{"id":41394,"date":"2018-10-28T01:25:46","date_gmt":"2018-10-27T23:25:46","guid":{"rendered":"https:\/\/www.rapportoconfidenziale.org\/?p=41394"},"modified":"2018-10-28T01:25:46","modified_gmt":"2018-10-27T23:25:46","slug":"weekend-coi-morti-bologna-1-4-novembre-2018","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=41394","title":{"rendered":"Weekend coi morti. Bologna 1-4 novembre 2018"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-41400\" src=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover.jpg\" alt=\"\" width=\"1112\" height=\"741\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover.jpg 1112w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-150x100.jpg 150w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-300x200.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-768x512.jpg 768w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-1024x682.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-436x291.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-673x449.jpg 673w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/weekendcoimorti-cover-950x633.jpg 950w\" sizes=\"auto, (max-width: 1112px) 100vw, 1112px\" \/><\/p>\n<p>Un lungo weekend in occasione della festa dei morti. Una maratona non-stop fatta di incontri e scontri, proiezioni e ricezioni, suoni e visioni: in prima italiana decine di film internazionali, distillati della pi\u00f9 interessante ricerca contemporanea. E ancora seminari, focus, percorsi nello Spazio \u2013 in varie forme e formati, dalla notte al giorno e dal giorno alla notte. Lo Spazio Menomale, scavato verso il centro della terra, si fa galleria e sala-continua in cui sprofondare, sala di ricezione in cui non c\u2019\u00e8 tempo da trovare, con percorsi e crocevia che diventano \u2013 com\u2019\u00e8 solito nella pratica di Nomadica \u2013 l\u2019opera stessa, unica, spiazzata e spiazzante, discontinua e non (sempre) schermata. Caos sotterraneo dove \u201crisiede la forma perenne della vita\u201d.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><strong>WEEKEND COI MORTI<\/strong><br \/>\n<strong>an international selection of very different films<\/strong><br \/>\n1-4 novembre 2018<br \/>\nanteprima 31 ottobre<br \/>\nSpazio Menomale, via De&#8217; Pepoli 1\/A &#8211; Bologna<br \/>\n<a href=\"http:\/\/www.nomadica.eu\/weekend\" target=\"_blank\" rel=\"noopener\">nomadica.eu\/weekend<\/a><\/p>\n<p>una produzione <a href=\"http:\/\/www.nomadica.eu\/\" target=\"_blank\" rel=\"noopener\">NOMADICA<\/a> \/\u00a0con\u00a0<a href=\"https:\/\/www.facebook.com\/associazionemenomale\/\" target=\"_blank\" rel=\"noopener\">Associazione Menomale<\/a> +\u00a0<a href=\"https:\/\/ilcanedipavlov.it\/\">ilcanedipavlov<\/a> +\u00a0<a href=\"http:\/\/www.rifrazioni.net\/\" target=\"_blank\" rel=\"noopener\">Rifrazioni. Dal cinema all\u2019oltre<\/a> +\u00a0<a href=\"https:\/\/www.rapportoconfidenziale.org\/\">Rapporto Confidenziale<\/a> +\u00a0<a href=\"https:\/\/cameraardente.tumblr.com\" target=\"_blank\" rel=\"noopener\">La Camera Ardente<\/a> +\u00a0<a href=\"http:\/\/movimcat.eu\/\" target=\"_blank\" rel=\"noopener\">The Moving Image Catalog<\/a> \/\u00a0grazie a\u00a0<a href=\"https:\/\/www.eyefilm.nl\/\" target=\"_blank\" rel=\"noopener\">eye filmmuseum amsterdam<\/a> +\u00a0<a href=\"http:\/\/www.cinetecadibologna.it\/\" target=\"_blank\" rel=\"noopener\">Cineteca di Bologna<\/a><\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"1112\" height=\"626\" src=\"https:\/\/www.youtube.com\/embed\/axaUoC9Ow8k?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=it-IT&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><strong>IL PROGRAMMA (dal giorno alla notte)<\/strong><\/p>\n<p>Il programma generale \u00e8 suddiviso in <strong>6 blocchi<\/strong> (ogni blocco viene proiettato due volte, in giornate differenti). A questi si aggiungono <strong>4 focus<\/strong>: V \u2013 W \u2013 X \u2013 Y , 4 sezioni di proiezioni che verranno presentati dai rispettivi curatori. <strong>(outer) Spaces<\/strong> \u00e8 un ulteriore programma al tema dello Spazio, con proiezioni in pellicola 16mm. Le mattine saranno dedicate a l\u2019<strong>\u201dAtelier\u201d<\/strong> (composto da 2 seminari) e ai <strong>\u201cbreakfast with \u2026\u201d<\/strong> momenti di incontro con autori e curatori.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>PREVIEW _ 31 OTTOBRE<\/strong><br \/>\nh20.30 \u2022 Cineteca di Bologna \/\u00a0LA LUCINA<br \/>\nh24.00 \u2022 Spazio Menomale \/ Out of programme \u2013 OOP<\/p>\n<p><strong>1 NOVEMBER<\/strong><br \/>\nh10.00 \/ 13.00 Atelier \u2022 New Powerful Eyes<br \/>\nh16.30 \u2022 BLOCK 1_ 47 min.<br \/>\nh17.30 \u2022 BLOCK 2_ 54 min.<br \/>\nh19.00 \u2022 FOCUS V<br \/>\nh21.30 \u2022 BLOCK 3_ 54 min.<br \/>\nh22.30 \u2022 BLOCK 4_ 45 min.<br \/>\nh23.30 \u2022 BLOCK 5_ 39 min.