domenica 23 ottobre 2016
Au Travers Le Vides
Cette musique partecipe à plusieurs des
dimensiones, sans limites d’espace ou de temp, ou de matiére. Tu l’as
entendu parce que tu l’as dejà ecoutée avec ton coeur, tu es la derniere de
nous, nous te cherchaient, et la musique etait ton rappel.
giovedì 14 aprile 2016
IL SUO CAMMINO ] HER PATH [
________
Lei non ha nome, perchè può essere tua figlia, tua nipote,
tua cugina, potresti addirittura essere tu, il tuo vero io. Lei è una bambina e
in quanto tale è sacra e deve essere rispettata e protetta. Potrebbe essere la
tua anima, e forse è la nostra anima immortale. E questa è la storia che lei ha
vissuto in un momento nelle nostre vite, possiamo decidere di non lasciarci
toccare dalla sua storia, possiamo decidere di non leggerla o ascoltarla, ma in
questo modo perderemmo qualcosa..
Come molti bambini spesso lei si trova a giocare fuori, nel
giardino dietro casa di qualche parente, nel vicolo del vicinato, o vicino il
bosco che circonda la casa dei nonni. Molte volte lei fa sempre la stessa cosa,
fugge da dove si trova con quella fantasia selvaggia che i bambini conoscono
bene, scoprendo e comprendendo realtà inconoscibili ai più. Molte volte si
ritrova ad ascoltare una musica distante da luoghi dove non è mai stata, io
scrivo musica perché lei l’ascolta come fosse musica, ma ad essere sinceri è
più che altro rumore, forse c’è del ritmo, ma sono solo rumori. E nella sua
abilità di lasciarsi andare lei ascolta la musica di quei rumori da luoghi
lontani, e ad un certo punto lei ci canta pure sopra.
Ad un certo punto lei comincia a vedere il mondo intorno a
se in modo diverso, le sembra più colorato, più grande, il profumo nell’aria
diviene visibile come lo sono i colori, e la luce sembra un essere vivente che
scivola nel paesaggio intorno a lei, l’aria si fa pregna di umidità e lei si
scopre ad apprezzarne l’umidità quanto l’aria in sé; e all’apice di questo
cambiamento lei si sente di essere nell’oceano, in qualche tipo di luogo fatato
segreto dove è a casa anche se è un nuovo posto sconosciuto.
Poi avviene che lei cambia dentro e fuori, nuove voci si
uniscono alla sua in testa, voci che non sono voci, sono come sussurri nel cervello
e scopre di essersi sentita sola prima di loro. Inizia ad ascoltare e
comprenderle e per la prima volta nelle sua vita lei inizia a sentirsi non più
come una bambina ma come un essere vivente. Il suo corpo inizia a crescere e
diviene bellissimo perché non solo il suo corpo è il tempio di lei e delle voci
che vi pregano. Alla fine lei non è più,
la bambina non è più la ragazza solitaria, i luoghi segreti dove era solita
giocare non sono più segreti, ma c’è
ancora conoscenza in essi, luoghi sacri che lei ha fatto propri.
E a questo punto lei non c’è più, un nuovo essere vivente
inizia a camminare in luoghi dove i bambini non vengono mai lasciati soli, e
lei sta cercando l’altro prima di tornare in questo mondo, un nuovo essere
vivente come non erano prima, come non lo era nemmeno lei, una persona
completamente differente che attraversa un nuovo e sconosciuto
cammino..
_____
] She has no
name, because she can be your daughter, your nephew, your cousin, she can be
yourself, your true-self. She is a child and as child she is sacred and due she
has to be respected and protected. She can be your soul, and maybe she is our
endless soul. And this is the story she lived at one point in our lives, we can
decide to don’t let us touch by her story, we can decide to don’t read it or
listen up, but we should lose something doing that…
As many
children often she finds herself to play outside, in the garden behind some
family members home, in the backstreet of her neighbor, or near the woods
surrounding the grandparents house. Many times she uses to do always the same
things, escape from she is with the wild fantasy the children know as well,
discovering and understanding realities unknowable to the most. Many times she
finds herself to listen a distant music from places where she never be in, I
wrote a music because she listens it as it be a music, but to be honest it is
mostly like noises, maybe with some rhythm, but noises. And in her ability to
let herself go she listens a music in those noises from outer places, she uses
to sing it at one point.
And at one
point she starts to see in different way the world around her, looks more
colorful, and bigger, the scent in the air became visible as the colors are,
and the light looks like a living being who glide the landscape around her, the
air becomes full of moisture and she discovers herself to appreciate that
moisture as well as the air itself; and at the height of this changelings she
feels as she was in the ocean, in some kind of secret fairy place where she is
at home even is an unknown new place.
