Luigi Veronesi
I numeri (1945, 1978)
Corraini Edizioni, Mantova, 1997
I numeri (1945, 1978)
Corraini Edizioni, Mantova, 1997
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“Skill in living, awareness of belonging to the world, delight in being part of the world, always tends to involve knowing our kinship as animals with animals... Relationship among all things appears to be complex and reciprocal - always at least two-way, back and forth. It seems that nothing is single in this universe, and nothing goes one way.
In this view, we humans appear as particularly lively, intense, aware nodes of relation in an intinite network of connections, simple or complicated, direct or hidden, strong or delicate, temporary or very long-lasting. A web of connections, infinite but locally fragile, with and among everything - all beings - including what we generally class as things, objects.”
— Ursula K. Le Guin - Deep in Admiration (Arts of Living on a Damaged Planet)
[x]
In this view, we humans appear as particularly lively, intense, aware nodes of relation in an intinite network of connections, simple or complicated, direct or hidden, strong or delicate, temporary or very long-lasting. A web of connections, infinite but locally fragile, with and among everything - all beings - including what we generally class as things, objects.”
— Ursula K. Le Guin - Deep in Admiration (Arts of Living on a Damaged Planet)
[x]
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«Visible Language» – The Journal for Research on the Visual Media of Language Expression
Volume IX, Number 4, Autumn 1975
The MIT Press, Cambridge, MA
[х]
Volume IX, Number 4, Autumn 1975
The MIT Press, Cambridge, MA
[х]
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“Each poetic word is thus an unexpected object, a Pandora’s box from which fly out all the potentialities of language; it is therefore produced and consumed with a particular curiosity, a kind of sacred relish. This Hunger of the Word, common to the whole of modern poetry, makes poetic speech terrible and inhuman. It initiates a discourse full of gaps and full of lights, filled with absences and over-nourishing signs, without foresight or stability of intention, and thereby so opposed to the social function of language that merely to have recourse to a discontinuous speech is to open the door to all that stands above Nature.”
— Roland Barthes,Writing Degree Zero, trans. Annette Lavers and Colin Smith (New York: Hill and Wang, 1998)
— Roland Barthes,Writing Degree Zero, trans. Annette Lavers and Colin Smith (New York: Hill and Wang, 1998)
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Dip me in him
like the rose in the vase
up to my eyes,
to my brow,
to the crown of my fair hair –
roll him through me,
flowing round,
like the kissing seas
of the Pacific.
Who cares if the night and the dawn perish,
the light of the moon and the sun–
only make him sink in me
like the music of a violin.
When it touches my heart
I will play the sweetest part –
him.
Dip Me In Him, Maria Pawlikowska-Jasnorzewska, trans. Barbara Bogoczek & Tony Howard
like the rose in the vase
up to my eyes,
to my brow,
to the crown of my fair hair –
roll him through me,
flowing round,
like the kissing seas
of the Pacific.
Who cares if the night and the dawn perish,
the light of the moon and the sun–
only make him sink in me
like the music of a violin.
When it touches my heart
I will play the sweetest part –
him.
Dip Me In Him, Maria Pawlikowska-Jasnorzewska, trans. Barbara Bogoczek & Tony Howard
❤1