<\/p>\n<p><strong>2 NOVEMBRE<\/strong><br \/>\nh10.00 \/ 13.00 Atelier \u2022 Stories of vision<br \/>\nh16.30 \u2022 BLOCK 4 replic_ 45 min.<br \/>\nh17.30 \u2022 BLOCK 5 replic_ 39 min.<br \/>\nh18.30 \u2022 BLOCK 6_ 40 min.<br \/>\nh19.30 \u2022 FOCUS W<br \/>\nh21.30 \u2022 BLOCK 1 replic_ 47 min.<br \/>\nh22.30 \u2022 FOCUS X<\/p>\n<p><strong>3 NOVEMBRE<\/strong><br \/>\nh10.30 Breakfast with Cin\u00e9ma Fragile<br \/>\nh16.30 \u2022 BLOCK 3 replic_ 54 min.<br \/>\nh17.30 \u2022 BLOCK 6 replic_ 40 min.<br \/>\nh19.00 \u2022 FOCUS Y<br \/>\nh20.00 \u2022 BLOCK 2 replic_ 54 min.<br \/>\nh22.00 \u2022 (outer) SPACES<br \/>\nh23.30 \u2022 ?????<\/p>\n<p><strong>4 NOVEMBER<\/strong><br \/>\nh10.30 Breakfast with MOVIMCAT<\/p>\n<p>&nbsp;<\/p>\n<p><strong>NOTA BENE:<\/strong><br \/>\n*il programma generale \u00e8 diviso in 6blocchi<br \/>\n** per prendere parte ai seminari occorre iscriversi a: info@nomadica.eu<br \/>\n*** Il weekend \u00e8 realizzato senza alcun finanziamento statale o privato, \u00e8 il frutto del lavoro (e del piacere) di ricercatori, studiosi e di decine di cineasti che mettono a disposizione le proprie opere senza alcuna richiesta. La partecipazione \u00e8 gratuita e aperta a tutti, con un\u2019offerta libera (obbligatoria)<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>PREVIEW<\/strong><\/p>\n<p>31 ottobre 2018, ore 20.30 \/ Cineteca di Bologna<br \/>\nPrima proiezione pubblica del film\u00a0<strong>LA LUCINA<\/strong><br \/>\nun film di Fabio Badolato e Jonny Costantino, con Antonio Moresco e Giovanni Battista Ricciardi<br \/>\ntratto dall\u2019omonimo romanzo di Antonio Moresco<br \/>\nAlla presenza dei registi e degli \u201cesordienti\u201d protagonisti.<br \/>\n<a href=\"http:\/\/www.nomadica.eu\/la-lucina\/\" target=\"_blank\" rel=\"noopener\">Vai alla pagina del film<\/a><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 1<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Christopher Becks and Emmanuel Lefrant,<strong> I don\u2019t think I can see an island<\/strong><br \/>\nFrance | 2016 | 4\u2032 | 35mm to HD | ita premiere<br \/>\nA Film of Symbolically Authentic Non-Euclidean Adventures.<\/p>\n<p>Luca Ferri, <strong>AB OVO<\/strong><br \/>\nIta-Marocco | 2017 | 25\u2019 | Super8 to HD<br \/>\nIn a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.<\/p>\n<p>Albert Alcoz, <strong>Espectro Cromatico<\/strong><br \/>\nSp | 2015 | | 3\u2019 | Super8 to HD | ita premiere<br \/>\nColor Spectrum shows the comings and goings of passersby on a boardwalk. Multiple exposure and color filters transform human figures in ghostly presences of variable color shades.<\/p>\n<p>Stefano Miraglia, <strong>Rodez<\/strong><br \/>\nFr | 2017 | 3\u2019 | HD 4:3 | silent<br \/>\nAn exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs.<\/p>\n<p>Stefano Miraglia, <strong>Ramusiana<\/strong><br \/>\nFr | 2017 | 4\u2032 | HD 4:3 | silent | ita premiere<br \/>\nA universal map of the newly found part of the world. A homage to Italian geographer Giovanni Battista Ramusio.<\/p>\n<p>Stefano Miraglia, <strong>Anoche<\/strong><br \/>\nIt-Uk | 2017 | 7\u201945\u2019\u2019 | HD 4:3 | sound | ita premiere<br \/>\nCuando Roma sea polvo, gemir\u00e1 en la infinita<br \/>\nnoche de su palacio f\u00e9tido el minotauro.<br \/>\nWhen Rome is dust the Minotaur will moan<br \/>\nOnce more in the endless dark of its rank palace. \u2013 Jorge Luis Borges, La noche c\u00edclica<br \/>\n(in presence of the author)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 2<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Dan Browne, <strong>Palmerston blvd<\/strong><br \/>\nCan | 2017 | 15\u2019 | 4K | ita premiere<br \/>\nAn intimate portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things.<\/p>\n<p>Pietro Librizzi, <strong>Softman<\/strong><br \/>\nIt | 2016 | 17\u2019 | HD<br \/>\nTwo young men wake up and find difficult to take decisions under the comfort of shade and the tyranny of a beautiful sea.<br \/>\n(in presence of the author)<\/p>\n<p>James Edmonds, <strong>Overland<\/strong><br \/>\nDEU | 2016 | 22\u2019 | Super8 to HD<br \/>\nStructured in three parts, Overland evokes an enigmatic landscape of forms, substances, creatures and memory through a hand-edited super8 colour collage of personal material shot over one year.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 3<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Nazli Dincel, <strong>Between regarding and use<\/strong><br \/>\nTurk | 2018 | 9\u2019 | 16mm to HD | ita premiere<br \/>\n\u201cExhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display\u2026\u201d<br \/>\nB. Kirshenblatt-Gimblett, 1998 \u2022 (in presence of the author)<\/p>\n<p>Mierien Coppens, <strong>Carry on<\/strong><br \/>\nBelgium | 2017 | 12\u2019 | 16mm to HD | silent | ita premiere<br \/>\nIndividuals wait, silence is heard, a microscopic attention trough a tired mass. If the film is almost mute, it is because it focuses on silent figures, although their struggle is deafening.