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Italian

Typically, one below, is a scene that represents the classic relationship between a professor, "Professor" of a any Italian university and the assistant compliant.

know at least half a dozen of these stories and I have seen - really in disbelief - to something very similar at the Faculty of Architecture in Palermo around 1995. I remember perfectly well that a meeting (we were called "revisions") with a known horny professor gaze absolutely manic and embarrassing even for a sheep that walked wall-wall, came a girl, a little wink and tracagnotta pig, and truccatissima with big tits in full view in a dress all red from head to feet, including shoes and ribbon in her hair ... it was May, and then it was hot.

I swear, I realize that we do not believe, but I swear that girl has entered the office of prof. after me ... The look and physique du rôle of the guy in the image correspond to what I'm talking about.

I do not think having in mind to follow an academic career, certainly I will make it.

On the other hand as I remember to have seen and heard the level was comparable to the squalor of the situation in context. And that remains, in a context in which, after all, the fondling of the girl is the most understandable and human.

In this case, at most, says a friend is a French 'histoire de cul .

The problem is that the Italian system, of which the University is only one expression, is essentially based on histoires de CULS.

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Postcards from the Promised Land (1 / 2)

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Postcards from the Promised Land (2 / 2)

Traveling, inevitably, we are confronted with the existence of the cards.

We all know what are the cards and we all know what they do (even if now the cards have the same function once).

We went to Paris and we sent a postcard, we went to Venice and have sent a postcard ......

actions were (and are) always the same: choose card, buy greeting card, write what you write, and then stamp the letterbox .... then someone received ....

So you go to a different place, perhaps far away, you go to a place where there is a desire, ambition, and the motherboard, while it shows your thinking to a person, by ' Another witness your knowledge, your being in a place.

E 'even consider that until about twenty years ago (I speak a Sicilian who has lived on his own skin and always), to travel, even banal to go to Rome or Florence, it was neither obvious nor simple, nor particularly cheap.

Still less ordinary mortals could be considered normal to think of going a weekend in New York (assuming that it still needs some shaking) with his girlfriend.

those were other times, say, to my memory, twenty to thirty years ago .....

However, we are talking here of postcards: postcards that evoke, who collect postcards, greeting cards and postcards that represent that you have sent.

Many other interesting observations and analysis I come to mind aspects of communication, interpersonal, psychological and historical postcards now while not wishing to pursue this topic with a discussion focused.

I wonder what cards have been for a long time Palermo?

reproduced what and why?

Palermo in the '50s, '60s and '70s was the promised land of the Sicilians who lived in small towns of the island (in countries, as they say the "citizens" by giving the word a connotation sminuitiva). Displacement of populations, the wild construction, urbanization, residential carpet, are closely related to the organization control and management of political power in Sicily and in Palermo, Sicily and this city is the political and administrative capital.

From War to the 80s after the city expanded to carpet, saturating the area with a cement-layered and juxtaposed habitat, low-level quality and design aesthetic and technological.

trash made by companies and surveyors, in most of the new creations.

trash still in great demand by people who escaped and is still beyond the parameters of a successful civilian life in their habitat as a civil and livable.

But anyhow .... we know the economic stuff you sell easily .....

Returning to the postcards, I've found four, which represent, in my view, the imagination of those who "transferred" to Palermo from the country. " The imagery of "peasant "......

Postcards are a commercial product, like many others: the creation and printing of cards is a fact quite professional and technical specialists, as well as relatively expensive because the production numbers are necessary to return the product for sale at a reasonable cost. If anyone has made the postcards that I present is because it has evaluated the request and has developed a product that is sold, and selling we would have won. Normal. Among other things, speaking as a photographer I must say that the photos were used without doubt with professional technical equipment room type optical bench and the like. So it is not the case for taking pictures but challenging and carefully planned. For market demand and thus to an audience of buyers.

Thousands of these were sold as postcards and sent to someone.

Why this and why do I speak?

Why these pictures represent the ambition and the myth of modernity on the majority of the population of this city recently shared at a time.

In this context, urban and social were formed after a few generations. For personal circumstances thirty years ago - I was already pretty pain in the ass - I got to get to know people, extraction very popular, originating in Corleone: My father was their doctor and then we were invited at least a couple of times their house in the country.

