SOMETHING HOT… BUT IT’S JUST A RIPPED POSTER – LACER/ACTIONS POSTCARDS # 4

SOMETHING HOT… BUT IT’S JUST A RIPPED POSTER / LACER/ACTIONS POSTCARDS # 4 by ROBERTO ALBORGHETTI

Images of Torn (publi)City

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SOMETHING HOT… BUT IT’S JUST A RIPPED POSTER

Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about urban signs, especially concerning the apparent chaos of ripped posters and street signs.

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations, as you may see in this “postcard” reproducing one of the 40.000 images captured by Roberto Alborghetti during his research.

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WELCOME TO “HAIGA GALLERY”: IMAGES AND WORDS FOR A TRIP THROUGH IMAGINATION

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 Last november I posted a series of “haiga” . Fellow bloggers and lot of friends seemed to like my collaboration with musician, producer and poet Joshua Sellers, from West Memphis (Arkansas, USA); we had previously collaborated on a music videoclip (“Linger”).

In a different kind of collaboration, fusing Joshua ‘s words with my images – realistic pics of torn posters and urban signs – we have presented four haiga (titles: Moonlit Sky, In a Spider Web, A Jar of Rainwater and No Clouds), a combination of haiku and visual art.

 Now, answering to request, I’d like to present all the haiga series in one post (you can see it on the slideshow). As usual, I took the images from ripped poster sticked on billboards or from cities walls (there are a lot of incredible “signs” to watch…). On occasion I want to thank Joshua Sellers for his beautiful poems. Let your eyes go on a fascinating trip through imagination and states of mind…

in a spider web

ABOUT HAIGA

Haiga is a style of Japanese painting based on the aesthetics of haikai, from which haiku poetry derives, which often accompanied such poems in a single piece. Like the poetic forms it accompanied, haiga was based on simple, yet often profound, observations of the everyday world. Stephen Addiss points out that “since they are both created with the same brush and ink, adding an image to a haiku poem was… a natural activity.”

Just as haiku often internally juxtapose two images, haiga may also contain a juxtaposition between the haiku itself and the art work. The art work does not necessarily directly represent the images presented in the haiku. Stylistically, haiga vary widely based on the preferences and training of the individual painter, but generally show influences of formal Kanō school painting, minimalist Zen painting, and Ōtsu-e, while sharing much of the aesthetic attitudes of the nanga tradition. Some were reproduced as woodblock prints. The subjects painted likewise vary widely, but are generally elements mentioned in the calligraphy, or poetic images which add meaning or depth to that expressed by the poem.

No Clouds

https://robertoalborghetti.wordpress.com/2011/11/28/no-clouds-poetic-verses-by-joshua-sellers-one-of-my-images-from-torn-posters/

A Jar of Rainwater

https://robertoalborghetti.wordpress.com/2011/11/21/haiku-and-visual-art-telling-a-jar-of-rainwater/

In a Spider Web

https://robertoalborghetti.wordpress.com/2011/11/14/in-a-spider-web-words-and-images-for-a-trip-trhough-perception/

Moonlit Sky

https://robertoalborghetti.wordpress.com/2011/11/07/moonlit-skythe-first-haigalaceractions-by-joshua-sellers-and-roberto-alborghetti/

Links to “Linger” videoclip by Joshua Sellers and Roberto Alborghetti

Earscapes Channel

http://youtu.be/iTtli44H66w

Lacer/azioni Channel

http://youtu.be/lOTx5QphUjE

A LOVELY COMMENT FROM FRIEND BLOGGER “LE ARTIST BOOTS”:

http://leartisteboots.wordpress.com/2012/01/20/my-best-wishes-with-this-special-haiga/comment-page-1/#comment-193

ABOUT JOSHUA SELLERS

Joshua Sellers has attended the University of Louisiana at Monroe studying music composition.  Over the years, Joshua has worked as a performer, songwriter, producer, engineer, DJ and musical collaborator in classical, rock, folk, jazz, avant-garde, electronica and ambient music.  As a member of the pop-rock duo Joker, Joshua released the album Homecoming in 2009.

In addition to musical projects, Joshua Sellers has been given an arts grant by the state of Louisiana for a poetry reading at the Masur Museum of Art (1996).  Joshua has also been a co-editor of Hart Beats, a journal of philosophy and spirituality published in Monroe (1996-1998).
Joshua has long been fascinated with the sound textures.  As a child, he would play with tape recorders, altering the tape speed or running the tape in reverse.  Joshua Sellers: “I discovered that you could use a recording device not simply to document sound, but to create unique sounds never heard before.”