<\/p>\n<p>John Woodman, <strong>The separation<\/strong><br \/>\nUK | 2017 | 7\u2019 | HD | silent | ita premiere<br \/>\nTHE SEPARATION is a reflection on light, duration and transformation. Filmed in one continuous take at a constant aperture, moonlight on the sea surface is intermittently revealed and obscured by clouds, presenting a reflexive and phenomenological viewing experience. The title refers metaphorically to Genesis.<\/p>\n<p>Takashi Makino, <strong>On generation and corruption<\/strong><br \/>\nJapan | 2017 | 26\u2019 | HD | ita premiere<br \/>\nInspired from Aristotle\u2019s \u201cOn Generation and Corruption\u201d. After the screening at Athen (In Mute Festival 2015), I had important conversation about Aristotle with one of old lady from audience. We talked about materiality of Cinema. We also talked about the construction of cinema itself already has similarity of life and time. Cinema never exist. They just keep doing Generation and Corruption. The situation is also similar with the construction of life and civilization. Then I decided shooting this film. All of images were shot in Japan. Image will continue to repeat the appear and disappear like a infinity loop.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 4<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Mary Helena Clark, <strong>Delphi falls<\/strong><br \/>\nUSA | 2016 | 20\u2019 | HD | ita premiere<br \/>\nIn Delphi Falls, two youths wander through the woods, looking for a missing person. A tree falls without cause, a voice is thrown, the weather defies the season, unsettling the rational and linear trajectory of the feint of a story. Evoking the sci-fi genre, the film constantly shifts its point-of-view, blurring the distinctions between environment and self, grafting an interior space to the landscape.<\/p>\n<p>Marta Mateus, <strong>Farp\u00f5es Baldios (Barbs, Wastelands)<\/strong><br \/>\nPort | 2017 | 25\u2019 | HD | ita premiere<br \/>\nIn the end of the 19th century the peasants in Portugal started a courageous struggle for better work conditions. After generations of starving misery, the Carnation Revolution sowed the promise of an Agrarian Reform. Mostly in the Alentejo region, these rural workers occupied the huge proprieties where they were once submitted to the power of their Masters. Perhaps the lost seed of other fruits\u2026 It is said in Alentejo, when something is lost, those who are looking should start to walk back to the beginning. We must pray and ask Saint Lucy to clear our vision, so we can see and look better. The protagonists of this film, resistants of this struggle, many of them illiterate, working since childhood, tell their story to the youngsters of today, in their own words.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 5<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Helena Giron and Samuel M Delgado, <strong>Plus Ultra<\/strong><br \/>\nSpan | 2017 | 13\u2019 | 16mm to HD | ita premiere<br \/>\nPlus Ultra is the motto of the Spanish state. This slogan was used to encourage navigators to conquer new lands, forgetting the warning from Greek mythology: Non Terrae Plus Ultra (There is no land beyond here). The Canary Islands \u2014 testing ground for the tactics utilized in the colonization of the Americas \u2014 becomes the setting for a tale about this land.<\/p>\n<p>Prantik Basu, <strong>Sakhisona<\/strong><br \/>\nIndia | 2017 | 26\u2019 | 35mm to HD<br \/>\nNear Mogulmari in West Bengal (India) lies a mound known locally as Sakhisona. The stories about it are still sung by local musicians. A dig nearby recently uncovered the remains of a monastery as well as some objects dating back to the 6th-century. The film shows the objects unearthed and re-enacts the folklore in fragments.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BLOCK 6<\/strong><br \/>\nthe general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re<\/p>\n<p>Azucena Losana, <strong>At your heels<\/strong><br \/>\nArgentina\/Czech Rep | 2017 | 3\u2019 | 16mm to HD | ita premiere<br \/>\nA recurring dream where I keep on following his traces, always at his heels.<\/p>\n<p>Giuseppe Spina, <strong>Romn\u00ec (Wife)<\/strong><br \/>\nIt | 2017 | 19\u2019 | Hi8mm to HD | world premiere<br \/>\nYears ago, a gypsy group of kosovan origin settled at the foot of Volcano Etna. This movie is an objet trouv\u00e9, a gypsy dance dedicated to a bride, a young woman who prepare herself to become wife and mother, center of a culture. A show without a show, full of details and life. (in presence of the author)<\/p>\n<p>Pablo Polanco and Pietro Bulgarelli, <strong>El hilo<\/strong><br \/>\nChile | 2017 | 6\u2019 | Super8 to HD | ita premiere<br \/>\nAn old seamstress\u2019s recollections are woven into a dreamlike postcard in which the sea carries away a house, God takes in a child, and the burden of life shines through into a blindness in which the most sensitive organs are the hands that meticulously work the loom.