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Natural Recall

maggio 6th, 2014

Natural Recall





Natural Recall


Graphic / Communication Project


It’s a project, which will involve on invitation, up to 40 graphic designers in the international sphere. The 40 graphic works will be part of an exhibition with a publication with texts written by experts.


ti capita mai di pensare a una pianta con profondo senso di gratitudine, commozione, affetto o benevolenza?

Noi crediamo che l’uomo e la natura siano da sempre destinati a incrociarsi ed evolversi, guidati da una sorta di “affinità elettiva”.

Un’affinità che può nascere spontaneamente, senza apparente motivo, oppure può essere scatenata da un ricordo, da un affetto o da circostanze eccezionali.

Accade e basta: di fronte ad una determinata pianta, ricordi e associazioni mentali improvvisamente generano in noi emozioni ed empatia.

Ed è curioso pensare che la situazione possa essere biunivoca, che anche noi possiamo essere destinatari di attenzioni e sentimenti.

Il progetto Natural Recall vuole esplorare proprio le relazioni che si instaurano tra un uomo e una pianta, indagando negli ingranaggi che muovono i rapporti tra il Regno Animale e quello Vegetale.


Legami speciali come quello tra l’uomo e la natura meritano di essere raccontati e manifestati.

Se anche tu la pensi allo stesso modo, partecipa al progetto NATURAL RECALL.

Ti invitiamo a far emergere la tua affinità elettiva con una pianta, attraverso il mezzo grafico e di comunicazione.

Esprimi quel rapporto così forte che molto spesso è indescrivibile a parole.


Oppure rievoca l’incontro che un giorno ha unito la tua esistenza a quella di una pianta, in un vincolo di riconoscenza e di arricchimento destinato a durare per sempre.

Ognuno di noi vive questa relazione in un modo differente, quindi sentiti libero di esprimere tutta la tua creatività!

Perché ogni singola pianta è un organismo vivente speciale, veicolo di storie ed emozioni personalissime.

Mostra / Catalogo / Calendario

Le opere dei grafici invitati al progetto Natural Recall, potranno essere ammirate in una mostra presso alcune delle più prestigiose location di Venezia e Treviso. Non si esclude però la possibilità di esporre i lavori anche in altre città internazionali.

Gli elaborati saranno contemporaneamente pubblicati su un raffinato catalogo dell’iniziativa e su un calendario 2015 stampato su materiali di pregio.

Le opere saranno esposte sul sito www.naturalrecall.org a partire dal 30 di ottobre.

Ogni partecipante riceverà inoltre due copie del catalogo, che sarà disponibile anche online in formato digitale. Potranno comunque essere richieste ulteriori copie da chiunque fosse interessato a riceverle, pagando solo le spese di spedizione.


Natural Recall è un progetto internazionale di comunicazione e grafica organizzato da co.me e gtower senza fini di lucro.



Per qualsiasi informazione e chiarimenti contattare o scrivere direttamente a: www.naturalrecall.org
T.+390422.541865(Treviso) StefanoMeneghettieGiuliaComba

T. +39 02 3656 1200 (Milano) Mauro Santella, Giorgia Bimbatti, Pier Antonio Zanini


Natural Recall continued »

Gary Numan Splinter

ottobre 18th, 2013

Just arrived the new album of Gary Numan

Splinter // Songs from a broken Mind

Splinter // Songs from a broken mind

Gary Numan


Splinter (Songs From A Broken Mind) is the 20th studio album by the British musician Gary Numan, released on 14 October 2013


If you have enjoyed electronic-oriented music at some point over the last couple of decades then you can feel free to send Gary Numan a thank-you note. Over the past 35 years, Numan has released some of the most influential electro-synth music ever to be performed by an alien-looking English person with a penchant for pancake makeup and robotic stage moves. His early albums as Tubeway Army (Tubeway Army, Replicas) launched a style of synth-driven pop music that would eventually make Numan famous (and many of his imitators much more famous), but it was his early solo work (The Pleasure Principle, Telekon) that would not only make him a kind of electro-icon, but also inspire a generation of young Trent Reznors to sit down at a keyboard and get weird. This fall Numan will release his 20th album, Splinter (Songs From A Broken Mind), and embark on a world tour. Having survived a three-decade-long career of terrific highs and more than a few terrible lows, the 55-year-old musician seems to have finally come to terms with the legacy of his back catalog and the various complexities of being viewed as a middle-aged icon. I called him up at his home in sunny Los Angeles to discuss.

STEREOGUM: It sounds like your new record, Splinter, was under construction for a very long time. What took so long?

GARY NUMAN: Yeah, well, yes and no. When the last one was done … which I think was about 7 years ago, I had my second child, and shortly after that I had a third child, and then if I’m really honest with myself, I had a bit of a midlife crisis right about the age of 51-ish. It wasn’t that I wanted to go out and sleep with young girls and things like that, but the other way, I’d become really terrified about getting old and dying and I now had children and my old life seemed to be long gone … and I missed it. Also, my wife got post-partum depression really bad, so I ended up in this weird place for quite a few years really. That’s why it took me quite a while to start it. You know, the thought of starting another album is hard, they kind of become mountains to climb, especially when you’ve made a lot of them already. The thought of all of the emotion, the kind of ups and downs that you know you’re gonna go through in the process of making it, I just didn’t, I didn’t wanna do it. And so after I’d kind of dealt with all of that — you know, become a happy parent again … then I just found that being a parent of three kids was so demanding, I didn’t have a lot of time. So I would do a bit here and a bit there and it was just bits and pieces, bits and pieces … and it was really pathetic. It dragged on for way too long. Although I actually did a surprising amount of good work, it just felt like lots of bits and pieces of kind of nonsense, you know? I just didn’t feel like I was getting into any kind of groove with it, any kind of real direction with it at all. But the last year — mainly after I got here from England in October — things turned around. I wrote half of it in the last few months, and the other half was all drawn from these bits and pieces I’d been tinkering with for years. I pulled it all together. I don’t know what it is but coming here to Los Angeles has totally sorted me out. My work ethic is back to what it was and I’m in the studio every day. The album has gone from being something that I was terrified to start to being something that I’m extremely proud of, so it’s a fantastic kind of end result for me. But the first few years were really difficult. I was on anti-depressants for three years, and all that horrible stuff. I’m glad all that’s gone because that was no fun at all.