Apart from the fact, only folk in this case, which were related to the family Bagarella, these nice ladies lived in a house whose ground floor was living in the mule barn and communicated directly with the scale of the house, inside .

Obviously I do not remember neither nor water heater heating or other similar amenities, but I certainly do not consider a snobbish, this is only for those who do not have any idea what the state we lived in the country thirty years ago in Sicily to war.

Before the war the situation I do not imagine it either.

It is obvious that, after receiving the postcard, the most unlucky cousin Corleone, Favara or Cesarò, weirs of desire but of envy, because it is understandable that the mule and its smell and all that revolves around going to do without.

The poor man received a postcard that probably was not even able to read, blinding and dreaming in front of those buildings, those streets, those blue skies.

It was interesting to send a photograph of Marina Square, the Teatro Massimo, or the cathedral, but the new districts where the most "lucky", the rich cousins, had moved, not even to make the goalie (it was a typical phenomenon a time) of the "palaces" and live in rooms where even an old washing machine, if he had a conscience, it would depress!

look at these postcards from the hyper-saturated color I naturally the painful realization that I propose: the places depicted in these photos have remained exactly the same as those of the cards, as the entire city, such as plants buildings, such as an entire society as a whole fictitious economy, welfare and profoundly ill.

Everything is as it was thirty years ago.

But time passes, the skies above the cards are no longer blue and the houses-of-modern miracle for the Sicilians "evolved" they fall apart.

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Here, as on Mars, no life (1 / 2)

Palermo, portrait of a city without limits


E 'as I mention below, look, evaluate, live to see: there is no life in Palermo. There is no life or creative thinking, there is no criticism or review, only complaints. Perennial moans of a city ill. In Palermo, in fact, there are only economic activities of mere physiological specificity. This city is like a biological organism that consumes food and energy expelling its product waste. Here it is not produced nor creating anything. No capital gains. No thought. No perceived quality.
Palermo is a city of gray, dirt, noise, a city stratified social hypocrisy and management. A city made of "in house" and "out." A city where public space is no man's land. A land of no good to park cars, garbage bins, for the things you do not keep at home.

A city consists of a communal society and passive, a city full of people conformist, approved and silent, a city of old and people born old. A city where people want to see her as much as possible for approved and perhaps the fear of inability to know to run their own originality. Here, if you're different, but only just a little, you're "crazy" and "eccentric", was also not put the tie. A city where everyone is so-so.
A city made, broadly, the same buildings that are located on the outskirts of Soviet cities that we think without horror realize that we live in it. A city made of concrete but in the periphery of invasive scale of the territory. A city of poor people of resources, such as may, will make its world obviously bad, facendoselo pleasure.

Palermo is now a sort of large slums / shanty towns, but of cement concrete with lifts and the smell of dampness and mold, cement and plaster falling.

A city dirty and ugly, like an old maid, puts on makeup to appear, then the powder and paints her eyebrows. And you see around.

A city of people gathered, piled, who firmly believes in its own defined by nobilitas an important and constant phenomenon of mutual satisfaction and generational general.

A city of people yelling when he speaks, people talk about the raucous, vulgar and aggressive. Of people who want to see her aggressive and speaks in dialect. A dialect from the aggressive tone, per se, a language, in fact, aggressive. The first things you learn as children in public schools are aggressive phrases, phrases of a vulgar and disruptive aggression of a paradoxical if not spectacular, and which, interpreted, allow you to find the origins of a company, and lived at the scale of decades allow us to understand where this company and this city are now. Probably this aggression
shown through the language he uses is the same as the organized crime, better known as the Mafia, is probably the same for emulation, it is the manner and language.
A chaotic city of anarchy and uncivilized without respect. A society and a city that does not have the characteristics of a variety of different companies. A city of "poor" and "rich", this is limited and basic criterion of social differentiation. But in this place and in this society where poverty is a poverty without any dignity, what is the supposed "wealth"? What actually are "rich" who, here, passing through them.