Then it
happens, she changes inside and outside as well, new voices join to her in the
head, voices that are no voices, are like whisperings in her brain and she
discover to felt alone before them. She starts to listen and understand them
and for the first time in her life she starts to feel herself no more as a
child but as a living being. Her body starts to grow up and became beautiful
because her body it’s not only her body is the temple of her and the voices use
to pray in it and for it. And at the end she is no more, the child is no more
the lonely girl is no more, the secret places where she used to play are no
secret anymore, but there’s still knowledge in them, sacred places she made
them own self.
And at this
point she is no more, a new living being starts to walk in the places where
children are never let alone, and she is searching the other before her came in
this world, new living being as they weren’t before, as she wasn’t, a
completely new persona walking through a new and unknown new path… [
by Dario Balletta
by Dario Balletta
venerdì 1 aprile 2016
L'eponge Invades a little space at Le Cagibi in Lille France
Painting for the second time on a walls letting flow the strem of the act through my arms and my body, expressing my projects and myself was an exciting experience, I'm happy to did with peoples who appreciated my work and me...
venerdì 4 marzo 2016
venerdì 29 gennaio 2016
INCURSIONS OF L'EPONGE IN THE PLATONIC SOLIDS 2 of 3
AHTH'RHA'
The third visual incursion of L'Eponge in the Platonic solids, we can see the Tetrahedron, the Fire. A visual exclusively incursion because the story itself [ L'Eponge de Samir Noferi ] isn't symbolic, even if some aspects could be, but of course the images, through which the story is told are not what they represent, they are drawings of a woman, a man, animals, places etc..., so they are symbols, because of that I choose to pay my tribute to the western culture in which I grow via some of the most used symbols in Philosophy and Art.
lunedì 11 gennaio 2016
David Bowie - Abdulmajid - Samìr Noférì cover - a humble homage to the Thin White Duke
un humble hommage au Maigre Duc Blanc réalisé en quelques heures par Samir Noferi...
giovedì 7 gennaio 2016
L'ENCLUME DU PARC MEASURES THE TIME...
DAVID CHANCE FRAGALE MADE AN AMAZING VIDEO FOR "L'ENCLUME DU PARC" FROM THE FIRST VOLUME OF LE SONORITE' VIDE par SAMIR NOFERI
COMING SOON THE SECOND VOLUME
sabato 2 gennaio 2016
INCURSIONS OF L'EPONGE IN THE PLATONIC SOLIDS 1 of 3
The first and second visual incursions of L'Eponge in the Platonic solids, we can see the Cube, the Hexahedron, and the Octahedron, the Earth and the Air. A visual exclusively incursion because the story itself [ L'Eponge de Samir Noferi ] isn't symbolic, even if some aspects could be, but of course the images, through which the story is told are not what they represent, they are drawings of a woman, a man, animals, places etc..., so they are symbols, because of that I choose to pay my tribute to the western culture in which I grow via some of the most used symbols in Philosophy and Art.
giovedì 24 dicembre 2015
Christmas trailer of the coming soon Sonoritè Vide V2 by Samìr Noférì
foto di David Chance Fragale dal Videotrailer
Le Sonoritè Vide e L'Eponge de Samir Noferi: è un vero piacere essere ispirati dal progetto di Dario Balletta per combinare immagini e impressioni provenienti dal subconscio, mixando materiale creato appositamente per l'occasione a vecchie clip desunte dai miei archivi e dall'immenso databank del web. La ricerca dell'Eponge (il mio nuovo pseudomedia preferito) continua.
Per conoscere meglio i dettagli di questo eccentrico progetto, scorretevi il sito di cui sotto (fra cui trovate anche altre collaborazioni con e di Dario) e strabiliatevi: http://dario-balletta.tumblr.com
David Chance Fragale
lunedì 21 dicembre 2015
COMING SOON
foto di David Chance Fragale dal Videotrailer
Le Sonoritè Vide e L'Eponge de Samir Noferi: è un vero piacere essere ispirati dal progetto di Dario Balletta per combinare immagini e impressioni provenienti dal subconscio, mixando materiale creato appositamente per l'occasione a vecchie clip desunte dai miei archivi e dall'immenso databank del web. La ricerca dell'Eponge (il mio nuovo pseudomedia preferito) continua.
Per conoscere meglio i dettagli di questo eccentrico progetto, scorretevi il sito di cui sotto (fra cui trovate anche altre collaborazioni con e di Dario) e strabiliatevi: http://dario-balletta.tumblr.com
David Chance Fragale
venerdì 13 novembre 2015
domenica 11 ottobre 2015
O Samir, Where Art Thou?