STEREOGUM: I knew that you had moved from the UK to LA, which is not a simple move to make, especially if you have a family. It sounds like it was ultimately a great transition, but was it a hard thing to do?

GARY NUMAN: Uh, it was quite a process, yeah. I’m totally glad I’ve done it. I wish to God I’d done it ten or twenty years ago. My wife pretty much from the day she was born wanted to live in Los Angeles for some reason, so ever since we’ve been together — just a few days over 21 years now — it’s been a topic of conversation. There’s been kind of a day-to-day subtle pressure on me to move anyway. And I’ve always loved it here, but I don’t know, my career was struggling at times and so I tended to just stick to the place that I knew best. Eventually I became more and more disenchanted with my life over in the UK and I decided to make the move here. But yeah it took probably took two and half, three years of planning before decided to make the move and talk to a lawyer — an immigration lawyer — and went through with the process. It’s not as if it’s massively difficult but you’re spending hours each day filling in forms and so on, there’s a fair bit of that, but the way that I had to come here was on one of these non-sponsored routes. I’m not employed, obviously, by anyone and I don’t have family here, so it had to be that particular way. As it turns out, there’s very few avenues for that, I had to get something called … I think it’s called being an “alien of extraordinary abilities.” It sounds very grand when you read it out loud — and it’s slightly embarrassing to read it out loud — but it essentially means you’ve had a bit of success and you’re not going to be a drain on American society. You’re not gonna come here and suck money out of the system. You gotta be putting money into it. I think once you prove that — and it does take a while — then you’re on the way with the process and then you’re evaluated in various stages and if you’re lucky you get through it, they finally let you move here. I feel privileged to be allowed to be here, and not to sound too corny, but I see it as a gift to me and to my family. I really do, I take it really seriously. I’m still being really careful, I don’t want to break any speed limits and get kicked out of the country. I genuinely feel privileged that I’ve been allowed in. I think it’s an extraordinary country and I wish I’d come here earlier.

STEREOGUM: It’s a hard thing to do. I have a friend who’s a photographer from London who paid six or seven thousand dollars to an attorney to help her stay here in the states — where she has a successful career — only to find out she has to leave. She couldn’t make it happen.

GARY NUMAN: It is hard, I mean when you look at the level of success that they’re wanting. If I had a Grammy or an Oscar you can pretty much sail in on the next plane, but if you don’t have that … then they “grade” the success you’ve had. It’s like celebrity quiz: “Did you get this award?” “No.” “Did you get six of this other kind?” “Uhh … no, I’ve got three.” It is embarrassing! Having to find all these newspaper articles, anything that says you’ve been influential is a desirable thing, so I was very lucky with that in my recent times. If people done covers of your songs, that’s seen as a good thing … or if you’re seen as innovative in any kind of way. You’re earnings need to have been of a reasonable level … and I’ve had some serious ups and downs so that was tricky. There were times where I was massively in debt, and I’m like, “God I don’t want to tell them about that year.”

STEREOGUM: I never even thought about that. Who gets to be the person who decides? Like who goes over all this and reviews your press clippings and tells you whether or not they deem you are famous or innovative enough to move to the states?

GARY NUMAN: It was a pile of paperwork over two inches high. I’ve been doing this for 35 years and I’ve done a lot of stuff. So to just sift through it and find all the things that were – first that actually say something nice … a lot of it doesn’t! [laughs] You gotta find all the nice things that were done by magazines or newspapers that were considered worthy or of a higher level. So it took about two years of just building up the portfolio before we sent it. It’s a long process. I’ve been told that it’s normal for them to come back to you and say, we need more in this area or that area or more information that covers that part of your career. But we had none of that, no second questions, so we seemed to sail through pretty easily. Again, I was very lucky. We had various testimonials come in. The first one I got was from Trent Reznor, I think a month or so after he got the Oscar. So that was a very high-powered way start to things. Needless to say, it was an interesting experience.

STEREOGUM: What a strange occasion to make you pause and take stock of your entire career … for better or for worse.

GARY NUMAN: Yeah, I’ve been pretty aware of exactly how up and down it’s been. There have been some fantastic moments, but it’s had some diabolical bad periods as well. It’s one of the reasons why I was slightly nervous when I realized I was going to have to pave the way to come here, I wasn’t confident that I was anything like the sort of person they were wanting. I think because there’s been so much — in the last maybe 10 years or so — there’s so much talk about me, which is far more positive than it was in the first 10 or 15 years. There’s a lot of talk about me being influential, or a pioneer, and it was excellent to get so much of that together. So it’s possible that if we’d tried to do this 10 or 15 years ago that I just wouldn’t have had the weight of support that I was able to sort of pull out on this particular attempt. It’s all very well that I’m saying I’d have liked to come before, but there’s actually a good chance I wouldn’t have been allowed in because I didn’t have the credentials I have now.

STEREOGUM: It must be gratifying to be so cognizant of how many people tout you as an influence and knowing that your work has this kind of resonance with people and affected people in the way they make music in so many different ways. Did you have a sense of that before you had to go through this process?

GARY NUMAN: No, honestly I had no idea at all. I had a very good first few years, but the hostility that came from the media at that point was pretty high. There was a lot of resistance to electronic music when it first came along, even in England where it was number 1 and it was selling shit loads. I think the media was slightly behind the curve on that one and one of the problems of being on the front end of something is you kind of open the door to something new and exciting, but the resistance around that … when you’re the first one to put your head through the door so you get punched in the face quite a bit. I think what happened to me was I got the shit kicked out of me and I kind of fell over … and then all these other cool people trampled over me and went through the door. I think I suffered a bit for that. I’m not whining about that AT ALL, it’s all come good for me, so it’s not an issue. But back then in England I had the first big electronic single; the first number one electronic single ever. Kraftwerk had been there before me, and a number of other people had drifted around before me, but I seem to be the one who made that big transition into mainstream pop music and mainstream public awareness. So I took a fair bit of stick for that. Then things didn’t go so well, and blah blah blah … it’s been such an up and down ride. Now there is so much talk over the last few years, so much more positive talk. Even the NME, which slagged one of my albums into the ground when it came out, they gave it a naught out of 10 or a 1 out of – something horrible – anyway, they reevaluated it and called it this groundbreaking classic and said all of this lovely stuff. So everything kind of turned around and all the hostility that was there to begin with has gone the other way in my recent years, so it’s kind of … I’ve been around long enough to kind of enjoy that. To answer your question, it’s very cool for me to read some of the things that are said now, like Trent Reznor for example. To have someone like that who I admire enormously talk in very positive terms about the influence my music had on him and Nine Inch Nails and that he’s covered one of my songs … it’s wonderful. It makes you very very proud that, first of all, you’ve had that kind of effect and influence on things and it … I don’t know. On the one hand it gives you a level of confidence that I’m lacking most of the time, but with that confidence comes a kind of pressure. It’s funny. If someone says you’ve done something really special, that need to keep doing it is obviously there, you don’t want people to be disappointed with what you do next, and you don’t want to be lesser than you’ve been in the past. So when people talk bout you doing something groundbreaking and pioneering, in my head I just go “Fuck it! I have to do that again? Now every album has to be special!” And I know that I’ve not done that … I know I’ve done some right shitters over the years and I’ve let myself down quite badly, but I think with the new one I feel more confident that it’s … it kind of keeps me alive in that sense. I’m not nervous about it in that way. I’m very confident. I’m not saying it’s groundbreaking or pioneering, but I think it’s a good album and I think it’s worthy of the credentials that have been generously given to me over the years.