I am to mind a joke that a friend and fellow architect, also said Iranian ten or more years ago: "I move to California," said Oh, good heavens, why? - answered because there is no culture here in Palermo and economy and is an architect can work there (he graduated recently too) .- And I asked him to start, and a fairly lucrative trade in his city ..... I said exactly this: I go away because I can do business anywhere in the future, then I would not want my son asked me "dad .. because you were so fool to leave Iran to stay in Palermo ?"....

is a city that pretends calling card number "grandeur" historicized and Polyphemus the now legendary: the tourists are taken around the definition of "Conca d'oro", the stories of Arab Palermo always denied and a arabitudine that however is generally associated with a disparaging tone and ruling by the inhabitants. When it comes to Los Angeles, Dubai or other similar cities is not associated with the concept of "walk" to "take a walk" and I wonder, what exactly is the added value of making "two steps" in any the road to Palermo? I wonder because frankly I find it hard to do it and propose it.

Why do not I can think of nothing more than background noise, dirt everywhere and the most varied types, smells, absolute disorder in all things and in short, not because I can think while moving in public space are right in that no man's land that no one hears or perceives as his own, that no one respects and care and in which no one recognizes. The color of this no man's land is gray dirt and dust. The streets are gray, gray are the facades of buildings, cars are always dirty gray, gray are the faces of people, dirty gray are the signs of the shops, the horizon is gray cement and iron, which closes the horizon on the sea of this city.

Palermo is a city without limits, then without perspective, this statement may have a double meaning, rhetorical or real. Yes, because Palermo is a city on the sea which has always denied the sea, in fact the entire coast from the outskirts of Palermo at the end of the city is forbidden or inaccessible, hidden or unpleasant environment for the level of corruption all too evident. In Palermo, where they want to dispose of a thing is said to "throw overboard": here the sea is the landfill, the synthesis and the mother of all no man's land.

So the sea along the coastline, the coast, also known as "water front" in a phrase that both international and makes appeals to architects and planners to suggest appropriate strategies for the city to places with a different experience and consideration the common good and the relationship with public spaces. Of course, "Water Front" is a word that sounds good, well that is rolled between the tongue and palate, but the reality of things here there is only the "Front".

This front, the coast in fact, a physical barrier is present almost everywhere by the sea. Gates, walls, piles of rubble, garbage dumps and sewers. The port is armored and militarized, the military ask you if you go where you go. Maybe you can and maybe you can not get to "see" the ships ..... however there are soldiers and bored with their weapons of war that we scrutinize turning his head as if I were a cigarette smuggler.

But then because there are soldiers with machine guns at the port? Ah, yes! I remember now! Bin Laden, bombings, terrorism, harbor the same strategic goal .... but then why there are soldiers guarding the port of Lipari Island or Female? because they are strategic objectives of terrorism, someone will answer ... but even there in the summer there is a lot of people! The truth is that Palermo, despite the great arias from choirs around the proposed institutional, is a provincial town where the most of the bombs if the Sicilians put yourself together to settle their accounts. Bin Laden, if he wants to make noise, make a bomb or Barcelona Rabat, Algiers or Tunis, perhaps in Rome, and if you ask why does a bell'attentato in Palermo, perhaps even the port, sends you to hell. Perhaps to internationalize, paradoxically serve a bell'attentato by international terrorism, the serious one of course .... great stuff ...... but it will not (fortunatamente. ...... - I write because there will always be stupid when you read the text might accuse me of anything -).

The attack will be there because I believe that the image of Sicily abroad is closely linked to the cannoli, and their size, rather than other things of strategic interest, recently there was also a sort of urban-country festival centered on a competition which celebrates those who could eat cannoli. We do not need to defend the borders with weapons, just politics and the local approach to anything to discourage the invasions and attacks.

The port is great, almost like the whole city. Vacuum, industrial, inaccessible and daunting. Foreclosure, rather than exclusive. Queata city noise, noise, dust, urban motorways and barriers everywhere. Muri undone, unmade roads, windows broken, blind street in an urban labyrinth where the rounds, it seems to be in a video game, because in the video game look and look for the "enemy", what you have in front, and on the micro-battle face, not ever raise his eyes to look around. Also, precisely because there is nothing to look around.
Anywhere in the city are always and only surrounded by walls and buildings and when you get there are limits to the gates before the sea. No horizon.