Reviving his interest in these childhood experiments, Joshua first began recording ambient music under the pseudonym Murmur in 2003.  Rather than rely on the latest state-of-the-art synthesisers, Joshua uses found sounds, toy keyboards, electric guitars and shakuhachi as sound sources.
Joshua Sellers: “In music, we place traditional musical elements like rhythm, melody and harmony in the foreground and so we tend to not notice the actual texture as much.  In my music, that’s a perception I want to reverse.”
In 2010, Joshua Sellers completed his first full-length album of ambient music, Amniosis.  A new EP, State of Flux, is due to be released later in 2011, followed by a large-scale work, Elemental. Joshua Sellers: “I like to think of my pieces as enigmatic abstract icons, each providing a quiet meditative space and luminous presence of its own.”

Joshua Sellers currently lives in West Memphis, Arkansas, with future plans to emigrate to New Zealand.

www.earscapes.com

ABOUT ROBERTO ALBORGHETTI

Professional reporter, author and visual artist, Roberto Alborghetti has written more than thirty books (biographies, interviews, stories). He worked in magazines and newspapers and produced Tv documentaries. Editor in chief of magazines concerning didactic, education, edutainment and media literacy, he leads workshops and conferences. He has won important journalism Prizes, such as Premio Acqui Terme, Premio Beppe Viola, Premio Anmil Safety in Work. He is the unique Italian reporter who received the European Award for Environmental Reporting, the so called European “Pulitzer” about Environmental Reporting (1992, European Parliament, Strasbourg).

He created “LaceR/Actions”, a multidisciplinary project concerning in a research about torn posters and urban “signs” taken from city walls. Impressed by photocamera and transferred on canvas, reproduced on lithographs or textiles, or scanned in a videoclip, the details of torn advertisings give new life to paper wastes.

In 2009, he published a “booklet-portfolio” – “Lacer/actions, Pics of torn (publi)city – gathering a selection of 40 pictures chosen among 30.000 pics that Roberto Alborghetti took during his research about torn (publi)city. In July 2010, thirty thousand people visited his show “The Four Elements of LaceR/Actions” at Oriocenter (Milano Bergamo Orio International Airport). Roberto Alborghetti’s pics are also taking part of experiences about sensorial and emotional perception (sinestesys) concerning kinesiologic tests. Alborghetti is also invited to lead workshops about his artworks.

In October 2011, he participated at Parallax Art Fair in London (La Galleria, Royal Opera Arcade, Pall Mall). He showed 3 artworks (mixed media/canvas): “Nine Eleven/New York 2001, Victims & Martyrs, The Blood Track #2”, “As fast running water…”, “I don’t like to stand still”. The famous “The Huffington Post” (September 2011) wrote about his artwork devoted to Nine Eleven Fallen; article by dr. Srini Pillay, Psychiatrist, Harvard clinician, brain imaging researcher, executive coach, author (Life Unlocked, The Science behind the Law of Attraction, Your Brain and Business: the Neuroscience of the Great Leaders).

One of his recent works was selected to be part of the new Contemporary Art Museum projected and created in in Italy (Marche region) by the artist Pasquale Martini.

He created more than 40 videoclips posted at his YouTube channel.

 Art critics and experts said that Roberto Alborghetti’s art has an “exceptional and evocative dynamic”, “a strong power of language”; it shows “new points of observation that overwhelm canonical trial systems”, “breaking the current patterns of visual art.” Alborghetti’s Artworks “are explosions of color, passion, joy, sorrow, story, emotion, beauty, love…”, “They touch us on the raw and go straight to the heart”, ” a provocation to our eyes and to our mind”.