STEREOGUM: It’s a very dark record. When you listen to it now, does it seem sort of reflective of the time in which it was made … does it reflect the difficulty of getting back into making music?

GARY NUMAN: Yeah, I think a lot of the stuff I was going through in the last seven years … it’s riddled with it. That’s what it is. It did come from a particularly difficult time — both for me as an individual and as part of a marriage. There were times before that that I thought I couldn’t do it anymore. I think the fact that it’s kind of dark in lots of places is understandable to me really when I think back to where it came from. I’ve been with my wife for 21 years and very happy, but I would be lying if I said we hadn’t had some real things we had to get through. We lost a baby at one point. Shit happened. We both were going through depression type things at the same time … we both very difficult to adapt to suddenly having a family after being pretty much free and easy and having a fairly cool life before that. Money has come and gone at various times, which has been a bit shocking. There’s been a lot of shit to get through, which we have. These days everything’s cool and very positive. We’re living here in California and everything’s great and the kids are healthy and we’ve come through it brilliantly, I think. But nevertheless as food for creativity it was … it’s strange, but it’s fucking excellent actually. It gives you so much to have to write about … but it definitely veers towards the darker heavier side.

STEREOGUM: Well I don’t think people would expect you to make a sunny California pop record. I’ve had the opportunity over the years to interview lots of artists who’ve had very long careers. A lot of people have told me it’s great to have a lot of success early off in your career — to have a hit single or a smash album right out of the gate — but you sort of have to make peace with the legacy it creates for you. I remember talking to Robert Smith and he was saying that no matter what he did for the rest of his career people would always say, “That’s great! Now please play “Boys Don’t Cry” again please.” There are worse problems to have for sure, but it’s definitely a cloud you’re operating under forever. Your early records are so iconic; do you ever feel you’re always competing with your own history?

GARY NUMAN: I think you are. I think that’s just a fact of life … and I’ve had a long struggle with that. I guess part of what happened in the last 7 years was really about beginning to accept that. As you say, it’s a good problem to have. To have written something that becomes famous is a rare thing. Obviously the thing for me is “Cars” in America and England it’s a song called “Are Friends Electric?” Those two songs. I used to see it as if I’d created a shadow that kind of put a downer on everything else I’ve done since. But it’s not that. It’s not a shadow at all, it’s something far more positive than that, but it’s just taken me way too long to realize it. It’s a very cool thing to have written something that has lasted that long and is still known to some people as arguably one of the more famous songs ever. I am now very, very proud of it, but there was a time when I would have almost denied that I’d done it. The amount of effort I put into to trying and distance myself from those songs is ridiculous when I should have actually been embracing it. Generally I’ve got a real problem with anything “retro” at all. My whole reason for getting into electronic music — well, any kind of music really — was this desire to come up with new sounds, new technologies, new ways of doing things, and it’s still part of why I do it. I’m far more interested in what I’m going to do tomorrow than what I did yesterday, certainly what I did 30 years ago. So it’s been hard trying to embrace something that’s been such an anchor to the past. I’ve been trying to lift that anchor almost constantly so I could move on.

And there were a number of reasons that I felt held back by it. For example there was a really good TV show that used to be on in England called The White Room and they said, “Can you come on the show” – it’s a live TV show – “We want you to play 3 songs, and we’ll transmit two of them, but we want you to play ‘Cars,’ ‘Are Friends Electric?’ and one other.” And I went, “Oh come on, I know what you’re going to do.” So I got on the phone with the director and said I’ll do it if one of those songs will be a new song. Then I can do it, but if I go on the show and you just transmit “Cars” and “Are Friends Electric?” it’s going to look to everyone as if I’m just stuck in the past and that’s the only two songs I ever wrote and it doesn’t do me any good. He promised me right there on the phone, and he said, “We’ll play your new single and we’ll play one of the other two, and did they? Fuck. Fucking “Cars” and “Are Friends Electric?” So you’re almost kind of made to feel as if they’re holding you back because you go on to do a radio show and they introduce you with “Cars,” and they outro you with “Are Friends Electric?” and it’s like, for fucks sake! You know … you’re not allowed to move on, so instead of being something that you’re proud of it becomes this chip on your shoulder because you’re just not allowed to move away from it. The opportunities to play new music are almost entirely denied to you – they will only talk to you if you play an old song or they’ll only have you on the show if you play an old song. It becomes this thing you just want to get rid of this legacy that you’re not proud of, that does hold you back. So it’s taken me a while to – it’s taken me 30 odd years – to accept that and to be at ease with that. And funny enough it seems to be coming less of a problem now as I’ve come to accept it. People have been not wanting it as much. And that has to be coincidence, but that seems to be what’s happening now. I’m doing things now where people don’t want me to play “Cars” and “Are Friends Electric?” and funnily enough I’m happy to!

STEREOGUM: I’ve read in interviews where you’ve said that a lot of what’s perceived as your stage persona really had to do with being quite shy and not very comfortable about being a performer. Has that changed? I mean you’ve toured so much since then, do you feel more comfortable now being out in front of people?

