January 23, 2013
Lino Milita
I desideri dei mondi possibili
relegati nell’aliena inconsistenza,
son soppesati come una senescenza
che s’attarda nelle fole insolubili.
Pigre sintesi giudicano le astratte azioni,
infantili albe delle fiabe fatate,
annunciate dalle farfalle eccitate
nel dipingere libere e aeree aspirazioni.
Ma ogni assonante ritmo d’ali rievocato
in mutevoli aperture dei risvegli,
è specchio di ogni petalo illuminato.
E ogni incontro nell’universale meraviglia
nella celebrazione d’un altro apparire
accudisce una nuova e più intensa veglia.
As for the video Ryan McGinley’s Beatiful Rebels click HERE
The Celebrated Artist Reveals the Unexpected Magic of Shooting his Butterfly Film For Edun
January 21, 2013
Divenire – Lino Milita
Giochi simmetrici in ordinali spazi,
di vaghe estensioni immote,
d’anime acclamati,
vorticosamente precipitano.
Desiderato divenire di fuga aspirata,
da sapido sentore avvolto, e
d’ironico dolce richiamo,
gioiosamente sei amato.
Image taken from HERE
To the music of Ludovico Einaudi “Becoming” click HERE
January 19, 2013
Tilda: here in “Orlando”, she offers the unconscious is both masculine feminine of each of us, and the story of an empire, and the story of the desire to be a father and a mother. In this film, SHE is a gift: a continuous offer of the possible manifestations of what she can be. She and Tilda’s character, are both a generous range of possible desires of all who we can be.
Image taken from HERE
Beautiful music: the labyrinth is a search for his own meaning of life in the flow of the history of her sex, the history of England. And this music that repeats the rhythm in ascending order for the final explosion: a NEW BIRTH.
This movie, that book, that actress, that woman was Virginia Woolf; that music is a whole: an absolute masterpiece. The video “scene of the labyrinth”: HERE
January 18, 2013
Rachmaninov – Symphonic Dances – Op 45 – 1/5
The Symphonic Dances Rachmaninoff can be set to music with a piano. They have a structure to our ears, can they be understood in an abstract manner, imagining tone and timbre in the percussion (heart), on the breath (lung) and the key (skeleton).
And just because they maintain a distance from the word, and also by the specific noise of an instrument, we, as in the act of writing poetry, through language, our bodies and the mutual feelings that we express in emotions, we transform them in flesh and blood, a common feeling.
And then we dance between these schemes.
Image taken from HERE
We start from the first dance. Do not cheerful: the impact of three descending notes, which forms the basis of the movement, makes its way into pianissimo strings, and then it emerges with rhythmic aggression. The sound of the oboe leads to the transition of the middle section; the alto saxophone states the bad mood; the melody is then taken up by the violins, before returning to the initial section that we called rhythmic dynamism; and the movement is switched off in the same way of com it was started.
We wake up feeling the three notes, our body resumes its forms and it swims in the black vortex that runs on the same without screwing on a fulcrum.
The Scream is the transition to the saxophone.
The tormenting sigh invokes the arches, like the wings of glass, they branch out in polymorphic structures. And we begin again, waiting for the next movement, we being chained in the final rate order not to disperse the memory of self-image.
To listen Symphonic Dances Press Here
January 14, 2013
How do you are writing a poem? Whether it is of excellent style, tawdry, stupid, clearly sloppy, or original?
Even if we erudite in versification, rhetoric and stylistics, it may appear to hang. If you think of a task, the publication, the existence of an actual immediate audience, the paper will remain white. If you use rites stable and if you program your job, the sheet may remain white.
If you will force the rhyme, perhaps appear scattered pages of rows in prose, and this is not a bad thing. So what? In the precise act of composing poetry that you think, maybe there is not a rule but an operational criterion (mutable): you let go of the “should”, so that the emotions are not forced.
You let go of the analysis, and you listen to your body, not ontologically, or subjectively, or into sense of ethics or erotic, maybe later, but just the body, here and now.
Maurits Cornelis Escher, Drawing Hands, 1948.
Let him come all that overwhelms you from the outside.
Let him come anxiety and fear.
Later you will meditate, you will analyze and will correct everything. This is not an investment, because you have no interest and guarantees. The prize is always one: yourself.
Tuesday, January 8th, 2013
Dreams suspended, my first collection of poems, was published.
This is our reality more real and more intimate.
The book in paperback version you can find it on Youcanprint: HERE and HERE on IBS
And in digital format:
Amazon – mobi format: HERE
Feltrinelli – epub format: HERE
Last books – epub – mobi: HERE
Bookrepublic – epub format: HERE
INTRO: We believe that everyone dreams are transient images and thoughts that vanish into twinkling of an eye by awakening, but they come back every night and even in the suspension of the activities of daily living. They range and reverse plots, but they offer new spaces of reality and the future. Each purpose receives color, shape and intensity of dreams seemingly aloof, but they are ready to emerge to feed our every expectation and anticipation of what we are and we will. To paraphrase Shakespeare: we are made of dreams.
Posted on December 26, 2012
Picture is taken HERE.
A woman who waits …
So I imagine my world suspended. I am waiting for something or someone, maybe inspiration, for me she is a woman. And it arrives on time. Catches me sometimes suddenly, and then I transcribe what I feel, what I feel.
Now I have created this virtual place. Here I find myself to chase dreams and sensations, and here I will share them with you. The adventure begins now. Welcome, and happy to meet you …
Lino.