DRIPPING TECHNIQUES? THEY ARE JUST MY “LACER/ACTIONS”…

 

 

Hundreds of drops, black-white-grey colors, an absolutely random image, as the other 35.000 I took during my research about what I like to call “The Torn (publi)City” (ripped posters and urban signs). This is one of my last 2011 artworks. I had the luck to catch it in Milan. It’s one of a series of 5. You never imagine where I took it from! Someone could define it as an expression of dripping techniques. Someone (again) could tell me that it is so similar to some Jackson Pollock paintings…

I only say that the image is absolutely natural and spontaneous, a realistic shot, caught in Milan by my eyes and camera… One day we should explain how reality – I mean: what we have under our eyes – has affected and ispired contemporary art. Meanwhile, this is just another of my “lacer/actions”. And I love people when they play to recognize in what I do some great artist’s hand…

 

  •  “Escape from a definable space” / Roberto Alborghetti’s Lacer/actions – Medium: Canvas/Mixed media, 80×50, Image location: Milan, 2011.
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WATCH THE CLIP, WITH MACKINTOSH BRAUN SOUNDTRACK: 

http://youtu.be/AIkW03wDWtM

LaceR/Actions”is a multidisciplinary project and research about urban signs and landscapes, especially concerning the apparent chaos of ripped papers from billboards and advertisings diplays. I have so far collected more than 35.000 images. Impressed by photocamera and transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in a video clip, the details of torn posters give new life to paper lacerations. I think that in the lacerated advertisings is recognizable the “unwrapped” city, self-destroying in the messages, self-regenerating and self-reproducing in new visual elements, often contradictory, dissonant, discordant, but still surprisingly vital.

Some “Lacer/Actions” artworks were published in a booklet-portfolio: Pics of torn (publi)city”. In July 2010, thirty thousand people visited my show “The Four Elements of LaceR/Actions” during the three days exhibition at Oriocenter (Milano Bergamo Orio Airport, Italy).Myartworks are also taking part of experiences about sensorial and emotional perceptions (sinestesys) concerning kinesiologic tests. In October 2010 I participated to “Parallax AF” in London (La Galleria, Royal Opera Arcade).

 LACER/ACTIONS on web

www.artslant.com/ew/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

https://twitter.com/#!/RobAlborg

www.facebook.com/roberto.alborghettilacerazioni

http://lacer-azioni.blip.tv/

https://robertoalborghetti.wordpress.com/

http://it.linkedin.com/in/robertoalborghettilacerazioni

www.myspace.com/lacer-azioni

 SONO SOLO… LACER/AZIONI

Ecco una delle mie ultime Lacer/azioni del 2011. E’ una immagine che- come le altre 35.000 che ho realizzato nel corso di anni di ricerca – è assolutamente realistica, casuale, spontanea, non manipolata. Qualcuno si divertirà a riconoscere, ad esempio, la tecnica “dripping” usata da grandi artisti quali Jackson Pollock… Dico solo che la mia immagin è catturata dalla realtà, da ciò che abbiamo sotto gli occhi. E penso che la realtà abbia influenzato e ispirato grandemente l’arte contemporanea.

  •  “Fuga da un definibile spazio”, Roberto Alborghetti Lacer/azioni, tela/mixed media, 80×50, 2011, Localizzazione immagine: Milano

 

“L’ECO DI BERGAMO” NEWSPAPER DEDICATES 2 FULL PAGES TO ROBERTO ALBORGHETTI’S “LACER/ACTIONS” ART

I know: you aren’t dedicated two pages in a newspaper every day… Especially when they refer to art and culture. However, this happened to me. L’Eco di Bergamo – the most popular local newspaper in Italy – wrote about my “Lacer/actions” artworks dedicating me two full pages. The article is signed by Diego Colombo, who has interviewed me and has brilliantly reported and described the aspects of my art. I’m re-proposing some passages of the long and detailed article, thanking Diego Colombo and L’Eco di Bergamo for the attention they gave me. The entire article can be read on L’Eco di Bergamo, on October 26, 2011.

 

ALBORGHETTI ‘S POP ART IN NEW YORK

by Diego Colombo

 The “torn city.” This is the subject of photographs by the journalist Roberto Alborghetti from Bergamo (Italy), a research work on torn posters, advertising papers, in different countries of the world. He explains: “It’s hard to imagine that behind torn and faded messages there is “something else” to see or discover. In spite of this, these images keep being a mirror of the talking city. These are the post-communicating traces of a product, an event, a show, an idea, new visual elements, often contrasting, discordant but always surprisingly vital”.

Chris Barlow, British art historians, has hosted Alborghetti in an exhibition in London, organized in October. He was invited to be part of the Memorial & Museum in New York, with his work on Nine Eleven… “I’ve always been fascinated by the world of communication – explains Alborghetti – and once I cared a survey “The eye and the media”, in the weekly magazine “La nostra Domenica”, which often dealt with advertising including that of billboards on the streets. And the director, Lino Lazzari, encouraged me to go on with photographs, putting near my language the innovations of pop art. This year he wrote me a beautiful review which I translated into English and placed on the net”. Lazzari wrote: “The matter used to create a work of art and to convey positive messages of humanity isn’t as important as the ability of using “tears” of colored paper to exalt the characteristics of a striking, persuasive, compelling reality”.