GARY NUMAN: Yeah. When I started I would get so nervous I couldn’t even hold a conversation for two or three days before going to a show … and we’re talking small gigs in little bars. I just couldn’t do it. And my dad one day took me aside and said look if you really want to do this as a career, you’re going to have to find a way of dealing with this otherwise you’re life is going to be horrendous and you’re going to spend it all being sick and not being able to talk to anyone. You’ve got to deal with it, and the way I dealt with it was image. I started to dress differently and take on a persona, and I would hide behind that on the stage. So onstage I became very arrogant and cocky and I’d come off stage and it’d be like throwing a switch — I’d be right back to what I was before, and to a certain degree that hasn’t changed actually, but now it’s kind of a … it’s not something I need to do. It’s sort of an automatic thing. My wife swears I walk differently when I’m “being Gary Numan” as she calls it. I walk differently and I even do things with my face that I don’t do normally. I speak differently. So I obviously am still slipping into some kind of other part of my personality, but I think that’s the difference – it’s not a fake thing anymore, it’s a part of my personality that I can switch on to do that. I don’t get nervous and I don’t get stage fright or any of that sort of thing. I guess I’ve been doing it so long that all the things that can possibly go wrong have gone wrong … and it’s not the big deal you think it’s gonna be. So for me being on stage by far is still the most fun part and its definitely most exciting part of what we do. Now I still like being in the studio, I like putting albums together and I still really get a lot out of that, but if I had to choose one aspect of it that I would never give up it would be being on stage. I love touring! The traveling, being in the bus, traveling around … you often read that people kind of hate that side of it but and I don’t get it. I love it. I love touring.

STEREOGUM: I’ve also talked to a lot of people who make electronic music about just how radically technology has changed since they first started making records. The guys from Depeche Mode were saying that they actually went back and sought out the equipment that were using when they made their first records, having over the years having abandoned it for newer technology. Has that aspect of making music — the technology aspect — changed radically for you? Does it change the way you make songs?

GARY NUMAN: It doesn’t really change the way I write songs because I write pretty much everything on piano anyway. It’s all melody first, arrangements first, and then we start to flesh it out with noises and sounds and so on. So from that point of view I sit down now and write a song pretty much the same way I’ve always done, but what comes next … yeah … it’s almost beyond comprehension, it’s so different than it used to be. Like I go back to before even MIDI was invented, before computers – in music anyway – were even invented, before sequencing was normal, back when everything you played you actually played with your own little fingers. So yeah … I haven’t felt the need to go back to early technology yet, but I’ve read a ton of interviews with people who are doing that. I’m still looking forward to new technology. I’m still looking at technology for tomorrow rather than what I did in the past. I just feel that if I were to go back to that stuff then it would invariably sound more similar to what I was doing then and that feels like it would be a step backwards. It would be a nod towards a retro attitude. One of the problems I have at the moment, it’s not a big issue, but there’s a lot of electronic music around now and some of it is clearly inspired by things that were going on during the late 70s and I find I’m less excited by that. It sounds so reminiscent of the things we were doing then … and it doesn’t feel like it’s gone anywhere. It should be about what sounds can we make that we’ve never heard before. It’s not about trying to recreate something that we’ve done 35 years ago because we’ve done it. I think trying to invent the future — that’s a great aim. I’m not saying I’ve always succeeded with that because I think I’ve failed miserably most of the time, but it’s an aim to have, a goal to have. And I just don’t think that going back and looking at older equipment it really the right way to go about that. Talk to me in a year and I might be saying something completely different. Some people want to go back to the sound they had there, for various reasons of their own they may think “yeah … that’s when I was at my most creative when I had that limited technology.” And there might be all kinds of reason why people might want to go back there, but for me that’s not happening at the moment.

STEREOGUM: You mention that you love being on tour, will you be doing that for most of the foreseeable future?

GARY NUMAN: Yeah, we’ve got a lot of touring ahead. I’ve also got a film score to do. I’m actually in the studio today. I have to do a few more songs for the Splinter sessions — I need another two or three to have exclusives for people, that kind of thing. But toward the end of the week I start on a film score I’ve been asked to do for an animated film, which will be a very gentle, no pressure kind of first step into writing music for films … which is something I’d like to do more of in the future. Then we do a fair bit of touring towards the end of this year and then I’d like get to work on the next album. We will be touring Splinter throughout next year as well, but I really want to get on with the new album. I’d really like to have that ready within 12 to 15 months. It’s been 7 years since the last one and 5 years before that. It’s just pathetic. Isn’t that the most pathetic output? I know there were reasons for it, but it should never happen again. I used to churn out an album a year for about the first 15 years of my career! That’s the way to do it. I’m not sure I could ever do it at that rate again, but I certainly think that within a year and half I should have another album out, early 2015? On that note, I should probably get on with it.


Conversazioni sul tappeto

ottobre 8th, 2013

Sul pensiero, sull’umanità e il Sufismo di Gabriele Mandel

di Nazzareno Venturi e Rossano Vitali



Questo libro su Gabriele Mandel è un lavoro a due mani. La prima parte, trattata da Nazzareno Venturi, racconta l’uomo, il suo pensiero e la sua vita, partendo da vicende personali e aneddoti. La seconda, di Rossano Vitali, ci dà un quadro dell’insegnante sufi, come emergeva durante gli incontri nella takke di Milano. Due punti di vista, due stili diversi che liberamente si incrociano, per dare vita a una figura magistrale, non solamente del Sufismo, ma soprattutto del mondo contemporaneo, quale Gabriele Mandel è stato.


Gabriele Mandel

conversazioni sul tappeto Nazzareno Venturi Rossano Vitali


Trentemøller – Live In Copenhagen (Special Edition)

maggio 14th, 2013


anders trentemoller

anders trentemoller

After his success with his last releases The Great Wide Yonder and Reworked/Remixed, AndersTRENTEMØLLER toured constantly. Before he can be experienced supporting DEPECHE MODE – some of his all-time heores as he told NOTHING BUT HOPE AND PASSION in a recent interview – this summer, we know get an idea what to expect with his brand new live album. In two long before sold out shows in his hometown Copenhagen, TRENTEMØLLER created an impressive live document of his work, where an enthusiastic crowd has an important share in the spectacle.

