Federico Federici
Federico Federici is a physicist, a translator and a writer.
His texts have recently appeared in «3:AM Magazine», «Art in America», «Jahrbuch Der Lyrik», «Poet Lore», «Sand», «The Shanghai Literary Review», «The Manhattan Review» and others.
Among his books: “L'opera racchiusa” (2009, Lorenzo Montano Prize); “Appunti dal passo del lupo” (2013) in the series curated by Eugenio De Signoribus; “Mrogn” (2017, Elio Pagliarani Prize); “Requiem auf einer Stele” (2017); the asemic/poetry catalogues “Liner notes for a Pithecanthropus Erectus sketchbook” (2018) and “A private notebook of winds” (2019), "Lettere d’amore a Peter Rabbit", in the series curated by Paolo Giovannetti, Antonio Syxty, Michele Zaffarano, (Zacinto, 2021); "Profilo Minore", curated by Andrea Cortellessa (Nino Aragno, 2021), "Misura del sonno/Maβ des Schlafes" (Anterem, 2021).
Address: http://federicofederici.net
His texts have recently appeared in «3:AM Magazine», «Art in America», «Jahrbuch Der Lyrik», «Poet Lore», «Sand», «The Shanghai Literary Review», «The Manhattan Review» and others.
Among his books: “L'opera racchiusa” (2009, Lorenzo Montano Prize); “Appunti dal passo del lupo” (2013) in the series curated by Eugenio De Signoribus; “Mrogn” (2017, Elio Pagliarani Prize); “Requiem auf einer Stele” (2017); the asemic/poetry catalogues “Liner notes for a Pithecanthropus Erectus sketchbook” (2018) and “A private notebook of winds” (2019), "Lettere d’amore a Peter Rabbit", in the series curated by Paolo Giovannetti, Antonio Syxty, Michele Zaffarano, (Zacinto, 2021); "Profilo Minore", curated by Andrea Cortellessa (Nino Aragno, 2021), "Misura del sonno/Maβ des Schlafes" (Anterem, 2021).
Address: http://federicofederici.net
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L’écriture est une sorte d’usine. L’univers est sa première et dernière demeure. - Roussillon, août 2021
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Biophysique Asémique
LN 2021
ISBN 979-8768454739
[Asemic-Concrete-Fr]
Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.
Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.
Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc. The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.
The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).
Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings.
Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.
The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities. - De Villo Sloan
The discussion of topics such as code-switching and translanguaging, respectively in the field of [visual] multi-language poetry and asemic writing, aims to highlight how these practices may challenge conventional notions of linguistic boundaries and signification, ultimately influencing the perception of the world through the synthesis of competing linguistic structures.
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Text of the talk at Kunsttempel, Friedrich-Ebert-Str. 177, Kassel, 19.10.2023.