“I photograph a waste as the torn poster waiting to be covered by other posters – adds Alborghetti – or remains as a waste, especially in poor neighborhoods where I usually find the best images”. “In Tunis, three years ago, I took photographs in an Arab market – remembers Alborghetti – where I saw beautiful matches on the blue walls of buildings… The most beautiful matches are those in which paper remains stuck for months and undergoes a process of osmosis with the environment. With rain, sun, smog, paper always changes, it pulls itself, it’s stiff. The most unusual aspects can be discovered when rainwater mixes everything, leaving incredible traces, and it’s important to seize the right moment, because it isn’t always easy…”

“During the last fifteen years – continues Alborghetti – I coordinated several projects about the use of means of mass communication and the reading of image, including workshops with students and teachers on advertising messages. There, I discovered that advertising has a “post” value, that is to say even after being a moment of communication. To tell the truth, the artist Mimmo Rotella took inspiration from torn posters of the fifties. And others like him, for example the French artist Jacques Villeglé: the capability of the billboard of enchanting isn’t something new. But I have considered a different aspect: the suggestion of colors that casually remain when the bill-sticker tears. In the meantime, studying contemporary art, I was seduced by abstractionism”.

 In about seven years, Alborghetti collects a lot of photos, thirty thousand pics. Here comes the surprise: “Showing them to friends or during the workshops with teachers, I was told that my pictures of torn posters were beautiful. They pushed me to locate them, date them, categorize them. I had shots taken around the world, from Italy, from New York and Los Angeles, from all the places where my job as director of specialist journals in the field of teaching and education and coordinator of projects about the use of media takes me”.

The moment of getting known comes soon: “I created about forty videoclips with my images of torn posters, organizing them by color – blue, red, black – and giving meaning to my work. I loaded them on the net: YouTube, MySpace, Facebook, ArtSlant… The first exhibition was in July 2010 at OrioCenter: the Director of the big shoppin center had seen my pictures and he had offered me a space, the square opposite the Milan Bergamo Orio Airport, for an exhibition of thirty works on the theme “Air, water, earth and fire”. In three days, thousands of people have asked for explanations and clarifications. On that occasion newspapers dedicated some articles to the event, including L’Eco di Bergamo and the international web magazine Un mondo d’Italiani…”

 “At first I found much derision in Italy. They told me: “You have made a montage”. And then I had to stand, and still today, people’s reactions when I am taking photos on torn posters. “You’re crazy”, “I have to go, give me way…”. In Milan I was also stopped by the police: I was shooting near a police station, considered “a significant military target”. “What are you photographing?”. “I will show you”. They couldn’t believe. Even my friends usually joke: they pretend to be art dealers who invite me to exhibitions”. To tell the truth when we saw the first e mail from Roberto Alborghetti, we thought it to be a trick.

“When I brought my booklet in a gallery in Milan, they watched me as if I was an alien. But abroad I realized that I wasn’t the problem, they were. We have to get out of our narrow-minded, it is isolating us”.

 The web gives Alborghetti a strong visibility: he has been receiving since the beginning thousands of contacts on his website “Lacer/actions” on YouTube. “Lacer/actions. I chose this name because my activity consists of reading the tears on posters, mirror of pople’s sorrow” Alborghetti’s name is also present on The Huffington Post, the prestigious American blog for which the President of the United States Obama, also wrote. The article is signed by Srini Pillay, Harvard psychiatrist and researcher in the field of “brain imaging”, author of bestsellers about the Neuroscience; in Italy they translated his best seller “Life Unlocked”, titled “La Calma in Tasca” (Newton Compton publishing company)

Pillay was especially struck by the work of Alborghetti dedicated to Nine Eleven and he wrote a psychological analysis on it: “Art is a form of healing whose effects we can seen in the brain. When it is as beautiful as Roberto Alborghetti, it invites us to revisit the tragedy of terrorism, the horror of the loss and the beauty of our resilience through this mysterious life”.