The mastermind himself rather plays a role as the conductor of a modern orchestra here, which lifts the most successful songs of the last releases to even another level of expression. TRENTEMØLLER himself lets his compositions speak through the band. The openerThe Mash and the Fury, already one of the highlights on the record, in it’s live version turns into a massive cobra sneaking from behind and growing to a massive wave of sound.

anders trentemoller

anders trentemoller anders trentemoller

Just followed by the dreamy Shades of Marble that immediately makes you wave into another world. The beautiful female voice of Marie Fisker gets a first impressive appearance in the much acclaimed and countlessly remixed …Even Though You’re With Another Girl. Although you might know his songs from the record, but this is a whole new experience. All tracks have been recomposed for the live version and get a different edge, more drive, more details, more passion.

anders trentemoller

anders trentemoller

Sycamore Feeling is another standing out track with a new up-tempo 8-minute interpretation making the crowd dance. Well the crowd, being always an important element in live records, is very well integrated here. Whereas some live records suffer from too loud noises from the people, or only some applause at the end of the song, this fits perfectly here. The excitement of the people is part of the songs and very well adds to the overall mood.

Besides the massive walls and the dancing beats, there is also much room for the calm and emotional moments, where the band shows it’s feeling for the fragile details. The always gorgeousMiss You turns blissful chime bells into a monster for the most dramatic scene in a movie still to be made. Over all TRENTEMØLLER set a trend in electronic music which is manifested with this live document even more. Many artists follow his path to move away from digital sounds but reproduce and elaborate their studio works in live band versions that opened up a whole new genre. Very much in a band tradition, this approach is even widened here and gives the artist the opportunity to connect digital and analogue sounds to a complex texture of music. This is far from being ‘just’ techno, electronica or wave – it is something completely unique.


The third studio album is already in preparation for September with a single coming in May. So no time to rest for TRENTEMØLLER fans, also because there are many chances this summer to grab the Danish wizard in live shows, besides his DEPECHE MODE slot. Live In Copenhagen is an impressive statement from one of contemporary music’s most interesting characters.


Artist : Trentemøller
Title : Live in Copenhagen (Special Edition)
Label : In My Room
Genre : Electronic
Date : 00-04-2013
Quality : 256 kbps
Source : CDDA

Tracklist :

01. The Mash And The Fury (Live In Copenhagen) 10:56
02. Shades Of Marble (Live In Copenhagen) 8:12
03. …Even Though You’re With Another Girl (Live In Copenhagen) 4:54
04. Past The Beginning Of The End (Live In Copenhagen) 6:26
05. Vamp (Live In Copenhagen) 4:12
06. Sycamore Feeling (Live In Copenhagen) 7:48
07. Miss You (Live In Copenhagen) 6:08
08. Moan (Live In Copenhagen) 9:47
09. Silver Surfer, Ghost Rider Go!!! (Live In Copenhagen) 7:43
10. My Dreams 4:47
11. My Dreams (Acoustic Version) 3:47
12. Blue Motel  Go further →


The Danish Anders Trentemøller since publication of second album ‘Into The Great Wide Yonder’ on his own label In My Rooms (hfn Music) in 2010 has been touring with his live show around the world, this macro-tour ended last November with two nights in a row in his hometown of Copenhagen, and the last show was recorded audio and video to be published exclusively on iTunes, with special mastered for the iTunes format and available in 2 versions the same, the great and wonderful concert consists of 10 tracks, and as recent bonus track ‘My Dreams’ (origianl and acoustic) and the version of ‘Blue Hotel’, and another special edition with the bonus album composed 12 remixes by various producers have been performed Trentemøller songs. Accompanied all for now with the video of the live version of ‘Shades Of Marble (Live in Copenhagen)’ and later this month will be released on video ‘Past the Beginning of the End (Live in Copenhagen)’. Great live versions of this great producer with a sound very unique and special, with that mixture of electronic and traditional elements with an epic result in all of them. And by the end of May, Trentemøller has announced the release of their next single, advancing their anticipated new album, to be released in September.



RAIMON PANIKKAR tra memoria e progetto 3ª giornata panikkariana La fonte originaria

maggio 13th, 2013

 Raimundo Pániker Alemany

Raimundo Pániker Alemany


Associazione Gocce d’Amore Universale
Club UNESCO Venezia
Centro Studi Maitreya
Assessorato Politiche Giovanili e Pace


tra memoria e progetto

3ª giornata panikkariana
La fonte originaria
coordinamento Daniele Spero


Antica Scuola dei Laneri, Venezia
ore 9:30 – 10:30: celebrazione liturgia eucaristica, Cripta della Chiesa dei Tolentini

sessione mattutina ore 10:45 – 13:30:

Patrizia Gioia: Achille Rossi, Riflessi. L’amicizia con Raimon Panikkare Pluralismo e armonia. Introduzione al pensiero di Raimon Panikkar
video: Incontro con Raimon Panikkar di Achille Rossi presentato da Patrizia Gioia
Aldo Natale Terrin & Paolo Calabrò, Le cose si toccano. Raimon Panikkar e le scienze moderne e Raimon PankkarH. Peter Dürr, L’amore fonte originaria dell’universo. Un dialogo su scienza della natura e religione
Marco Dal Corso: M. Vigil José -Marcelo Barros- Raimon Panikkar, Per i molti cammini di Dio. Vol. 5: Verso una teologia pluralista, interreligiosa, laica, planetaria

sessione pomeridiana ore 15:00 – 18:00:

video: Il dono del perdono di p. Quirino presentato da Daniele Spero
Giuseppe Goisis & Luciano Mazzoni Benoni, Meditare con Raimon Panikkar. Come presi per mano
Gabriele Gastaldello: Maciej Bielawski, Panikkar. Un uomo e il suo pensiero
video: Battiato intervista Panikkar di Franco Battiato presentato da Stefano Meneghetti

ore 18:00 – 19:00 lettura: La tragedia del grande inquisitore di R. Panikkar con Maria Pia Colonnello