O Samir, Where Art Thou? ( II )
15 x 10 cm
Ballpoint Pen, White Acrilyc on Grey Wallpaper
O Samir, Where Art Thou?
Ballpoint Pen and White Acrilyc On Yellow Paper Upon Mixed Technique Used Board
What Do We Know About Samir Noferi? Well we know he composed the Sonoritès Vide and after them L'Eponge, and we know he disappeared after the distribuition of his last work ( L'Eponge ), but...What did happen to him? Why did he vanish? Whoever is responsible for? How is possible noone has seen him? Where is he? Where Art Thou Samir?
lunedì 15 giugno 2015
this track concludes the second Tetralogy of Ecumenopolimanteia in Samir Noferi's first "sonorités vide" album with the soundtracks of his performances
( these are links to other videos of Tetralogy: the first one in order to listening, the second one, the third, the same you can find above, and the last one; this is the first Teratology we can find in the album " Biunni e Brunelli a Palermo runne'gghié ": the first Ecumenopolimanteia track, the second one, the video and the music of the third one and the video, and the last one which concludes the first tetralogy, of course the two tetralogy are many different, but what they say is tha same thought developed in different environments and goals )
and this is to remember what Ecumenopolimanteia is
giovedì 11 giugno 2015
martedì 9 giugno 2015
"All the tracks Sonoritè Vide are made to be the "soundtrack" of my performances with the same name, performances about the effects of the frequencies sound vibration on minds; for most of listeners the tracks will sounds like noises [ maybe ] in rhythm, but It is not to exclude that they can have effects for those more sensitive"
some madman put on the web the sonoritè vides by Noferi, be careful!!!
mercoledì 3 giugno 2015
mercoledì 13 maggio 2015
https://soundcloud.com/samir_noferi/sets/biunni-brunelli-a-palermo-1
The Absolute First Samir Noferi's Album found, you can listen a Noferi still immature, but already here you can find the roots of his research leading, leads and will lead to L'Eponge.
"Biunni & Brunelli a Palermo Runne'gghié" was born by chance, initially intended to be a photograph that could act as cover to a fictional album Jazz, then fell to the limbo of unrealized ideas, until a little bit contrived by life events I was forced to temporarily put aside other projects and try a different expression, for what in my life I have had to face in spite of myself for the hundredth time. And in this context "Biunni & Brunelli in Palermo Runne'gghié" has returned in a new form in this musical experiment without any pretense. N.B. Biunni & Brunelli a Palermo Runne'gghié "translated" dialect literally means "blonds and brunettes(male) anywhere in Palermo", where "Biunni" means someone fell from the clouds, which does not notice or if you would like a naive, and "brunelli" an uneducated, a little good, but also an asshole ...
L'Oeil Des Garguilles
Quartiarsi
The Absolute First Samir Noferi's Album found, you can listen a Noferi still immature, but already here you can find the roots of his research leading, leads and will lead to L'Eponge.
"Biunni & Brunelli a Palermo Runne'gghié" was born by chance, initially intended to be a photograph that could act as cover to a fictional album Jazz, then fell to the limbo of unrealized ideas, until a little bit contrived by life events I was forced to temporarily put aside other projects and try a different expression, for what in my life I have had to face in spite of myself for the hundredth time. And in this context "Biunni & Brunelli in Palermo Runne'gghié" has returned in a new form in this musical experiment without any pretense. N.B. Biunni & Brunelli a Palermo Runne'gghié "translated" dialect literally means "blonds and brunettes(male) anywhere in Palermo", where "Biunni" means someone fell from the clouds, which does not notice or if you would like a naive, and "brunelli" an uneducated, a little good, but also an asshole ...
L'Oeil Des Garguilles
Quartiarsi
mercoledì 22 aprile 2015
The Four Matriarchs of the seminomadic tribes in which Tögřam grew, the four matriarchs were leading each one of the four groups that form the tribe, before joining
Hazz Nhott, oldest matriarch of the semi-nomadic tribes, gatherers’s clan former leader, making the functions of medicine woman in the new bigger tribe
because they are semi-nomadic usual exchange part of what has been hunted with other tribes, frequent exchanges are made with other food, these big shells of snails reared are all that remains of some previous meal of the matriarchs
Qhooyà Nnhà, she says the last word on many of the issues of the tribe, for some she is the most powerful of the matriarchs, because leads the group of warriors
even with different customs and lifestyles, the four small tribes before joining shared many things, among them the respect and the cult of the memory of their ancestors, and the matriarchs, from their leading position, remember to anyone invited in their tent the strong bond with ancestral relatives
Saahb Ynn, , her group is the one of the hunters, even before the four tribes were united, each area in which they moved seemed not to hide secrets to their unmatched skills
sometimes the tribe performs exchanges with the populations that occupy a permanent territory, which presents particular resources, in these cases the matriarchs wish to acquire particular objects of everyday use, as this earthenware jar for the water embellished with decorations
Rasheed-Ha, leader of the guardians, this tribe used to exchange performances of various kinds with stable populations from season to season, but have never been able to get used to a sedentary lifestyle, in the new tribes have taken the task of guardians because they knew more people and more knowledge in the field of defense and in maintaining then the other groups.
