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<\/a><\/p>\nBy Marco Giovenale.<\/p>\n
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By Marco Giovenale<\/strong>.<\/p>\n","protected":false},"author":119,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[484,7],"tags":[],"class_list":["post-38488","post","type-post","status-publish","format-standard","hentry","category-maintenant","category-poetry"],"_links":{"self":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts\/38488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/users\/119"}],"replies":[{"embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/comments?post=38488"}],"version-history":[{"count":0,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts\/38488\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/media?parent=38488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/categories?post=38488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/tags?post=38488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"marco_giovenale_photo_by_dino_ignani\"](\"https:\/\/www.3ammagazine.com\/3am\/\/wp-content\/uploads\/2011\/06\/marco_giovenale_photo_by_dino_ignani.jpg\")
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\nABOUT THE AUTHOR<\/strong>
\nMarco Giovenale<\/strong> (1969) lives and works in Rome. He’s editor of http:\/\/gammm.org<\/a> and other blogs and sites. His most recent book of (linear) poems in Italian is Shelter<\/em><\/a> (Donzelli, 2010.) Artbooks: Sibille asemantiche<\/em><\/a> (La camera verde, 2008;) and, under the name Differx: aweapon<\/em> (ebook: Vugg Books<\/a>, 2008,) Severe red <\/em>(2009, ebook: Vugg Books, 2010,) and unrelated | undepicted | (diptychs)<\/em> (ebook: Vugg Books, 2010.) Asemic sibyls are also in Nazione indiana<\/a>, Sleepingfish<\/a>, Chernovik<\/a>, satt.org<\/a>, and Fieralingue<\/a>, and in the Anthology Spidertangle<\/em><\/a> edited by Miekal And (Xexoxial Editions, 2009.) A gunless tea<\/em>, collection of 23 prose fragments, was published for the 2007 Dusi\/e-chap project (dusie.org<\/a>). Poems and critical pieces have been published in Aufgabe, #7<\/a>, 2008, guest edited by Jennifer Scappettone for Litmus Press. The prose CDK<\/a> was published in 2009 as a chapbook & free e-book by Tir aux pigeons<\/a>, thanks to Drew Kunz. His activity includes proses, poems, photography, asemic writing, abstract paintings, drawings, conceptual works. Photo by Dino Ignani. More info @ http:\/\/slowforward.wordpress.com\/bioen\/<\/a> <\/p>\n","protected":false},"excerpt":{"rendered":"![\"marco_giovenale_photo_by_dino_ignani\"](\"https:\/\/www.3ammagazine.com\/3am\/\/wp-content\/uploads\/2011\/06\/marco_giovenale_photo_by_dino_ignani-150x150.jpg\")
<\/a>The literate and artistic world has always been something falling out of rigid borders and definitions, but the positive growth in schooling in the West and the spreading of that strange kind of mirrored collective conscience\/unconscious known as the world wide web, make the situation more and more undecipherable. That said, I partly agree: yes, in Europe and elsewhere there’s a lot of writers who are also musicians, architects who make poetry, composers who install electronically painted ‘objects’, street artists and asemic writers who are also in the mood for making old fashioned \u201coil on canvas\u201d\u009d abstract paintings. But: this does not map anything; and doesn’t tell us how the things are going on, on a global scale. This is because any really \u201cglobal\u201d\u009d scale absolutely cannot be seen by individuals or even by large groups of critics. I can imagine large teams are working on some history of the arts in the 21st century, but they won’t catch the whole, nor even a significant part of it, since the world itself as a collective mind started making art, abruptly, as a whole net, as a neural series of connected individuals, millions of ones.<\/p>\n