writers connection

peace to all friends everywhere

info:

http://sp1200.myfastforum.org/index.php  

http://sp1200.myfastforum.org/sutra5017.php#5017 

http://dxarmy.com/ 

"FREEZE" DVD – DJ Shadow & Cut Chemist

http://v.youku.com/v_show/id_XNzQ4MTE2MjA=.html 

clicca sul link per vedere il video

8 maggio 2009

Artificial Kid numero 47: Danno,  Stabbyoboy, Craim

special guest: Clementino 

@ 1.00 am start D&B session: Shinjin + Danex

LIVE @ Viper Theatre – via Pistoiese / via Lombardia – Le Piagge 50145 Firenze

apertura ore 22.00; ingresso 5 euro 

clicca per ingrandire 

foto di F. Fiorentini – clicca per ingrandire

Ieri mi sono accattato il controller midi Akai MPD24. Ho avuto il tempo di provarlo poco per il momento ma mi sembra ottimo. Le pad stile MPC sono molto sensibili sia alla velocità che alla pressione e molto intuitive da usare, per me che sono abituato a picchiare sui tasti della SP1200, le pad sono anche troppo sensibili, ma è tutta questione di abitudine e di esercizio. Ho testato la superficie di controllo via midi con la SP1200 e con l’Akai s950 e tutti e due rispondono perfettamente ai comandi del  controller. Devo ancora installare il software fornito con la macchina e collegarla con il mio vecchio PC laptop toshiba, ma per adesso mi sto scialando già così. La SP1200 ha delle pad che sono grandi più o meno la metà di quelle dell’MPD quindi a volte puo’ essere difficile fare dei passaggi veloci che con il controller in questione invece riescono più che bene.
Prossimamente caricherò dei nuovi loop e beat che sto mettendo insieme in questi ultimi giorni.

Miccia at da controlz – foto: THX (2009)

Un saluto a Nome e a tutta la banda dei Looperatoritaliani: loop a nastro!!!

link: http://www.akaipro.com/mpd24 

nuovo looper "per li Looperatori di poche fotte, come diceva Brancaleone da Norcia"
(citato da Ipsilon nel forum dei Looperatoritaliani) 

looperscale.zip — beats di Ipsilon:

 looperscale.zip         24-Apr-2009 12:30   39M  

clicca
sul link per iniziare il download delll’archivio contenente il looper
in versione .exe ed .swf (per pc , mac e chi più ne ha più ne metta)

immagine da wikipedia: Vittorio Gassman è Brancaleone da Norcia

listone looper Looperatoritaliani:

http://www.djbla.com/music/looper/listone.html

listone swf — http://www.autistici.org/2000-maniax/looper/looperatoritaliani%20swf%20philes/

Comunicato stampa
Con gentile preghiera di stampa e diffusione

Scandicci Cultura, SWITCH – creative social network, Cooperativa CAT
e Consorzio Metropoli presentano:

Venerdi’  17 aprile 2009
ENCOUNTEERS presenta: THX 1138 Live + MAX EXPO dj set
GINGER ZONE  – P.zza Togliatti – Scandicci (FI)
Ingresso libero –  inizio ore 22:00.  Info: 055/2593933 –  http://www.gingerzone.net

Venerdi’ 17 è la volta del primo appuntamento con Encounteers, la
nuova serata del Ginger Zone  dedicata ai territori di confine
dell’elettronica. In questa occasione due artisti si confrontano tra
loro cercando un dialogo possibile tra i territori della dance e
della sperimentazione. Ospiti della serata THX 1138, con la sua
alchimia live tra electro e scratch e Max Expo (dj set).

Biografia THX 1138
THX 1138 propone un live set che mescola suggestioni analogiche
utilizzando vecchie drum machine, campionatori e i classici
Technics 1200, per entusiasmanti scratch sessions, arrivando a una
sintesi di moderna urban music partendo dalla old school hip hop.
Classe 1971, attivo nella scena fiorentina dal 1994, ha collaborato
con molti progetti negli ambiti della musica e delle arti visive:
Writers Connection Crew (aerosol art, graffiti writing), Looperatoritaliani (loops, beats), Burp Enterprise (dj sets, live sets, produzioni, comix), Officine Cinematografiche
(proiezioni e sonorizzazioni dal vivo di film classici del cinema
muto su pellicole cinematografiche 16mm e 35mm), 2000 Maniax
(videoarte, net label), Flex (galleria d’arte virtuale).