The London show has been organized by the art historian and gallery owner Chris Barlow: “He saw my pictures on the net, he appreciated them and invited me to go to London for three days at the international “Parallax AF” with three of my works: that dedicated to Nine Eleven, “As running fast water” (Come acqua che corre veloce), “I don’t like to stand still” (Non mi piace stare fermo). “As running fast water” was born in Bergamo, along XXIV Maggio street in a rainy day and now somebody puts it near Monet”.

 “I have been contacted by many people who had seen my pictures on the net – Alborghetti says with surprise, but also with pride – : poets, musicians and storytellers. Among these was Srini Pillay, who now is working to an international project about “ States of consciousness”: he sent me a grid of questions centred on the creation of my works. When he received my answers he wrote me: “I am a columnist of The Huffington Post, I will dedicate an article about your work on Nine Eleven”. Taking the story of the origin of this picture as a starting point, he began to write: “Roberto Alborghetti was walking along Vico Street in Milan…”. That’s true: I was there when I saw a board election and I was fascinated by the tears left by a bill-sticker. The colors were similar to those of blood and fire coming down to the gray cement. This year is the tenth anniversary of Nine Eleven and I decided to dedicate this picture to the Fallen in the attack”.

 But there’s more. “Two years ago I have produced a clip with colorful images. An American hip-pop musician, Sweet P The Entertainer saw it and wrote to me: “If I give you my music, you will make a clip”. Now he is coming out in America with his first album…” There is a special feeling with the music. “Last year I made a clip with abstract images that made me think of the atmosphere of Christmas; this clip was for an american group that sings a cappella, Tonic Sol-Fa. A few months ago I worked with a Dutch musician, Jap Jap. And an experimental musician from Brighton, Jonteknik, sent me a song and he wrote to me: “Combine it with your pictures, I like them very much”. I worked with the American musical project “Earscapes” by Joshua Sellers, musician, producer and poet from Arkansas, who created a nine minutes video (“Linger”) with my artworks…”

“Who says that this kind of work can be created only by an Italian, mentioning Renaissance, as well as all the culture that we have behind us and inside us, puts me in a crisis. As well as people who puts me near Cy Twombly, Josef Albers, to pop art, who declares that I have shown that in art nothing is created nor destroyed. That’s true: I am not a painter, but a lot of great artists have been inspired by torn posters. I have got proof. I don’t modify the images, I don’t transform them: I immortalize them as I see them. My work is a provocation. Those who see my work for the first time have the illusion that they are paintings. I have to explain that they are not…”

Others apart from artists like Alborghetti’s works. He has been called by a company, the Bulwark Design (Srs Group), from Fiorano Modenese (Modena), in the center of the district of ceramics… And then the meeting with Bruno Boggia, who provides designers with the drawings. Because the success of an article depends on the textile designers. In Como, Boggia works for the most successful international fashion houses. Alborghetti: “He has produced three silk scarves with my pictures, including one dedicated to Nine Eleven (Alborghetti is going to give it to an association of families of the Fallen in the attack) Three prototypes, just to see the effect of the transition from paper to silk”. “But there’s also – he concludes – a religious group which had the idea of taking one of my images as a model for a stained glass window… People see all these references. For me it’s just a game”. But also a provocation to our eyes and our minds.

STREETS OF LONDON, “OPEN AIR” ART GALLERY

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In the very heart of London catchin’ images of torn posters and signs from the walls… For my “Lacer/actions” art.

During my recent participation at Parallax AF at La Galleria, I had the way to have a look around in the very heart of London trying to catch some images of torn and decomposed posters (yes, I can’t resist!) The British metropolis offered me again so many signs layed on its walls. As an open air gallery, London revealed itself through incredible colors and shapes. In every street I walked along I noticed particulars and details all linked by a sort of a common language and dye.

In Haymarket, not so distant from La Galleria, I captured blue oriented images. In High Holborn Street the dominat color was green. In St. Giles Street some ripped posters presented details in which I had no difficulties to see pop-art elements. And again: I catched black and white images in Leicester Square, red and blue in Yorkway. Along Moor Street, outside a dockyard, I saw (and impressed on my camera) images that mixed up ripped papers, glue castings, spontaneous drawings left by some anonymous hands. Such incredible colored effects!

ROBERTO ALBORGHETTI LACER/ACTIONS ART – 2011

As usually, in ripped and decomposed publicity posters I find a lot of styles and art streams: from modernism to cubism, from abstractionism to post-modernism, from vorticism to impressionism… Yes, so lot of “ism”, but I prefer to call all those images with my favourite term: “Lacer/actionism”… London is really an “open air” art museum that you may visit every day, without paying an entrance ticket. It’s enough to walk along the streets, open your eyes wide an let your perception flow.