<\/p>\n<p>Monica Saviron, <strong>Answer print<\/strong><br \/>\nUSA | 2016 | 5\u2019 | 16mm to HD | italian premiere<br \/>\n\u201cThe fading that devastates color films occurs in the dark. It is accelerated by high temperatures and, to a lesser extent, relative humidity. Dye fading is irreversible. Once the dye images have faded, the information lost cannot be recovered\u201d (Image Permanence Institute).<br \/>\nAnswer Print is made with deteriorated 16mm color stock, and it is meant to disappear over time. Neither hue nor sound has been manipulated in its analog reassembling. The soundtrack combines audio generated by silent double perforated celluloid, the optical tracks from sound films, and the tones produced by each of the filmmaker\u2019s cuts when read by the projector. The shots are based on a 26-frame length: the distance in 16mm films with optical tracks between an image and its sound<\/p>\n<p>Jaione Camborda, <strong>A rapa das bestas<\/strong><br \/>\nSpagna | 2017 | 10\u2019 | Super8 to HD | ita premiere<br \/>\nA traditional, picturesque event that invites us to experience the intensity of a close combat between man and animal<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>FOCUS V (65&#8242;) \u2013 NOMADICA ODEPORICA PLASTICA<\/strong><br \/>\ncurated by Stefano Miraglia<br \/>\nTravels, explorations, rhymes. Look, touch an object, meet an artist.<\/p>\n<p>Pauline Rigal, <strong>Mont\u00e9e de cimes<\/strong><br \/>\nFr | 2018 | 7\u2032 | HD | col | sound | italian premiere<br \/>\nDiving into the interior of a small forest, up to its clearing at dusk, Mont\u00e9e de cimes (A treetop rising) catches sight of the disappearance of birds and stops at hollows left on tree trunks. Among these forms, like parietal images, the film questions our gaze and our perception of the distance that separates our body from the elements. The fauna and flora are just there, but their presence is fragile and fickle. Could the plane in the distance fall? Could the dewdrop slip off the leaf? Could the bird on the branch see us and fly away?<\/p>\n<p>Julio Fermepin, <strong>Corriente<\/strong><br \/>\nAr | 2017 | 6\u2032 | 16mm to HD | col | sound | italian premiere<br \/>\nA fascinated gaze upon the exuberance of the Argentine province of Corrientes (Current) wanders through the Esteros del Iber\u00e1 and the coasts of Empedrado. In its passing, it deposits attention on the overflow of life that surrounds everything.<\/p>\n<p>Pierre Voland, <strong>Galicia \u2013 Apuntamentos<\/strong><br \/>\nFr-Es | 2018 | 3\u2032 | Super8 to HD | col | sound | world premiere<br \/>\nDiscovered Santiago de Compostela and Finisterre with a single roll of film. A small, fragmented, postcard. A collection of impressions, unfolding on a song by San Paio de Antealtares sisters.<\/p>\n<p>Elsa Br\u00e8s, <strong>Love Canal<\/strong><br \/>\nFr | 2017 | 18\u2032 | HD | col | sound | italian premiere<br \/>\n300 million years ago, the north of France was a wetland. 140 years ago, a canal is dug and never filled with water. One day, vagabonds decide to go down an invisible river and pick on the way d\u00e9bris of a world to start a new one.<\/p>\n<p>Mauricio Freyre, <strong>A IS CID<\/strong><br \/>\nEs | 2017 | 9\u2032 | Super8 to HD | col | sound | italian premiere<br \/>\nAn utopian project, an architectural prototype of a nomadic city that existed briefly for a few weeks. Built in community in 1971 in Ibiza, a redoubt of the counterculture of the time, passed unnoticed by the repression of the Franco dictatorship. Taking as an object of study two locations related to this history, the film superimposes different time scales to speculate on critical ways of transcribing history in a present of forms without utopias.<\/p>\n<p>Tinne Zenner, <strong>Nutsigassat<\/strong><br \/>\nDk-Gl | 2018 | 20\u2032 | 16mm to HD | col | sound | italian premiere<br \/>\n\u201cGo outside. The lovely mountains two, Sermitsiaq and Kingittorsuaq, look at them.\u201d While the housing blocks carry a past of national diaspora, layers of snow cover a future development in the city of Nuuk, Greenland. The landscape acts as a scenery for collective nostalgia and industrial production, as the film studies glitches in translation of language and culture in a post-colonial modernity.<\/p>\n<p>Leandro Varela, <strong>La Se\u00f1al C\u00f3smica<\/strong><br \/>\nAr | 2018 | 2\u2032 | Super8 to HD | b&amp;w | silent | world premiere<br \/>\nThe demonstration of a series of messages encoded on film format.