Frankly Palermo is a city ugly, dirty and sad and I find it hard to invite someone to come here to seek the welfare conditions. Conversely it is easy to characterize precisely all that discomfort. I do not write this for pessimism and depressed mood, but awareness of the local reality and do not: in any urban location, metropolitan, provincial or isolated, there are pros and cons to the choice of living in a context. The city of Palermo offers no benefit to me to find and they fall in the equilibrium conditions a contemporary metropolis.

Perhaps for the simple fact that Palermo is not the metropolis "Mediterranean" which is touted by the institutions, but a messy and chaotic urban area, run to the daily lives and personalities, as the workshop of the angle of the road. And it is evident to everyone the difference between the shop and a mall. I do not take this the topic of cultural and related to their condition that should be a contemporary city because we would go into a territory with no hope and no real evidence which had not drawn on maps. In fact, Hic Sunt Leones *.

images that represent my review of the photographs are, and because the photographs have a connotation of objectivity, they say, in principle, as it is. Were carried out between 2002 and 2004 during the documentary for the French publisher "Actes Sud" and "La Repubblica". Most of them I have made with a specific awareness and in particular social-weather: in fact been carried out only on Sundays, between 12 and three in the afternoon, during and at day time, but flat gray and bright usually with high clouds and without shadows. On Sunday, at certain times the apparent lack of dynamism and degree of vegetative survival of this social organism that is the city of Palermo, a city, despite everything. In this condition, as it turns out that part of town that is a public good, and therefore any public area broadly, will turn into reality in a state "border-line" border populated by stray dogs (big ones, but usually harmless ) and wandering, some crazy, Jehovah's Witnesses in pairs and their folders, other characters, as they say the snails, "come out when it rains." However

recommend visiting Palermo on the night, the rampant ugliness, dirt-invasive, are less obvious.


* Hic sunt leones is a Latin phrase that translates as "Q ui there are lions" . Was often marked on maps drawn by the African Middle Ages to the sixteenth century to describe the unknown and possibly hostile territories.

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Here, as on Mars , no life. (2 / 2)

Palermo, portrait of a city without limits - Images-

Palermo, a city whitout horizon: portrait - Pictures -

Beach fenced (in Palermo used like this)

impassable fence (protects the beach by visitors)

Venerable (plague)

Venerable

(business - there are around most of the flies in the spring -)

Duplex

Oreto River (Sewer)

a nice area of \u200b\u200bthe City

Urban Situation

Waterfront Promenade

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Selinunte, Selinunte in Western Sicily

Selinunte, Sicily West

- Visions possible -

A Selinunte one walks among the ruins of temples and homes, including old beams and sand dunes. Remains of the city, the remains of monuments, fragments of columns. Carved stones are scattered in the grass, in the undulating plain, limited by the sea. Vision of the landscape imagery. Temple Temple A. .. C. .. names and drawings of a penalty unexciting that it does not hold the attention if not for some symbol. The vision and excitement, exploration, contemplation and sometimes the wait is the main activity of anyone in Selinunte or other similar places. Few, in fact, go to the archaeological sites to study in detail the characteristics, perhaps, for many, is more interesting to observe the scenery and architecture among themselves.

Through these notes and images that accompany them are going to propose the extraordinary work of an architect-archaeologist, and also great French designer, who in early 1900 study is scientifically and visionary, the archaeological site of Selinunte.

Jean Hulot was a French architect who lived in the late half of the 900 and 800. He worked in Selinunte from 1902 to 1908, with a scholarship to the Académie de France, aiming at a vast project of reading and decoding of the site based on surveys of historical, archaeological and architectural remains and the study of graphic representation, analytic and interpretations of the same. His work was published in France in 1909 in a large and valuable book entitled Sélinonte.

This was achieved in an era characterized by a strong historical spirit and a great deal of attention in the wake of classical architecture, through design of high precision and high quality communication and scientific perfectly fulfilled the expectations around the visionary perception and romantic narrative of the sites and ruins archaeological sites.

The season Grands Tours and Voyages in Italy and throughout the Mediterranean, focusing on research and scholarship about classical architecture was a constant 800. In 1823, two young students of the British Royal Academy of Arts in London, Samuel and William Angell Harris, arrived in Sicily with the intention of studying the site and begin an adventure Selinunte Excavation of finding, among the sand dunes that covered all the fragments of the metopes of the two temples now exhibited at the Archaeological Museum of Palermo. The campaign lasted a few months in fact, among various other adventures, had tragic results: Harris became ill with malaria and died, he was just 23 years, in Palermo.