Roberto Alborghetti

 WATCH THE CLIP…

YouTube

http://youtu.be/ShJ_j-s06Go

Animoto

http://animoto.com/play/WBPxxng94YhTOhtaq1nu3g

GUESS WHERE I TOOK IT FROM…

The green side of my “lacer/actions” artworks… But this time, the image doesn’t come from a torn poster sticked on a billboard. And neither it’s a picture taken on board, looking green fields from an aircraft… Guess where I took it from…

 

 

CENTER FOR MEDIA LITERACY: A COMMON EFFORT TO SEE MEDIA THROUGH “NEW EYES”

Roberto Alborghetti interviews Tessa Jolls, President of CML, Center for Media Literacy, based in Malibu (Los Angeles, CA).

 

The media literacy is one of the most important questions faced today by culture, education and communication world. The same goal, from 1998, is shared in United States of America by Center for Media Literacy, CML, an organization based in Malibu, Los Angeles, State of California (www.medialit.org). I wanted to know more about its activities and so I met and interviewed CML President, Mrs. Tessa Jolls.

 

– Mrs. Tessa Jolls, where and when was founded CML?

The Center for Media Literacy was founded in Los Angeles, CA, in 1989 as a non profit. In 2006, CML was restructured and incorporated as a for-profit. The consortium for media literacy was founded as a non-profit in 2007 as a project of international humanities center.

 

– What is the most important mission of your organization?

To advocate for media literacy, to provide practical, research-based tools and resources for media education.

 

– Who support your efforts and activities? Are there attentions from central and local governments?

We receive grants from State and Federal government agencies, but we also have clients (schools and organizations) who pay for consultation, training and curriculum.

 

– Which is the opportunity that CML’c activities give to educators, teachers and to the young people?

The primary benefit of media literacy education is making wise choices possible, since media literacy enables critical analysis of media messages and an understanding of the role of media in our society.

 

– Do you think that the american situation – speaking about kids, schools and media education – is not so different compared to other countries of the globe?

Every country is affected by the impact of media, since media is so pervasive in our cultures, regardless of physical boundaries. Parents everywhere are concerned that their children be wise consumers of media as well as responsible producers of meda. Preparing productive, discerning citizens is of concern globally.

 

– Have you noticed positive effects in people who were involved in CML activities?

Through the years, we have seen many people become passionate advocates of media literacy. Being media literate changes the way that people see the world; once people see media through “new eyes,” they realize the importance of understanding media and how it works in our society.

 

– What is your personal message to schools and teachers who are invited to join your web site?

Global media binds people from throughout the world together because media represents our ideas and our behavior, regardless of where we are from or what we believe. Just as we have common media, we must have common understanding of how media systems work and how we can represent ourselves most effectively. This is our opportunity and our challenge, and we welcome all to take up this important work.

 

www.medialit.org

 

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CML: UNO SFORZO COMUNE

PER VEDERE I MEDIA CON “NUOVI OCCHI ”

 

Roberto Alborghetti intervista Tessa Jolls, Presidente del CML (Center for Media Literacy) organizzazione molto attiva negli Stati Uniti d’America nell’educazione ai media.

 

L’educazione (e la comprensione) ai media è una delle questioni he toccano il mondo della cultura, dell’educazione e della comunicazione. Su queste realtà è molto attivo, negli Stati Uniti d’America, il CENTER FOR MEDIA LITERACY, che ha sede a Malibu, Los Angeles, California (www.medialit.org) . Ho voluto sapere di più sull’esperienza di CML; ho incontrato ed intervistato la Presidente dell’organizzazione, la signora Tessa Jolls. Ecco l’intervista.

 

1 – Quando e dove è stato fondato CML (Center for Media Literacy)?

IL CENTER FOR MEDIA LITERACY (CENTRO PER LA COMPRENSIONE E L’EDUCAZIONE AI MEDIA) È STATO FONDATO A LOS ANGELES, CALIFORNIA, NEL 1989 COME UNA ORGANIZZAZIONE NO-PROFIT. NEL 2006 CML È STATO RISTRUTTURATO E COSTITUITO IN UNA SOCIETÀ FOR-PROFIT. IL CONSORZIO PER L’EDUCAZIONE AI MEDIA (CML) È STATO FONDATO COME ENTE NO-PROFITO NEL 2007 NELL’AMBITO DI UN PROGETTO DELL’ INTERNATIONAL HUMANITIES CENTER.