Biografia MAX EXPO
La passione musicale di Max nasce a 13 anni. Già a 16 anni suona in
un gruppo rock metal,a 19 inizia a fare i primi passi nelle
discoteche come pr; successivamente come dj inizia a suonare nei
pub di firenze. Nel suo percorso riesce a suonare, avvicendandosi
alla console, con Ewan Pearson, Marc ashken, Andomat 3000 e nel
2008 con Zappalà, Supernova, Presslab boys ,Krakatoa,  Samuel &
Pisti. Ha proposto la sua sapiente selezione Tech House in molti
locali di Firenze e in alcune storiche location quali la 72 ore alle
Cascine e L’Elettro +, sino ad arrivare alle recenti esibizioni al
Viper.

Prosegue  la mostra che vede  Genova e suoi “caruggi” protagonisti
al Ginger Zone di Scandicci. In esposizione fino al 20 aprile le
tavole originali del volume Reperto 24, disegnato da Alberto
Valgimigli  con i testi di Fabio Chinca (AKA Glasnost di Assalti
Frontali). Maggiori informazioni su http://www.gingerzone.net.

Il programma completo del Ginger Zone, lo spazio culturale del
Comune di Scandicci la cui programmazione è curata da SWITCH-
creative social network, è disponibile sul sito http://www.gingerzone.net.
Lo spazio è aperto tutti i pomeriggi dal martedì al venerdì con
Internet Point e con il punto informativo Ecoazione (sportello sulle
pratiche ecosostenibili) il martedì e il giovedì.

Switch – Creative Social Network Press Office | Lorenzo Migno |
tel. +39 339 4736584

info Looperatoritaliani:

nuovi looper dei Looperatoritaliani (archivio zip contenente versione .swf ed .exe):

Facciamolo — http://www.djbla.com/music/facciamolo.zip

3 — http://www.djbla.com/music/3.zip

listone completo looper Looperatoritaliani:

http://www.djbla.com/music/looper/listone.html

maispeis:

http://www.myspace.com/looperatoritaliani

listone swf — http://www.autistici.org/2000-maniax/looper/looperatoritaliani%20swf%20philes/

 dj uzi - funk_mixtap..> 15-Apr-2009 12:58   14M  

http://noblogs.org/flash/mp3player/mp3player.swf
 

Chronicler of the Furtive Arts

Kirsten Luce for The New York Times

Martha Cooper
More Photos >

THE young man
had been painting all night, in the dark, wedged between two subway
trains at the New Lots Avenue railyard in Brooklyn. One hand held an
aerosol can; the other was braced against a metal door.

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Multimedia

Slide Show

Chronicler of the Furtive Arts

The City

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Enlarge This Image

Tony Cenicola/The New York Times

Ms. Cooper’s most recent book is "Going Postal" shows how artists have
applied their logos, "tags" and images on postal stickers affixed to
mailboxes and parking meters. It is "a sign of how graffiti has
progressed and endured," Ms. Cooper says. More Photos »

First
came the outline of the nickname his mother had given him, “D-O-N-D-I,”
and then the shadings and shadow lettering that gave his “piece” its
three-dimensional look. Taxicab yellow, delta blue, orange, pink — the
air was toxic with Krylon. It was sunrise when the painter — and Martha Cooper, the photographer recording his pulsing, illicit art — finished work.

In
the 1970s, Donald White, or “Dondi,” a graffiti writer from East New
York, helped spawn an urban art movement that flourished across five
continents. Ms. Cooper, working for The New York Post, was on its front
lines, documenting the artists who labored in the city’s shadows.

The 1984 book “Subway Art,” Ms. Cooper’s collaboration with Henry Chalfant,
a photographer and filmmaker, captured graffiti’s golden and assaultive
years. It sold half a million copies, becoming the movement’s bible —
and epitaph. But the best of the trains live on, in an updated,
large-format 25th-anniversary edition, to be published next month by
Chronicle Books.

Kodakgirl, as Ms.
Cooper is known to the city’s B-boys and B-girls, has left her own
indelible mark on New York as an obsessive observer of vernacular art
and architecture. She has been taking photographs since age 5, when her
father, the owner of a Baltimore camera shop, gave her a Brownie
camera. She is currently director of photography at City Lore, a center
for urban culture.

She has also
contributed to more than a dozen books, capturing the indomitable
spirit of city youth. Her most recent book, “Going Postal,” published
in December, follows street artists into their new public terrain:
freely accessible postal express stickers, used as a backdrop for their
painting and “delivered” on newspaper boxes and parking meters. She
calls them “a gift to the city.”

