fattoria montellori

(translated by theresia prammer)
*

motto scandendo, ma qui tacer nol posso,

così uscire da se stesso,

*

torre

e

cupola,

*

non come questa rocca era lì gettata

non come me, mentale, come

*

gamba,

pietra

e metallo

*

per questi sensi sì incisi nella carne,

nel fondo intrecciati che sostiene

*

nel cerchio

mi immagino

colori.

*

perspectivae del monte chiamò, formato a partire dal

nome, pensato non, libero dalla frase, dal

*

fondo,

punto di fuga,

ghianda, cupola,

statica, grammatica, il loro profilo,

contorni, lame croci, torre, il loro crollare,

*

linee

tracciate lanciate

nel caduco

me stesso,

lumi,

mi

*

scalfiscimi te, esso, così nella memoria, scogliera, come

*

il rotondo rilievo,

non in contanti, perché non è il piano a cui tocca

determinarlo,

*

sempre più ovale si scosta, alla retta del profilo,

corazza di vetro, il terreno freddo, nero,

*

ogni parola univoca

dopo il suo tour, definizione,

chiusura circolare, sciatta riproduzione,

*

cartacea, prima vista vera, come quella dei contorni nitidi di sandro

altrimenti, non come nel pressappoco del

*

duo oculare, asta

dell’autentica

coordinata cartesiana

*

nella camera obscura di brunnellischi: proprio nel momento che

la lente si allarga e tiene a battesimo la cosa,

*

svolazza uno straccio

sulla finestra al vento,

che si affretta lungo l’arno.

*

sciocchezza quella della prospettica, sopra- e subordinante

sintassi, styx, nella frase sui confini delle parole giungono

*

gli oggetti,

immagini, contorni

correnti,

*

in finito regresso, cambio di prospettive, fuga di pensieri,

e puntualmente la posizione, in situ, li distende:

*

sozza mistura

dell’ombre,

*

che i lettori ora tingono dei loro ricordi,

venimmo al punto dove si digrada ...

*

******************************************************************************

Ma qui tacer nol posso: (Dante, Divina Comedia, Inferno, Canto XVI, v. 127)

perspectivae del monte: Guidobaldo Marchese del Monte (1545-1607). Perspectivae libri sex del matematico, fisico e astronomo originario di Pesaro, è una delle opere principali sulla prospettiva del tardo medioevo alla quale fa riferimento anche il suo protetto Galilei, e al cui interno si tratta per la prima volta l’argomento del punto di fuga.

brunelleschis camera obscura: Filippo Brunelleschi (1377-1446) si è occupato molto della rappresentazione bidimensionale della prospettiva costruendo a tale scopo una tavoletta con specchio, in cui si guardava da un foro e con la quale egli cercava di dimostrare che l´immagine del battistero di Firenze che aveva dipinto, ponendosi da un determinato punto del battistero, non era distinguibile, ad un raffronto (reso possibile dall’estrazione dell’immagine) dalla veduta reale.

(Vedi anche il saggio di Paul Feyerabend: Brunelleschi and the Invention of Perspective, in Conquest of Abundance, Chicago, London 1999)

sozza mistura dell’ombre (Ibid. Canto VI, v. 100)

venimmo al punto dove si digrada (Ibid. Canto VI, v. 114)

fattoria montellori

(translated by Matthias Goldmann)

*

scanning motto, ma qui tacer nol posso,

stepping out on one’s own in a manner of

*

tower

and

dome,

*

not the way these fortifications stand against the scenery,

not as a self, as a mental

*

leg,

metal,

or stone

*

cut into the flesh through these senses,

into the grounds we stand upon, woven

*

a ring around the

coloring of imagery

into my head.

*

perspectivae del monte, shouted, out from, formed

from names, not thought, free from sentences, from

*

grounds,

vanishing point,

glans, dome,

statics, grammar, in profile,

outlines, ringing crosses, tower, in falling,

lines

curved

in a pallid

self,

light,

I

*

carving you into memory, a riff, like the

*

round relief,

bagel on plate, as the surface does not coerce

into defining,

*

ever more oval, backing away, to the straight of the profile,

glass armor, the cold, black floor,

*

every word quite clear

in its own way, definition,

circular reasoning, cheap reproduction,

*

papery, prima vista vera, like sandro’s sharp contours,

different, not as any thereabouts of

*

duos of eyes, auction

of the real

Cartesian coordinates

*

in brunelleschi’s camera obscura: at just the moment

when the lens opens wide and raises its something from a baptismal font,

*

a rag fluttering

above the window, in the wind

blowing in along the arno river.

*

nonsense in perspective of super- and subordinating

syntax, styx, moving across word boundaries in a sentence

*

the objects,

images, outlines

under way,

*

in finite regress, change of perspective, rows of thoughts,

and in exact position, in situ, is mounted on,

*

sozza mistura

dell’ombre,

*

readers now deck out in the colors of their memories,

venimmo al punto dove si digrada ...