In 1826, Angell published in London a paper on these excavations, and these findings, illustrated by drawings of the metopes reconstructed from fragments. Almost simultaneously Jacob Ignaz Hittorff, a Franco-German architect who lived between 700 and 800, enriched this season, historical and secular, in-depth studies, most learned sages and extraordinary architectural drawings, with the volume edition of Antique Architecture de la Sicile, published in 1827 and illustrated by dozens of extraordinary designs ever inclined to the picturesque (com ' was almost always until then). This work was celebrated throughout Europe for the extraordinary power of polychromy in these proposed designs for the classical architecture, as a result of many pioneering archaeological discoveries made by him, fueling a new vision of the Greek world until then had only theorized and opposed the austere and well-established vision mono-classicist.

the wake of this scholarly tradition, but also of the romantic fantasy still alive throughout the century, many archaeologists, architects and designers realized many other graphic rendering, architectural drawings and surveys at the sites of the world greek and Roman.

These architects were often of extraordinary artists: Jean Hulot, winner of the prestigious scholarship de l'Académie de France à Rome, was one of them.

His work on Selinunte, led by master Gustave Fougères, was published in 1909 for a wish of the French government in a valuable and large volume celebrating the title Sélinonte - La Ville, l'Acropole et les Temples.

This folio volumes, high quality printing and binding part contains a text particularly analytical, descriptive of the state of research at the time and also contains great images out of the text printed in aquatint, representing state-of-excavations selinuntini at the time of inspections (ie the first years of '900), along with the visionary, charming and highly detailed reconstructions of architectural and landscape of the city itself from various points of view.

The work of French architect Jean Hulot, in its "traditional" manner and form, it appears, shines and remains unsurpassed evocative potential.

These reconstructions, offering historical and scientific analysis to faithfully deductions "certain"? Of course not, but, offer a measured and thoughtful about the "possible" architecture, urban, life, activities, and the endless details of a day in the life of Selinunte.

houses, decorations, people, ships, port, flooring, hand signals, equipment and thousands of details ... .. All in describing and interpreting these tables - communicating - the daily routine and "normality" of the city of Selinunte and the lives of its population. It is suggested that a realistic and sustainable vision of the status of the site and the landscape, the coordinates of which we seek when we visit and we wander around the site.

Hulot tells us about his vision through a number of Selinunte large format drawings: fine engravings have an imaginary ideal certainly equally plausible and realistic (almost photographic) lived in the abstraction of the local artist. Similarly a photograph with his objectivity, Hulot designs are so realistic perspective and graphics to make the ambiguous perception of a possible reality over time.

an illusory and film, forcing the term virtual reality before its time. All, in fact, happened to watch a historical film of subject Roman, Egyptian or Biblical, those made in the 50s and almost historicized themselves, Hollywood or the Italians, who for some reason we are not rational in a context even empathize clearly papier-mache. Similarly, and perhaps more, Hulot's drawings are so realistic in their outlook, their orthogonality, their hyper-detail to make this dubious perception of a possible reality over time, and indeed the times, and two different : those of life and those shown in the representation of representation itself as a work of art, now historicized itself.

illusion and mirage, then? of course, but about something reasonably contextual.

These graphics support and help the observer's imagination and create excitement to the city of Selinunte and its history.

The reality: beyond the historical and scientific - archeology - is that paid to his eye, independent of each eye and a visionary individual more or less developed in every person. The sense of realism that can give these designs depends not only on general quality of clear, but also by the almost invisible - and yet perceptible - the quality and amount of detail contained in the tables at almost microscopic. This level of perception acts on ways to provide added value that determines the awe of these works so like the taste or aroma of a wine stay gives added value to the wine itself, and so is the music of an orchestra played in a concert hall has a dynamic range much greater than that which is emitted from a speaker, succeeding to be not only heard but also felt that the body is enveloped in the sound pressure.

The surplus in the vision of these is that element that led to their recovery and their presentation together with the additional presentation of more pictures of this historical period and dedicated to this site and its context.

© Pier Paolo Raffa, 2009

Milena Velba Hardocre

: Imago

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