<\/p>\n<p>(in presence of the authors Elsa Br\u00e8s and Pauline Rigal)<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>FOCUS W (70\u2019) \u2013 Liquid Crystals<\/strong><br \/>\ncurated by Tommaso Isabella<\/p>\n<p>A scientific time-lapse film on crystallization, a layered landscape study merging film and 3D animation, a desktop documentary about gold mines, virtual clouds and e-waste dumps, a digital meditation that delves into a sea of glitches. Four very different works as leaps between states of matter, approaching the indeterminacy that lies beneath ordinary distinctions such as natural and artificial, material and immaterial, production and disintegration, in an attempt to depict a reality continuously shaped by processes of abstraction and concretization.<\/p>\n<p>Jan Cornelis Mol, <strong>Kristallen en kleur<\/strong><br \/>\nNl | 1930-35 | 9\u2032 | col | 35mm to HD | silent (copy from EYE, restored in 2010)<br \/>\nJan Cornelis Mol specialized in shooting footage using the time-lapse technique: at intervals of fifteen minutes or more, he filmed budding plants or flowers so that the flowers seemed to bloom within a few seconds. Mol also experimented with sound and color systems and was one of the first to introduce optical sound on the amateur film format 16mm.<br \/>\nUit het rijk der kristallen is one of the most successful and fascinating scientific films made by Mol. The crystallization processes of various chemicals which are visible only through the microscope are shown using time-lapse acceleration at times. Mol worked several years on this film, producing different versions. The original black and white silent film was given a soundtrack in the 1930s, and he also produced a color version of the film, Kristallen in kleur. It partly made use of the Dufaycolor system. The film was not only screened at educational and scientific presentations, but also circulated in avant-garde circles. Filmliga considered it a good example of the \u2018absolute film\u2019 as it contains one of Mol\u2019s trademarks, a fascination for abstraction. The work was screened at the Harlem branch of the Filmliga and also at Amsterdam\u2019s Filmliga. In 1928 at a presentation at Studio 28 in Paris, the film was screened as a \u2018triptyque\u2019, with three projectors side by side.<br \/>\nOur nitrate print of Kristallen in kleur had been preserved in 1996, but because colors played an important role, it was decided to try a new digital restoration to come closer to the hues of the nitrate print. That print was scanned with an Oxberry scanner at 2K. After grading, a new internegative and print were made. (Simona Monizza \u2013 Il cinema ritrovato)<\/p>\n<p>Tinne Zenner, <strong>Arr\u00e1bida<\/strong><br \/>\nPort-Den | 2017 | 16\u2032 | 16mm\/HD to HD | col | sound<br \/>\nA film centred on the production of landscape and concrete in the Arr\u00e1bida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arr\u00e1bida with 3D animation of the topographic landscape as an equal analogue layer. H\u00e1 s\u00f3 uma terra. There is only one earth.<\/p>\n<p>Louis Henderson, <strong>All That Is Solid<\/strong><br \/>\nFr | 2014 | 15\u2032 | HD | col | sound<br \/>\n\u201cAll that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.\u201dA technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology \u2013 thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.<\/p>\n<p>Jacques Perconte, <strong>Vingt-neuf minutes en mer<\/strong><br \/>\nCan | 2016 | 29\u2032 | HD | col | sound | ita premiere<br \/>\nSaint-Valery-en-Caux, 2016<br \/>\n\u00c0 force de cette violence omnipr\u00e9sente voil\u00e0 que l\u2019image saigne. Mais le rouge ne reste pas \u00e0 la surface de l\u2019eau.<br \/>\nA peaceful image transforms imperceptibly into a blood-red scene. Below the soothing waves of the sea, deep unrest simmers. Digital impressionism. An inner journey in our relationship with violence and memory, through a patient deconstruction of the image, set to the subtle sound of a never-ceasing wind.<br \/>\n\u201cIt is a long and deep inner journey in our relationship with violence and memory. Digital moving images are made to maintain information stable. But we can break it. \u201d J. Perconte<br \/>\nOther possibilities of the sea. Digital impressionism, expressed through a patient deconstruction of the image into moving colours, set to the subtle sound of a never-ceasing wind. The rocking motion, further emphasized by contemplating slowness, evokes a sense of the permanently changing waves.