*

********************************************************************************

ma qui tacer no posso: but here I can't be still (Dante, Divine Comedy, Inferno, Canto XVI, verse 127)

perspectivae del monte: Guidobaldo Marchese del Monte (1545-1607). One of the major works of the Pesaro–born mathematician, physicist, and Astronomer. Perpspectivae libri sex, is one of the most influential books on perspective from the late Renaissance. Galileo, a protégé of the Marchese del Monte, made reference to this book which, among others, was the first to describe the concept of the vanishing point.

brunelleschi’s camera obscura: Filippo Brunelleschi’s (1377-1446) attempted to come to terms with the representation of perspective on two-dimensional surfaces. To this end, he created a peep show box with a mirror that one would peek into with one eye. It served to show that one could not tell the difference between the picture he had drawn of the Baptistry in Florence and the actual view of that building from a certain point in front of the Babtistry. Removing the picture from the box allowed for comparison of the two. (See Paul Feyerabend’s Essay: Brunelleschi and the Invention of Perspective, in Conquest of Abundance, Chicago, London 1999)

sozza mistura dell’ombre: squalid mixture of shadows (ebd. Canto VI, verse 100)

vennimo al punto dove sie digrade: we reached the point that marks the downward slope. (ebd. Canto VI, verse 114)

fattoria montellori

*

motto skandierend, ma qui tacer nol posso,

so aus sich heraus zu treten,

*

turm

und

kuppel,

*

nicht wie diese feste in der gegend stand,

nicht als ich, mental, als

*

bein,

metall,

als stein

*

durch diese sinne ins fleisch geschnitten,

in den grund, der trägt, geflochten

*

im kreis

einbild

mir farben.

*

perspectivae del monte, rief, vom namen aus

geformt, gedacht nicht, frei vom satz, vom

*

grund,

fluchtpunkt,

eichel, kuppel,

statik, grammatik, ihr profil,

umriss, klingen kreuze, turm, ihr fallen,

linien

geschwungen

im fahlen

selbst,

licht,

ich

*

ritz mir dich, es so ins gedächtnis, riff, wie

*

das runde relief,

bargeldlos, weil nicht die fläche zwingt,

es zu bestimmen,

*

immer ovaler zur seite weicht, zur geraden des profils,

gläserner panzer, der kalte, schwarze boden,

*

jedes wort eindeutig

nach seiner tour, definition,

zirkelschluss, billige reproduktion,

*

papieren, prima vista vera, wie die der scharfen konturen sandros,

anders, nicht wie im ungefähr des

*

augenduos, auktion

des wirklichen

cartesischer koordinaten

*

in brunelleschis camera obscura: gerade in dem moment,

in dem sich die linse weitet und das ding aus seiner taufe hebt,

*

flattert ein fetzen

über dem fenster im wind,

der den arno entlangkommt.

*

blödsinn von der perspektivischen, über- und unterordnenden

syntax, styx, im satz über die wortgrenzen kommen

*

die gegenstände,

bilder, konturen

in fluss,

*

in finiten regress, perspektivenwechsel, gedankenfluchten,

und punktgenau die position, in situ, spannt auf sie,

*

sozza mistura

dell’ombre,

*

die lesende nun mit ihrer erinnerung färben,

venimmo al punto dove si digrada ...

*

**********************************************************************************

Ma qui tacer nol posso: Doch hier kann ich nicht schweigen (Dante, Divina Comedia, Inferno, Canto XVI, Vers 127)

perspectivae del monte: Guibaldo Marchese del Monte (1545-1607). Eines der Hauptwerke des aus Pesaro stammenden Mathematikers, Physikers und Astronomen Perspectivae libri sex, ist eines der Grundbücher dr Spätrenaissance zur Perspektive, auf das sich auch der von ihm protegierte Galileo bezieht und in dem z.B. der Fluchtpunkt das erste mal behandelt wird.

brunelleschis camera obscura: Filippo Brunelleschi (1377-1446) setzte sich viel mit der zweidimensionalen Darstellung von Perspektive auseinander und schuf zu diesem Zweck eine Guckkasten-konstruktion mit Spiegel, in die man mit einem Auge blickte und mit der er zu zeigen versuchte, daß das Bild, das er vom Baptisterium in Florenz gemalt hatte, wenn man an einer bestimmten Stelle vor dem Baptisterium stand, im Vergleich, der durch das Herausziehen des Bildes ermöglicht wurde, nicht von der wirklichen Ansicht zu unterscheiden ware. (Siehe Paul Feyerabends Essay: Brunelleschi and the Invention of Perspective, in Conquest of Abundance, Chicago, London 1999)

sozza mistura dell’ombre: schmutzige Mischung der Schatten (ebd. Canto VI, Vers 100)

venimmo al punto dove si degrada: Dann kamen wir zur Stelle, wo man absteigt. (ebd. Canto VI, Vers 114)

either an ode

1

*

either an ode or else an iteration,

stop me, listen to me, or stop: position

then determines which of us two will divvy

out the appearance,

*

sequentially abstracted. how much clearer

is the eye that you focus on me with, then,

than your terms that limpidly speak, deciding:

send us this image

*

straight to the eyes! who's tracked by what goes on here

in the lee of this forehead, right? the thought will

explicate us, they will occur for sure, what

words do when any

*

gesture suffices. o caress my side in

lieu of following useless flights of mind at

tentively, what whets our arousal makes us

wait for the pauses

*

o and the beauty of the shapes will lift us

up, i guess, and we'll settle on the portions

to determine which takes on what assignment,

rolling and playing

*

serious. crazy lying quilts will tell us

rules will follow beheaded thoughts and thickly

calming difficulties in thinking, vaguely

senses us falling

*

short of objection. sentences that question

unconditionally, as time goes by, us

waking with the dead, and the stance is, we will

take it from here, dude.