An
Upper West Side resident since 1975, Ms. Cooper, 66, lives with her cat
and the clutter of collections: milagros, postal stickers, thousands of
early snapshots of women with cameras and limited-edition Adidas
“Superstar Expression” sneakers commemorating Lee Quiñones, an
influential artist of the subway graffiti movement. They are a gift
from the artist, dedicated “to that special K-girl.” BARBARA GRAUSTARK

•

There was a poem on one of my favorite subway trains. Lee Quiñones painted it.

There was once a time

When the Lexington was a beautiful line

When children of the ghetto expressed with art, not with crime.

But then as evolution passed,

The Transit’s buffing did its blast.

Now the trains look like rusted trash.

Now we wonder if graffiti will ever last.

Well, it did not last
on the city’s trains, except in photographs. And that is one reason I
photograph what I do. I’m not about “art,” or perfect lighting. I’m
more like, “Let’s preserve this.”

My father had a camera store,
and his idea was to go out and look for a picture. He would take me on
what he called camera runs with the Baltimore camera club. You walk
down the street and you see something and you’re excited by it. And you
take a picture.

In Haiti, I had seen kids making toy cars out of
tin cans. And I thought, wow! They made the string from the stems of
plants, the tires, everything. So I began looking for creative forms of
play here.

I really wasn’t looking at graffiti. I collected the planes and a go-kart made from police barricades and had an exhibit at the Museum of the City of New York.

While
doing that project, this boy showed me his book with designs for his
name — He3 — to put on a wall. And he said, Why don’t you take pictures
of graffiti?

I didn’t get it. It was mysterious and illegible
to me. So that was the “Aha” moment — when I recognized that He3 was
really a graphic designer, designing his personal logo. There had been
writing on public walls in Philadelphia in the ’60s, but these kids
were pushing style to such great lengths. It was all about the way the
letters hook up and overlap.

I still can’t read graffiti, though.

Edwin
Serrano, who was He3 — unfortunately, he’s been in and out of prison
for 16 years — said, I can introduce you to a king. The king was Dondi,
who became my mentor.

So we go in my car to East New York, a
wasteland, and knocked on Dondi’s door. He said, “You’re Martha
Cooper?” He had a New York Post picture I had taken of a little girl on
a swing. And behind the swing, in the background, was one of what he
called his throw-ups — his graffiti.

I spent time in his room
while the guys designed their pieces. Nothing was accidental, because
the trains were parked so close together, you couldn’t stand back and
see what it looked like. They had to memorize the colors. Then they
would photograph their own trains.

As soon as I showed them I could bring them back better pictures,
we would get calls, “Yo, Martha, we did a train on this line.” And the
next morning, Henry Chalfant and I would run and try to catch it,
because they didn’t last long.

They knew every color, what was “wak” — out of whack, not right —
and what was a burner — a winner. They had a whole system of
aesthetics. I came to realize what it took to get the right colors, to
plan the piece, to steal the paint, to get into the yard. For anybody
who thinks it’s only vandalism, it’s so way more than that.

Nobody wanted to touch this
vandalism stuff. Remember what the insides of the trains were like?
Unbelievable, 1977, the Bronx was burning down. No one really wanted to
write that graffiti was an interesting thing. Once it moved into the
galleries, it lost something for me. The artists deserve to make money,
but I don’t want to shoot something that’s done with permission. It’s
an outlaw art. That’s what makes it thrilling.

I’m a bit jaded
now about the big walls. I’m not crazy about having street art in my
face. I like to discover things. So when you find a little postal
sticker on a mailbox, it’s just more exciting for me. “Going Postal” is
about modern logos on postal stickers, a sign of how graffiti has
progressed and endured.

I left Baltimore at 16 for college, the Peace Corps,
a job at Yale in the anthropology museum — I never came back. But in
2006 I bought a row house there, in the neighborhood of “The Wire,” a
tough neighborhood a few blocks from where my great-grandparents
settled from Eastern Europe. It’s nice to have that connection again.
For a new project, I’m trying to capture a sense of community there,
how people have survived poverty. I just walk, I take pictures, I go
back and knock on people’s doors and give them the pictures.

There
are three crab houses, and on a warm day in March, a family had set up
a table and were having a feast on the streets. People have backyards,
but the sidewalks are rich with community activities, rich with photo
opportunities. I’m going back to give them these pictures, say, Hi,
remember me? And they’ll be very happy.

Subway Art interview video: