible, the air molecules can still vibrate with the impression of the original release of energy even when they are no longer audible.

As the smoke hangs in the air below me, so too does the sound from this village seem magically suspended. APRIL 3rd Beyond the wind-shifted trees in the garden, down on the road, I saw the oblong head of a goat leading Sex Video bellezza coercizione body towards the house.