*

*

*

2

*

do you want to catch on really? give me a theme!

mathematic'ly drawn, proport'nally construed

words break e'en in my hands,

values sound like we're sinking fast.

*

am i 'magining this? follow the scheme, my dear!

what flows into the lines must through the cracks escape

distance breaks any dam and

looks uncertainly for a fix.

*

children's laughter, it sets words like a pebble, like

someone's stick figures. oh heck, what a donkey i

am out looking for places

where in silence the thistles bloom.

*

am i reckoning that what shoots ahead in spring

now lies buried in roots? what? does it multiply

by itself? why such bullshit

only happens when sparrows think.

*

under the difference, everyone's telling me,

lies in hiding the same thing that comprises them,

sums ring true just so long as

no one counts them together. thus

*

they're symbolic'ly joined. metamorphosis-like

sentence, axiom change into extremely odd

conversations: set forth then

from the very first principles,

*

exposition, they chirp, theme and development,

enigmatic, hermetic, but don't overstep

lines! the denominator

tallies scores for the numerate.

*

*

*

3

*

then nothing more will test, have we gone to far

into the woods, midway, and will concentrate

the trespasses that touched it and will

clear up the breaks in the bark at last

*

the lists of names, numeric relationships

that finite fractions rat'nally generate

to fill what has been missing from the

sheen of the whole, and is festering

*

in circles as if wittingly they would form

something like blinds. no longer can it be found

out there – whom had it been expecting? -

others, continue to share in me

*

the hope that something will correspond to how

they move in numbers freely, and leave behind

the rules of who should switch with whom, for

heaven and hell are a children's game.

*

translated from German by Ann Cotten

an abc of positions

an abc of positions

(epigrams)

1.

when he fessed up his stand, she swallowed him,

when it burst, she owned it up to stand for him.

2.

members she arranges to fit in, determined by gender,

make up their mind, step by step, on what gives, what takes,

grasp so well the heat, she has remembered.

3.

with a gush parts shoot into the form of the whole,

young shoots spread in numbers and in lines.

4.

a natural flow until up against an artificial dam,

that, which digs its own bed, reproduces in the silt.

5.

curved as the course may be, as flux gets under way,

dashing through this cane, lust is an upright moment.

6.

this very ear, it oftentimes is closed,

when her influence, in mid-flight, wilts and fades.

7.

a song, a mouth, the close circling motion of lips,

that, which waits, makes way, has nothing to prove.

8.

a song, how hard, swelling up, thresholds overcome,

chapped wounds, cracking, swelling membership.

9.

down this crevice waves break into parts

under the rule of slips of tongue erected.

10.

Winded up be her to ride the waves,

undressed he has set out to show her up,

she has, prior to melting, sponged on him.

11.

with a crooked crook, there’s no precaution she must take,

when his hat is high, though, she begs even his rage and fury.

12.

heavy though their clothes may be, naked can be done,

what habit is likely to change through understanding.

13.

transformation beheads the body with this axe,

a dear thing to him, it reaches for the other side.

14.

a movement, how smooth a stimulus fits into being pointed out,

keep on with it, until stepping in will capture distances.

15.

barely here, you are gone, I haven’t walked it yet,

haven’t quenched the call of desire for you.

16.

how he feels the swelling, cheeks tender to offer,

when bangs whistle, teeth sink into the back of a neck.

17.

immune against the power to wield words

by mouth, unable to please what keeps in step.

18.

when she comes out from below, there’s his agreement to be mounted,

with him marking what’s what from behind, she scales up his beat and rub.

19.

when two cross their paths by way of just two holes,

on all fours attraction unfolds, fans out.

20.

to stand face to face, to hand, and blow,

what shoots out wildly, will softly let off with a thrust.

21.

in the middles that the laying head will claim,

the tongue comes up to that, which lips can hold.

22.

how they swing and sway and bob around inside a moment,

put in a nutshell that turns on its side, what separates.

23.

how great a leap will come of one in happiness,

other items, in one sentence, remain on their own.

24.

penetrating, a discharge that engenders evidence of him

enclosed, making it, the juice, when she bends to break.

25.

dying out, what has slipped in as a token

of his crush on her, she waits for his retreat.

26.

when up to them, how it rushes its own way,

aiming at positions, what has set itself to lines.

translated from German by Matthias Goldmann