Dopo le prime due giornate panikkariane dedicate alla testimonianza degli amici che hanno condiviso l’esperienza della loro conoscenza diretta con il maestro e della sua opera, attraverso le uscite dell’Opera omnia che sta in questi anni vedendo la luce, la terza giornata vuole dare voce anche ad alcuni degli autori che hanno cercato di condensare nella scrittura parte di quel tesoro prezioso che è stato per loro l’insegnamento vivo del grande pensatore catalano riuscendo così a farlo diventare patrimonio comune. La fonte originaria è la sorgente dell’Universo che per Panikkar è l’Amore divino, “tutto in questo mondo partecipa dell’Amore” dice il fisico Dürr dialogando con lui, ma per noi è anche la fonte del suo pensiero a cui ogni autore è risalito per trasmettere l’essenza dell’insegnamento ricevuto, per ognuno diversa eppure uguale: la fonte è prima di tutto dentro di noi, “la fonte originaria è in noi”.
Raimon Panikkar è stato filosofo, sacerdote cattolico, teologo e scienziato, di origini paterne indiane hindū e materne catalane cristiano-cattoliche, autore di circa sessanta libri e diverse centinaia di articoli, la cui Opera Omnia è in via di pubblicazione. Il suo pensiero rappresenta un punto di riferimento fondamentale per l’incontro e il dialogo tra Oriente e Occidente, invitando al superamento della contrapposizione tra filosofia, scienza e teologia. La profonda vocazione di Panikkar è stata sviluppare le potenzialità interiori dell’uomo fino alla pienezza spirituale, in una costante ricerca dell’armonia: “La mia grande aspirazione era ed è abbracciare o, ancor meglio, arrivare ad essere, a vivere, la realtà in tutta la sua pienezza”. “Tutto quello che abbiamo ricevuto, la vita, la cultura, non è nostro, possiamo solo condividerlo per contribuire alla creazione continua”.
[biografia completa nel sito ufficiale: raimon-panikkar.org/index.html]


Achille Rossi, Riflessi (L’altrapagina 2012): queste pagine raccolgono e raccontano frammenti di vita di Raimon Panikkar che gettano un po’ di luce su una personalità complessa, che si può intuire indirettamente dai riflessi che emergono nell’agire e nel parlare quotidiano. Non tesi o discussioni, ma semplicemente riflessi.
Achille Rossi, Pluralismo e armonia. Introduzione al pensiero di Raimon Panikkar (Cittadella 2011): la situazione contemporanea, contrassegnata da un pluralismo di culture, filosofie, stili di vita, rende il cammino verso l’armonia più urgente che mai, se non ci si vuol accontentare della rigidità di un sistema unico o della dispersione in mille esperienze frammentarie. Raimon Panikkar, filosofo indù-spagnolo, che porta iscritta perfino nel suo patrimonio biologico la doppia appartenenza all’Oriente e all’Occidente, è uno dei pensatori che ha fatto della lotta per integrare le molteplici dimensioni della realtà non solo un impegno esistenziale, ma il nodo centrale del suo lavoro teoretico. Egli vorrebbe aprire la strada agli uomini di oggi verso una esperienza globale che ricolleghi le dimensioni del Divino, dell’umano e del cosmico.
Paolo Calabrò, Le cose si toccano. Raimon Panikkar e le scienze moderne (Diabasis 2011): la materia è libera. Il mondo ha una coscienza. Il pensiero modifica il pensato. Il tutto è maggiore della somma delle parti. Le teorie di Raimon Panikkar, filosofo catalano che ha dedicato la vita all’incontro tra i saperi, possono talvolta sembrare lontane dalla tradizione metafisica e scientifica dell’Occidente. Eppure, a guardare le cose più da vicino, si scopre che alcune intuizioni scientifiche, dalla meccanica quantistica alla teoria del caos, mostrano una sorprendente affinità con il pensiero di Panikkar ed una medesima sensibilità ai temi dell’unità e della continuità del reale. Nella visione di Panikkar le culture si ritrovano nella comune opera di condurre alla conoscenza delle cose, ad una maggiore consapevolezza di sé, all’armonia con il cosmo; la fisica e la filosofia convergono nel sostenere che la “cosa in sé” non esiste, ma soprattutto che non ve n’è alcun bisogno. La verità è che la realtà è la trama delle relazioni che legano ogni cosa ad ogni altra. Non esistono cesure. Le cose si toccano.
Hans-Peter DürrRaimon Panikkar, L’amore fonte originaria dell’universo. Un dialogo su scienza della natura e religione (La Parola 2011): basta la scienza della natura a comprendere il mondo? O è necessario indagare la sua disposizione spirituale per arrivare ad una visione più profonda della vita e della realtà? Il famoso fisico quantistico Hans-Peter Dürr e il noto filosofo della religione Raimon Panikkar si interrogano su ciò che le scienze della natura e la religione hanno in comune e ciò che le divide.
Maciej Bielawski, Panikkar. Un uomo e il suo pensiero (Fazi 2013):immergersi nella biografia di Raimon Panikkar (1918-2010) è come aprire una finestra su quelle che saranno le vite degli uomini di domani. Nato a Barcellona da madre catalana e padre hindu, Panikkar è stato chimico, filosofo, teologo, numerario dell’Opus Dei, sacerdote cattolico, docente universitario, marito, scrittore, ma anche amico, “maestro”, “profeta” e molto altro ancora. Vestito all’europea o in sandali e dhoti, a Bonn, Roma, Varanasi, Santa Barbara o Tavertet, quest’uomo ha penetrato la saggezza di culture e religioni diverse e ha saputo gettare un nuovo sguardo sulla tradizione cristiana e occidentale. La figura di Panikkar appartiene oggi alla leggenda, alimentata in parte da lui stesso, in parte “dilatata, rafforzata e diffusa da tutti quelli che l’hanno conosciuto”. Bielawski la riprende con dedizione e rispetto, prova a distillare l’uomo dal “mito” raccontandone la vita e presentando il suo pensiero. In questo viaggio incontriamo teorie ardite, come la visione cosmoteandrica o advaitica, e riflessioni sulla secolarità sacra, sul buddhismo e sulla trinità radicale. Passo dopo passo, il percorso apparentemente erratico del filosofo di Tavertet rivela una profonda coerenza, poiché l’apertura universale, la fiducia cosmica, la passione per Cristo e una coraggiosa ricerca della libertà fanno da filo rosso. Bielawski individua il senso di questo cammino unico e ci guida con trasporto nel “labirinto” Panikkar.
Luciano Mazzoni Benoni, Meditare con Raimon Panikkar. Come presi per mano (Gabrielli 2012): i dualismi e i mali che affliggono l’umanità contemporanea vengono assunti nella riflessione di Raimon Panikkar e proiettati su uno sfondo interculturale, in grado di leggerli e di risolverli secondo l’ottica sapienziale. Grazie ad una rara abilità nello studio delle culture e nell’utilizzo dei linguaggi, la sua visione ricompone i tanti frammenti di questo tempo, legando Oriente e Occidente secondo un nuovo paradigma universalistico. Anche la sua è una via che incontra il Cristo, mentre abbraccia altre tradizioni spirituali. Il sussidio, avvalendosi dell’intera opera di Panikkar, ne raccoglie l’intento pedagogico e ne ricava un “novenario”: nove tappe di un percorso di conversione che riassumono la lezione spirituale di questo grande mistico del nostro tempo. Grazie a questo itinerario iniziatico, orientato alla scoperta del “Sé cosmico”, si ricongiungono la dimensione dello studio e quello della meditazione, della preghiera e del rito, offrendo la possibilità di nuove combinazioni creative, in chiave interculturale e interreligiosa, vivamente auspicate da Panikkar.
M. Vigil JoséMarcelo Barros - Raimon Panikkar, Per i molti cammini di Dio. Vol. 5: Verso una teologia pluralista, interreligiosa, laica, planetaria (Pazzini 2012): l’itinerario storico teologico che i precedenti volumi della serie Per i molti cammini di Dio ci hanno fatto percorrere, ha messo davanti ai nostri occhi, per un lato, la profonda evoluzione che la teologia ha sperimentato negli ultimi tempi al ritmo del suo incontro con le altre religioni e, dall’altra parte, ci fanno sospettare che questa evoluzione non è conclusa, anzi, piuttosto, nuove e profonde trasformazioni spettano alla teologia nel futuro. È l’evoluzione stessa della società e dell’umanità globali ciò che sta alimentando questa trasformazione incessante della teologia.
Raimon Panikkar, La tragedia del grande inquisitore (MC 2008): a Siviglia, nel tempo del massimo potere dell’Inquisizione, il giorno dopo un autodafé, Gesù appare a una grande moltitudine raccolta nella piazza della cattedrale e viene imprigionato. Il Grande Inquisitore entra nella cella e lì si svolge il dialogo creato da Fëdor Dostoevskij nella Leggenda del grande inquisitore inserita ne I fratelli Karamazov. Sono passati altri cinque secoli, sono avvenuti molti cambiamenti e Raimon Panikkar immagina un seguito della Leggenda e una appassionata quanto aperta conclusione. All’Inquisitore si annuncia improvvisamente una rivelazione: la possibilità di “non uccidere il padre”, di non opporre al male un “bene armato”. Una possibilità che è data all’uomo, che fa parte della sua libertà. Interrompere la catena; stare dalla parte delle vittime dell’ingiustizia senza diventare carnefici o comunque “armati” di potere. Un racconto che tocca i temi cruciali del potere della Chiesa e della libertà dell’uomo.

