Γυναίκα δεν είδα - Donna non vidi mai

Γυναίκα δεν είδα ποτέ
παρόμοια με αυτήν
για να της πω:  "Σ' αγαπώ"
ξυπνά η ψυχή μου σε νέα ζωή

"Μανόν Λεσκό, τ' όνομά μου..."
πώς τα λόγια αυτά, ευωδιαστά
γυρνούν μέσα στο νου μου
και κρυφές χορδές
πηγαίνουν να χαϊδέψουν!

Ώ  μεγαλειώδη ψίθυρε , συνέχισε!
Συνέχισε και μη σταματάς





Donna non vidi... άρια από την Μανόν Λεσκό τού Πουτσίνι.

Ειρηνικά

Ειρηνική επανάσταση, ώριμες συνθήκες, συντονισμός... Όλα εντάξει;
Καθίστε, έφερα τσάι.

Luther Blissett

Luther Blissett is a multiple-use name, an "open reputation" informally adopted and shared by hundreds of artists and social activists all over Europe (most popular in Italy) and South America since 1994.

On Usenet, the first reference to the Luther Blissett Project appeared on 7 November 1994. It was a trumped-up report on alleged uses of the multiple name all over the world, and—albeit written in a somewhat clumsy English—it was posted by a "Luther Blissett" from the University of Missouri^[1]

For reasons that remain unknown, the name was borrowed from a real-life Luther Blissett, a notable association footballplayer, who played for A.C. Milan and England in the 1980s.^[2]

In Italy, between 1994 and 1999, the Luther Blissett Project (an organized network within the open community sharing the "Luther Blissett" identity) became an extremely popular phenomenon. Blissett was also active in other countries, especially in Spain and Germany^[3]

In one occasion the real Luther Blissett described the LBP as "an international neo-political of anarcho-syndicalists, whose whole purpose is the deconstruction of their individual identity".^[4] Actually, the Italian Luther Blissett Project (and some of the groups that sprang from it, like Wu Ming)^[5] always disputed the "anarchist" tag, described themselves as "communists" and traced the origins of their theoretical stance back to Italy's Workerism and Autonomist Marxism^[6]

December 1999 marked the end of the LBP's Five Year Plan.

Είπαν:
Once the writer becomes a face... it's a cannibalistic jumble: that face appears everywhere, almost always out of context. A photo is witness to my absence; it's a banner of distance and solitude. A photo paralyses me, it freezes my life into an instant, it negates my ability to transform into something else. I become a "character", a stopgap to hurriedly fill a page layout, an instrument that amplifies banality. On the other hand my voice - with its grain, with its accents, with its imprecise diction, its tonalities, rhythms, pauses and vacillations - is witness to a presence even when I'm not there; it brings me close to people and doesn't negate my transformative capacity because its presence is dynamic, alive and trembling even when seemingly still.^[5]


Από wikipedia.