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>FOCUS X (112\u2019) \u2013 Atomic Light Shadow Optics<\/strong><br \/>\ncurated by Rinaldo Censi<\/p>\n<p>All this took about one minute. It was a series from bright to dark, and I had seen it. I am about the only guy who actually looked at the damn thing \u2013 the first Trinity test. Everybody else had dark glasses, and the people at six miles couldn\u2019t see it because they were all told to lie on the floor. I\u2019m probably the only guy who saw it with the human eye. (Richard P. Feynman, Los Alamos from Below \u2014 Reminiscences of 1943-1945)<\/p>\n<p>Robert Aldrich, <strong>Kiss Me Deadly<\/strong><br \/>\nUSA |1955 | 106\u2032 | versione originale con sottotitoli in italiano<br \/>\nScience fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich\u2019s 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru\u00adtal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation. (Jim Hoberman)<\/p>\n<p>Tony Conrad, <strong>The Flicker<\/strong><br \/>\nUSA | 1966 | 30\u2019<br \/>\n\u00abI\u2019ve always thought of The Flicker as a kind of bizarre science fiction movie, as a space that you can enter\u2014in the way that you enter the narrative space of a regular Hollywood movie\u2014and go floating off into some weird dimension, and then come back. I constructed the film very carefully so that you\u2019re inexorably moved, very deliberately and very systematically, into an experience completely out of the ordinary, where perception is dramatically altered. If you look around the theater during The Flicker, you find that everything is somehow made strange\u00bb.<br \/>\nTony Conrad. \u201cOn the Sixties\u201d, in S. MacDonald, A Critical Cinema 5. Interviews with Independent Filmmakers, University of California Press, Berkeley \/ Los Angeles \/ London, 2006<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>FOCUS Y (38\u2019) \u2013 La Machine infernale<\/strong><br \/>\ncurated by Alessio Galbiati<\/p>\n<p>Ovvero tre frammenti sul concetto di morte e la sua rappresentazione. Una selezione di immagini in movimento, non cinematografiche, concluse da una fantasmagoria di Georges M\u00e9li\u00e8s per riflettere attorno ai limiti della visione e della rappresentazione.<\/p>\n<p>Mark LaGanga, <strong>Mark LaGanga\u2019s WTC 9\/11 Video (Enhanced Video\/Audio &amp; Doubled FPS)<\/strong><br \/>\nUSA | 2001-2018 | 29\u2019 | CBS News<br \/>\nL&#8217;11 settembre 2001 l&#8217;operatore Mark LaGanga si trovava a Manhattan per riprendere con la propria macchina da presa quel che stava accedendo. Si trov\u00f2 sul posto esattamente tra i crolli delle due torri. Queste immagini, restaurate e portare a una risoluzione di 1080p (1920 x 1080 pixel), raddoppiate nei fotogrammi (60 fps), sono state rese pubbliche alla fine di agosto 2018. Nella sua durata ci restituiscono una prospettiva inedita su di un fatto che ancora oggi pare irreale, ma soprattutto ci dicono qualcosa di misterioso sulla potenza delle immagini e sull&#8217;istinto di volerle catturare.<\/p>\n<p>Jon Rafman, <strong>A Man Digging<\/strong><br \/>\nUSA | 2013 | 8\u2019<br \/>\nIn A Man Digging, l&#8217;artista canadese Jon Rafman compie una rilettura di immagini tratte dal videogame Max Payne 3, indugiando su scenari macabri di stragi sanguinarie e cruente e riflettendo sui concetti di morte e memoria. Videoludiche scene del crimine si trasformano in spazi mentali frammentati dentro ai quali indagare il senso del proprio vissuto inghiottito dalla spettacolarizzazione d\u2019ogni aspetto dell\u2019esistente.<br \/>\nLirico, desolante e potente, A Man Digging \u00e8 un viaggio in territori oscuri e sorprendenti. Spaventoso e sublime.<\/p>\n<p>Georges M\u00e9li\u00e8s, <strong>Escamotage d\u2019une dame au th\u00e9\u00e2tre Robert \u2013 Houdin<\/strong><br \/>\nFr | 1896 | 1\u2032<br \/>\nGiochi di prestigio, una donna che scompare, uno scheletro che appare e poi la donna infine torna e lo spettacolo \u00e8 finito. Il cinema \u00e8 magia.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>(outer) SPACES itineraries (65\u2019) *<\/strong><br \/>\ncurated by Riccardo Re (inside <a href=\"http:\/\/percorsinellospazio.eu\/\" target=\"_blank\" rel=\"noopener\">\u201cSpace Itineraries\u201d<\/a>, section promoted by Menomale)<\/p>\n<p>Mauro Santini, <strong>VAGHE STELLE<\/strong><br \/>\n\u201cVaghe stelle\u201d is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations.<br \/>\nThe \u2018songs\u2019 are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.<br \/>\n<strong>ALKAID<\/strong> | Ita | 6\u2032 | Color | 4K to HD | 2017<br \/>\n<strong>MIZAR<\/strong> | Ita | 11\u2032 | Color | 4K to HD | 2017 (italian premiere)<br \/>\n<strong>ALIOTH<\/strong> | Ita | 5\u2032 | Color | 4K to HD | 2017 (italian premiere)<br \/>\n(in presence of the author)<\/p>\n<p>Malena SZLAM, <strong>LUNAR ALMANAC<\/strong><br \/>\n2013 | 16mm | color | silent | 4\u2032 00<br \/>\nLunar Almanac traces the observational points of the lunar cycle in a series of visual notations. Using single-frame and long-exposure photography, the unaltered, in-camera editing accumulates over 4000 layered field views of half-moons, new moons, and full moons. These lunar inscriptions flit across the screen with a frenetic energy, illuminating nocturnal reveries that pull at the tides as much as our dreams.