 

 

2 – Quale è la più importante finalità della vostra organizzazione?

È QUELLA DI PROMUOVERE L’EDUCAZIONE AI MEDIA, DI FORNIRE STRUMENTI PRATICI E DI BASE PER FAVORIRE L’EDUCAZIONE AGLI STRUMENTI DELLA COMUNICAZIONE.

 

 

3 – Chi sostiene i vostri sforzi e le vostre attività? Ci sono attenzioni da parte dei governi locale e nazionale?

NOI RICEVIAMO DELLE DONAZIONI DA PARTE DELLE AGENZIE DELLO STATO E DEL GOVERNO FEDERALE, MA ABBIAMO ANCHE INTROITI DA PARTE DI UTENTI (SCUOLE ED ASSOCIAZIONI) AI QUALI SONO FORNITI SERVIZI DI CONSULTAZIONE, FORMAZIONE E PROGRAMMI DI STUDIO.

 

 

4 – Quali le opportunità che le attività di CML offrono a formatori, insegnanti ed alla popolazione giovanile?

IL PRIMO VANTAGGIO DELL’EDUCAZIONE AI MEDIA È QUELLO DI RENDERE POSSIBILI SCELTE INTELLIGENTI, IN QUANTO L’EDUCAZIONE AI MEDIA RENDE CAPACI DI ANALIZZARE CRITICAMENTE I MESSAGGI DIFFUSI DAI MEDIA E DI CAPIRNE IL RUOLO RICOPERTO NELLA NOSTRA SOCIETÀ.

 

 

5 – Pensa che la situazione negli USA – parlando di ragazzi, scuole ed educazione ai media – non sia così differente rispetto ad altre Nazioni del globo?

TUTTE LE NAZIONI SONO COLPITE DALL’IMPATTO DEI MEDIA DA QUANDO ESSI SONO DIVENTATI COSÌ PERVASIVI NELLE NOSTRE CULTURE, INDIFFERENTI AD OGNI LIMITE FISICO. DAPPERTUTTO, IN OGNI LUOGO, LE FAMIGLIE SONO INTERESSATE DAL FATTO CHE I PROPRI RAGAZZI DEVONO ESSERE SAGGI UTENTI DEI MEDIA COSI COME RESPONSABILI PRODUTTORI DEI MEDIA. È UN INTERESSE GLOBALE PREPARARE CITTADINI PRODUTTIVI E PERSPICACI, IN GRADO DI DISCERNERE.

 

6 – Avete notate effetti positivi nelle persone che sono state coinvolte nelle attività del CML?

NEL CORSO DEGLI ANNI, ABBIAMO VISTO MOLTE PERSONE DIVENTARE APPASSIONATI SOSTENITORI DELL’EDUCAZIONE AI MEDIA. L’ESSERE IN GRADO DI CAPIRE I MEDIA, CAMBIA IL MODO DI VEDERE IL MONDO. QUANDO LA GENTE VEDE I MEDIA CON “NUOVI OCCHI” ESSA CAPISCE L’IMPORTANZA DI COMPRENDERE I MEDIA E QUANTO CIÒ CONTA NELLA NOSTRA SOCIETÀ.

 

 

7 – Quale è il vostro personale messaggio alle scuole ed ai formatori che sono invitati a collegarsi al vostro sito web?

I MEDIA GLOBALI LEGANO INSIEME LA GENTE DI TUTTO IL MONDO PERCHÉ I MEDIA RAPPRESENTANO LE NOSTRE IDEE E IL NOSTRO COMPORTAMENTO, INDIFFERENTEMENTE DA DOVE NOI SIAMO E IN COSA NOI CREDIAMO. PROPRIO PER IL FATTO CHE ABBIAMO IN COMUNE I MEDIA, NOI DOBBIAMO AVERE UNA COMUNE COMPRENSIONE DI COME LAVORA IL SISTEMA DEI MEDIA E DI COME NOI POSSIAMO RAPPRESENTARE NOI STESSI IN MODO PIÙ EFFICACE. QUESTA È LA NOSTRA OPPORTUNITÀ E QUESTA È LA NOSTRA SFIDA E NOI SIAMO LIETI DI ACCOGLIERE TUTTI COLORO CHE PRENDONO PARTE A QUESTA IMPORTANTE OPERA.

 

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