martedì 17 marzo 2015
The three trailers made
L'Eponge de Samir Noferi trailer 1
L'Eponge de Samir Noferi trailer 2
L'Eponge de Samir Noferi trailer 3
Perchè raccontare della Grande Madre? Proprio per riflettere sul ruolo di quel “Madre”. Proprio per sottolineare come prima della Madre vi fosse l’individuo e come la maternità non sia che una chiave interpretativa alla quale ci siamo abituati per descrivere il lato “ying” delle cose. Si corrompe, tale chiave, quando diviene un sigillo, una condanna sociale al ruolo, un sistema di controllo ed imbrigliamento del singolo in un modello. Ha senso per noi parlarne, quando essa è una fra le tante potenziali opportunità dell’individuo, un suo potenziale sviluppo e non il suo termine di definizione. La Grande Madre è la Grande Donna, ma è soprattutto il Grande Essere Umano. Perchè lei dunque? Perchè raccontare la sua storia? Perchè una casa necessita di mattoni. Perchè pur bisogna cogliere dall’immaginario del lettore, senza crear da zero. Perchè bisogna richiamare i prodotti di un inconscio collettivo per analizzare - chi scrive e chi legge - la loro struttura, quanto hanno di vero, quanto ancora possono svelare o, persino, quanto a lungo ci hanno ingannato.
[ Why tell the “Great Mother”? Right in order to reflect about the role of the “Mother”. Right to emphasize that before the Mother there was the individual, and how motherhood is not that:an interpretive key to what we are used to describe the side “ying” of things. When it becomes a seal, that key gets corrupted, a social stigma to the role, a system of control and harnessing of feminine energies. It makes sense for us to talk about it, when it is one of many potential opportunities of the individual, one of its characteristics and not its definition. The Great Mother is the Great Woman, but it is mostly the Great Human Being. Because her? so why should we tell her story? Why a house needs bricks. Because we have to pick from the imagination of the reader, we can’t creat from nothing. Even because we have to recall products from the collective knowledge and analyze them - both writer and reader. Are these products true? Or have we been cheated? ]
Fabio Catanese
L'Eponge de Samir Noferi trailer 1
L'Eponge de Samir Noferi trailer 2
L'Eponge de Samir Noferi trailer 3
Perchè raccontare della Grande Madre? Proprio per riflettere sul ruolo di quel “Madre”. Proprio per sottolineare come prima della Madre vi fosse l’individuo e come la maternità non sia che una chiave interpretativa alla quale ci siamo abituati per descrivere il lato “ying” delle cose. Si corrompe, tale chiave, quando diviene un sigillo, una condanna sociale al ruolo, un sistema di controllo ed imbrigliamento del singolo in un modello. Ha senso per noi parlarne, quando essa è una fra le tante potenziali opportunità dell’individuo, un suo potenziale sviluppo e non il suo termine di definizione. La Grande Madre è la Grande Donna, ma è soprattutto il Grande Essere Umano. Perchè lei dunque? Perchè raccontare la sua storia? Perchè una casa necessita di mattoni. Perchè pur bisogna cogliere dall’immaginario del lettore, senza crear da zero. Perchè bisogna richiamare i prodotti di un inconscio collettivo per analizzare - chi scrive e chi legge - la loro struttura, quanto hanno di vero, quanto ancora possono svelare o, persino, quanto a lungo ci hanno ingannato.
[ Why tell the “Great Mother”? Right in order to reflect about the role of the “Mother”. Right to emphasize that before the Mother there was the individual, and how motherhood is not that:an interpretive key to what we are used to describe the side “ying” of things. When it becomes a seal, that key gets corrupted, a social stigma to the role, a system of control and harnessing of feminine energies. It makes sense for us to talk about it, when it is one of many potential opportunities of the individual, one of its characteristics and not its definition. The Great Mother is the Great Woman, but it is mostly the Great Human Being. Because her? so why should we tell her story? Why a house needs bricks. Because we have to pick from the imagination of the reader, we can’t creat from nothing. Even because we have to recall products from the collective knowledge and analyze them - both writer and reader. Are these products true? Or have we been cheated? ]
Fabio Catanese
lunedì 9 marzo 2015
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