Indicazioni logistiche:

Salizada San Pantalon, Rio del Gaffaro, Santa Croce 131/A, Venezia
La Scuola dei Laneri si trova in Google Maps (cerca “Antica Scuola Laneri Venezia”).
Dalla Ferrovia si raggiunge attraverso il Ponte degli Scalzi e poi a destra sempre seguendo l’acqua sulle rive e senza mai fare altri ponti: quindi al primo ponte svoltare a sinistra e poi passando davanti allo IUAV* lungo le Fondamenta dei Tolentini e poi Minotto a sinistra (15’).
Da P.le Roma attraverso i Giardini e il Ponte Papadopoli poi a destra lungo le Fondamenta dei Tolentini e poi Minotto a sinistra (5’).
Da San Tomà a sinistra per il Ponte, la Fondamenta e la Calle de la Frescada, poi percorrendo tutta Calle Crosera oltre il Ponte Vinanti a destra (10’).


Fondamenta dei Tolentini, Santa Croce, Venezia
La Chiesa dei Tolentini si trova in Google Maps (cerca “San Nicola Tolentino Venezia”).
Dalla Ferrovia si raggiunge attraverso il Ponte degli Scalzi e poi a destra sempre seguendo l’acqua sulle rive e senza mai fare altri ponti: quindi al primo ponte svoltare a sinistra e poi passando davanti allo IUAV subito a sinistra (10’).
Da P.le Roma attraverso i Giardini e il Ponte Papadopoli poi a destra sulla Fondamenta dei Tolentini e subito a sinistra (2’).
Da San Tomà a sinistra per il Ponte, la Fondamenta e la Calle de la Frescada, poi percorrendo tutta Calle Crosera oltre il Ponte Vinanti passando davanti alla Scuola dei Laneri arrivare alla fine della Fondamenta Minotto e poi a destra lungo la Fondamenta dei Tolentini fino alla chiesa a destra (15’).
*[IUAV = Istituto Universitario Architettura Venezia]
Scansione tempi:
9:30 – 10:30 celebrazione liturgica eucar. 15:00 – 15:10 introduzione D. Spero
10:30 – 10:45 trasferimento 15:10 – 16:10 video p. Quirino
10:45 – 11:00 introduzione D. Spero 16:10 – 16:50 G. Goisis e L. Mazzoni Benoni
11:00 – 11:30 P. Gioia 16:50 – 17:10 G. Gastaldello
11:30 – 12:00 video A. Rossi 17:10 – 17:20 S. Meneghetti
12:00 – 12:40 A. N. Terrin e P. Calabrò 17:20 – 17:30 video Franco Battiato
12:40 – 13:00 M. Dal Corso 17:30 – 17:40 pausa
13:00 – 13:30 dibattito 17:40 – 18:00 dibattito
13:30 – 15:00 pausa pranzo 18:00 – 19:00 La tragedia del grande inquisitore


maggio 6th, 2013




mi voglio comprare

una strada in montagna

una casa no

una strada

li ci andrò

tutte le domeniche

con la corriera

tutte le domeniche andrò

nella mia strada in montagna

farò amicizia con gli scoiattoli

porterò loro delle paste secche

andrò su e giù per la mia strada

su e giù, su e giù, su e giù




finché non mi faran male i piedi

poi, mi siederò in mezzo

sicuro di non essere messo sotto dalle auto

poiché la strada è mia


e le macchine non possono

darò alla mia strada un nome

tipo strada villanzona

o strada pannocchia

o strada dei gatti pezzenti

o strada montana catalana

o strada buiosa

e ci porterò la mia fidanzata

per baciarci

e farci all’amore

le mostrerò la vista sulle valli

e se lei vorrà

potrà pattinare sulla mia strada

coi pattini a rotelle

di notte accenderò le torce

per fare un po’ di luce

e canterò a squarciagola


l    e canzoni che so

e se gli scoiattoli vorranno

potranno unirsi a me


non berrò vino né mi drogherò

poiché voglio essere lucido

semmai danzerò fino allo stremo

per poi cadere esausto e contento

non ci saran dazi da pagare

per passare sulla mia strada

basterà sapere la parola d’ordine

e la parola sarà: “posso passare?”