<\/p>\n<p>Lawrence Jordan, <strong>Our lady of the sphere<\/strong><br \/>\nUS | 1969 | col | sound | 10\u2019 00<br \/>\nThe mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure.<\/p>\n<p>Deborah Stratman, <strong>These blazeing starrs<\/strong><br \/>\n2011 | b&amp;w | sound | 14\u2032 14<br \/>\nSince comets have been recorded, they\u2019ve augured catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage.<\/p>\n<p>C\u00e9cile Fontaine,<strong> Spaced oddities<\/strong><br \/>\nFr | 2004 | b&amp;w | sound | 4\u2032 20<br \/>\nPictures from a black and white documentary on the life in fresh water, recomposed on the cellulo\u00efd ribbon by collage frames by frames to form new figures \u2026 repeating itself atregular intervals, like variations of a same motif.<br \/>\nRobert Breer, Inner and outer space<br \/>\nUS | 1960 |col | sound \/ 5\u2032 00<\/p>\n<p>Len Lye, <strong>Particles in space<\/strong><br \/>\nUS | 1966 | b&amp;w | sound | 4\u2019 00<br \/>\n\u201cPARTICLES IN SPACE (1979) grew out of the same calligraphic material as FREE RADICALS. As with its companion film, PARTICLES is concerned with the energy of movement \u2013 of shaping light in darkness, by scratching on the film surface. In this film, Len Lye focuses on \u201ca smaller, more compact zizz of energy than I\u2019d ever got before on film.\u201d The rhythms of African drums again provide the musical counterpoint. \u201cI thought FREE RADICALS as \u2018definitively revised\u2019 an almost unbelievably immense masterpiece (a brief epic) and that PARTICLES IN SPACE was its contemplative equivalent. COLOR CRY as great as I remembered it..\u201d Stan Brakhage<\/p>\n<p>*Except for Mauro Santini\u2019s Vaghe Stelle, all the screenings will be in 16mm and the films will be screened by Mirco Santi (Home Movies)<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>ATELIER 1&amp;2<\/strong><\/p>\n<p><strong>\u201cNew Powerful Eyes\u201d Seminario con Flavio Fusi Pecci, accademico esperto di evoluzione stellare, galassie e cosmologia. \u00c8 vice presidente della SAIt \u2013 Societ\u00e0 Astronomica Italiana<\/strong><br \/>\n(promosso da Ass. Menomale in collaborazione con SOFOS)<br \/>\nNel mondo dell\u2019Astrofisica e della Cosmologia un aspetto ha soprattutto influito sull\u2019evoluzione delle nostre conoscenze dell\u2019universo e dei suoi componenti: attraverso questo aspetto si \u00e8 potuti accedere non solo ad un approccio \u201cmulti-frequenza\u201d (osservazioni in banda gamma, X, ottico, infrarosso e radio), ma anche \u201cmulti-messenger\u201d (raggi cosmici, neutrini, astro-particelle, onde gravitazionali). E il forte collegamento sia osservativo che teorico tra gli scenari cosmologici (Big Bang etc.) e la formazione e l\u2019evoluzione delle galassie, delle popolazioni stellari e di tutti i singoli corpi celesti, dai pi\u00f9 massici e maestosi (Buchi Neri etc.) gi\u00f9 gi\u00f9 fino alle minuscole particelle elementari (Bosone di Higgs, etc.).<br \/>\n(all\u2019interno di <a href=\"http:\/\/percorsinellospazio.eu\/\">\u201cPercorsi nello Spazio\u201d<\/a>, promosso da Ass. Menomale)<\/p>\n<p><strong>\u201cStories of vision. Art as school of senses (and sense)\u201d Seminario con Francesco Cattaneo<\/strong><br \/>\n(ricercatore e docente di Estetica presso il Dipartimento di Filosofia e Comunicazione dell\u2019Universit\u00e0 di Bologna)<br \/>\nChe cosa significa vedere? E che ruolo riveste, nel nostro essere al mondo, la visione artistica? Il seminario non mira a definizioni generali, ma piuttosto a sviluppare incontri (e racconti), utilizzando specifiche esperienze filosofiche, cinematografiche, pittoriche, letterarie come catalizzatori per la riflessione. Si tenter\u00e0, per questa via, di far emergere come i nostri sensi (nella duplice accezione che rimanda alla sensibilit\u00e0 e al significato), lungi dal ridursi a un qualcosa di \u201cnaturale\u201d, richiedano un esercizio continuo, soprattutto nei termini dello \u201cs-regolamento\u201d di cui parla Rimbaud.<\/p>\n<p>NOTA: Per partecipare ai due incontri dell\u2019Atelier occorre prenotarsi, scrivendo a: info@nomadica.eu<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>BREAKFAST 1&amp;2<\/strong><\/p>\n<p><strong>Breakfast with Cin\u00e8ma Fragile<\/strong><br \/>\nFrancis Magnenot and Katia Viscogliosi, <strong>Primavera<\/strong><br \/>\nIt \u2013 Fr | 2018 | 43\u2019 | HD<br \/>\nPrimavera is composed of short cinematographic ha\u00efka\u00ef written with a camera, in the spirit and rythm of the japanese poetry. It\u2019s a cinema of the moment, minimalist, made with starving eyes, in constant search of what we are rich of, here and now. No subject but life: like if cinema should not be written, as it\u2019s a way to write down things that happen.