mi comprerò una strada in montagna

non mi servono muri, soffitti o cessi

pisciare, piscerò nell’erba

mi piace pensare che voi mi capiate

sennò non è lo stesso

quindi sforzatevi

Wisława Szymborska

febbraio 17th, 2013

Nella moltitudine di

Wislawa Szymborska


Wisława Szymborska 04 Wisława Szymborska 03 Wisława Szymborska 02 szymborska_wislawa

Sono quella che sono.

Un caso inconcepibile
come ogni caso.

In fondo avrei potuto avere
altri antenati,
e così avrei preso il volo
da un altro nido,
così da sotto un altro tronco
sarei strisciata fuori in squame.

Nel guardaroba della natura
c’è un mucchio di costumi:
ragno, gabbiano, topo di campagna.
Ognuno va subito a pennello
ed è portato docilmente
finché si consuma.

Anch’io non ho scelto,
ma non mi lamento.
Potevo essere qualcuno 
molto meno a parte.
Qualcuno d’un formicaio, banco, sciame ronzante,
una scheggia di paesaggio sbattuta dal vento.

Qualcuno molto meno fortunato,
allevato per farne una pelliccia, 
per il pranzo della festa,
qualcosa che nuota sotto un vetrino.


        Un albero conficcato nella terra, 
        a cui si avvicina un incendio.

        Un filo d’erba calpestato
        dal corso di incomprensibili eventi.

        Uno nato sotto una cattiva stella,
        buona per altri.

        E se nella gente destassi spavento,
        o solo avversione,
        o solo pietà?

        Se al mondo fossi venuta
        nella tribù sbagliata
        e avessi tutte le strade precluse?


        La sorte, finora,
        mi è stata benigna.

        Poteva non essermi dato
        il ricordo dei momenti lieti.

        Poteva essermi tolta
        l’inclinazione a confrontare.

        Potevo essere me stessa – ma senza stupore,

        e ciò vorrebbe dire
        qualcuno di totalmente diverso.



febbraio 4th, 2013

Samba Reggae


Musica speziata, intima, allegra. Da sentire ;-)
Spicy, intimate, cheerful music. Very Good!
تند، صمیمی، موسیقی شاد. بسیار خوب!
، حار حميم، والموسيقى البهجة. جيد جدا!
épicé, intime, une musique gaie. Une grande musique!




Coup de Force è su iTune


Musica dei Samba Reggae
Grafica di Stefano Meneghetti
Foto di Tomas Teneketzis

Coup de Force is on iTune

Music of Samba Reggae
Graphic by Stefano Meneghetti
Photo of Tomas Teneketzis

Coup de force est sur iTune

Musique de Samba Reggae
Graphique par Stefano Meneghetti
Photo de Tomas Teneketzis


Product Details

  • Original Release Date: January 16, 2013
  • Label: Samba Reggae
  • Copyright: (p) SambaReggae
  • Total Length: 38:27
  • Genres: International






dicembre 21st, 2012

Luke Skywalker: Oh, no! Ora non la tireremo più fuori!
Yoda: Così sicuro sei tu. Sempre per te non può essere fatto. Tu non senti ciò che dico!


Luke Skywalker: Maestro, spostare delle pietre è una cosa: questo è del tutto diverso!
Yoda: No! Non diverso! Solo diverso in tua mente. Devi disimparare ciò che hai imparato.
Luke Skywalker: D’accordo, ci proverò.
Yoda: No! Provare no. Fare! O non fare. Non c’è provare!
[Luke cerca di tirar fuori la navicella dalla melma, ma senza successo]
Luke Skywalker: Non ci riesco, è troppo grossa!
Yoda: La grandezza non conta. Guarda me, giudichi forse me dalla grandezza? Non dovresti farlo infatti, perché mio alleato è la Forza, ed un potente alleato essa è! La vita essa crea ed accresce, la sua energia ci circonda e ci lega; illuminati noi siamo, non questa materia grezza! Tu devi sentire la Forza intorno a te, qui, tra te, me, l’albero, la pietra, dovunque! Sì, anche tra la terra e la nave.
Luke Skywalker: Tu vuoi l’impossibile! [Yoda riesce a tirare fuori la navetta] Non posso crederci!
Yoda: Ecco perché hai fallito.

Felicity Festival urges citizens to care about urban issues: secretary

settembre 19th, 2012


The secretary of the FeliCity Festival 2010 Stefano Meneghetti has said that the event is inspiring for the city dwellers and urges them to care about urban issues.

He made the remarks during the opening ceremony of an exhibition of posters by forty finalists of the Italian festival at the Iranian Artists Forum in Tehran on Saturday.
The FeliCity Festival was held with the motto of “Change your city, change your life” in Venice in October 2010.
“Such exhibitions attract the attention of graphic designers as well as city dwellers to the daily urban problems,” Meneghetti mentioned during the ceremony.
The festival selected the motto “Change your city, change your life” to remind that many problems in the cities are solvable, he added.
He mentioned that although graphic art cannot save the world, it can help with changing the present situation in cities.
“Although the exhibition does not solve the problems in cities, it affects the minds of citizens on how to solve some of the problems in their cities,” he remarked.
He said that posters created by Iranian graphic designers not only have technical and aesthetic qualities but also convey notable cultural messages in international festivals.
Then, he explained about the posters that are on display at the showcase and interpreted some of them.
The exhibit has been organized by the Environment and Sustainable Development Office of the Tehran Municipality to get people to recognize the importance of the motto.
The FeliCity Festival aims to express, manifest, symbolize and imagine solutions for a better city capable of improving the lifestyle of its inhabitants.
The exhibit runs until September 20 at the gallery inside the Iranian Artists Forum located on Musavi St., Taleqani Ave.