<br \/>\n(in presence of the authors)<\/p>\n<p><strong>Breakfast with MOVIMCAT<\/strong><br \/>\nStefano Miraglia presents his curatorial project <strong>The Moving Image Catalog<\/strong><br \/>\n+ collective rambling about the online dissemination of artists\u2019 moving image<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">+ + +<\/p>\n<p>&nbsp;<\/p>\n<p><strong>OUT OF PROGRAMME (OOP)<\/strong><\/p>\n<p><strong>AudioWebTeleVisionArchive _h16.30 \/ h24.00<\/strong><br \/>\nDifferent programs (without a program) of audio\/video materials, web, television<br \/>\ncurated by Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati<\/p>\n<p><strong>Wunderground \u2013 central hall _h24<\/strong><br \/>\nThe venue will host objects and works of any kind that anyone can bring and exhibit.<br \/>\nA recollection of \u201cofrendas\u201d will be in an home altar in honour of the dead.<\/p>\n<p><strong>Space Itineraries #2 _ in girum\u2026 _h24<\/strong><br \/>\nAn \u201curban \u2013 star\u201d map will be donated to participants, to guide them through the discovery of \u201ccelestial things\u201d through the streets and buildings of the city.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-41399\" src=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/WCM_locandina.jpg\" alt=\"\" width=\"500\" height=\"703\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/WCM_locandina.jpg 500w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/WCM_locandina-213x300.jpg 213w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2018\/10\/WCM_locandina-436x613.jpg 436w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><strong>WEEKEND COI MORTI<\/strong><br \/>\n<strong>an international selection of very different films<\/strong><br \/>\n1-4 novembre 2018<br \/>\nanteprima 31 ottobre<br \/>\nSpazio Menomale, via De&#8217; Pepoli 1\/A &#8211; Bologna<br \/>\n<a href=\"http:\/\/www.nomadica.eu\/weekend\" target=\"_blank\" rel=\"noopener\">nomadica.eu\/weekend<\/a><\/p>\n<p>una produzione <a href=\"http:\/\/www.nomadica.eu\/\" target=\"_blank\" rel=\"noopener\">NOMADICA<\/a> \/\u00a0con\u00a0<a href=\"https:\/\/www.facebook.com\/associazionemenomale\/\" target=\"_blank\" rel=\"noopener\">Associazione Menomale<\/a> +\u00a0<a href=\"https:\/\/ilcanedipavlov.it\/\">ilcanedipavlov<\/a> +\u00a0<a href=\"http:\/\/www.rifrazioni.net\/\" target=\"_blank\" rel=\"noopener\">Rifrazioni. Dal cinema all\u2019oltre<\/a> +\u00a0<a href=\"https:\/\/www.rapportoconfidenziale.org\/\">Rapporto Confidenziale<\/a> +\u00a0<a href=\"https:\/\/cameraardente.tumblr.com\" target=\"_blank\" rel=\"noopener\">La Camera Ardente<\/a> +\u00a0<a href=\"http:\/\/movimcat.eu\/\" target=\"_blank\" rel=\"noopener\">The Moving Image Catalog<\/a> \/\u00a0grazie a\u00a0<a href=\"https:\/\/www.eyefilm.nl\/\" target=\"_blank\" rel=\"noopener\">eye filmmuseum amsterdam<\/a> +\u00a0<a href=\"http:\/\/www.cinetecadibologna.it\/\" target=\"_blank\" rel=\"noopener\">Cineteca di Bologna<\/a><\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"1112\" height=\"626\" src=\"https:\/\/www.youtube.com\/embed\/axaUoC9Ow8k?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=it-IT&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un lungo weekend in occasione della festa dei morti. Una maratona non-stop fatta di incontri e scontri, proiezioni e ricezioni, suoni e visioni: in prima italiana decine di film internazionali, distillati della pi\u00f9 interessante ricerca contemporanea. E ancora seminari, focus, percorsi nello Spazio \u2013 in varie forme e formati, dalla notte al giorno e dal giorno alla notte. Lo Spazio<\/p>\n","protected":false},"author":6,"featured_media":41400,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[340],"tags":[547,19507,4887,16557,19506],"class_list":["post-41394","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-agenda","tag-bologna","tag-la-lucina","tag-nomadica","tag-spazio-menomale","tag-weekend-coi-morti"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Weekend coi morti. Bologna 1-4 novembre 2018 | Rapporto Confidenziale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rapportoconfidenziale.org\/?p=41394\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Weekend coi morti. Bologna 1-4 novembre 2018 | Rapporto Confidenziale\" \/>\n<meta property=\"og:description\" content=\"Un lungo weekend in occasione della festa dei morti. Una maratona non-stop fatta di incontri e scontri, proiezioni e ricezioni, suoni e visioni: in prima italiana decine di film internazionali, distillati della pi\u00f9 interessante ricerca contemporanea. E ancora seminari, focus, percorsi nello Spazio \u2013 in varie forme e formati, dalla notte al giorno e dal giorno alla notte. 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