Beautiful, subtle, metaphysical poem...delivered perfectly in the musical tide...

Very beautiful, Ilaria. Congratulations on creating a touching picture with words and sounds. Greetings from Argentina. Roberto.

your words are very cathartic...lovely poem and music IIaria....

These tracks are part of my in progress new poetry project.

Venezia, soundscape

Lacunae

Big shouts to @mmtj (Gruppo Infernal)for speeding up the tempo and additional FX

Marching

music, vocal arrangement & final mix/master by Monkey Blood Lowdown @monkeybloodlowdown
lyrics & accapella by Mariam Zohra D : Myrh

stanzas from this poem create the lyrics for the song
LONGEST NIGHT
https://nothingispersonal.wordpress.com/2016/08/21/the-shadows-of-our-love/

hey, i dealt you a hand
a hand of wishes
but the staff for the ridge
found you no wood

and the water under the bridge
offended you to boot
and the whole thing fell through.

i dealt a hand
at the bank
of this sinking beach

a hand that stuck
trembling between the breaks
pressing against our feat.

alongside privilege
blind hope feigns abundance,
a deep self betrayal seats itself
and faces you in the audience –
my eyes on you…

deal the hand
that holds me now?
the bridge that held us then?

your distance is a moon
that lit up the longest night

and I won’t deal
and I won’t gamble;
I won’t pretend
to know your plight.

Our Collection

The Longest Night | The Consolers

Music 'Sich langsam verziehender Nebel' by https://soundcloud.com/demo-1901
Sonopoetry 'The Shallows, the Birds' and mixing by https://soundcloud.com/ilaria_boffa 
Cover picture, Venice lagoon, the Shallows, by C.

'The shallows, the birds

Invisible to the eye
it comes in the fog.
The shallows, the birds. 
Will it stop
blurring the lines
of reality? 
The aftermath of sorrow
fends for itself.

(did you recognise us?)

Invisibile agli occhi
giunge nella nebbia.
Le acque basse, gli uccelli.
Smetterà di offuscare il confine
della realtà?
I postumi della pena
badano a se stessi.'

The Shallows, The Birds (1901 & Ilaria Boffa)

Pensieri sparsi

Indetermination - Speculazioni astratte

1st track on the new EP 'Reunite on Ice.

Check it out here:-

https://crestofthesyndicate.bandcamp.com/album/reunite-on-ice

Reunite on Ice

Iced Brand

Rivers

Heavy Metal Rain On Venus (Ansound Rework)

KNTCHD https://youtu.be/Gz6aabJ0vrk

UA456: XFA - III [LP] Ambiente & Glitch, Experimental Electronic Music.
Dark Energy Bright Motion. 22 Tracks Inc.
The release took place on 10/10/2022. whoever you like, do not forget to support and like. add an unusual atmosphere to your daily routine. when listening it, your can be energized!) and thought processes!)
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Releases By XFA on Universe:Axiom [Glitch\IDM\Ambiente\Experimental]
playlist on spotify https://open.spotify.com/playlist/2KGgNCRAYsRRRf6ClKknhz

XFA - TRL.ND.RRR release by label [Universe:Axiom]
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XFA.MMXVIII.X.I.GRS.MNK
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XFA.XCSS.DSRS
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XFA.MMXX.IV.VIII.SLPVR
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MMXXIIXILSTFL

Avi Loeb is no stranger to controversy. The prolific Harvard University astrophysicist has produced pioneering and provocative research on black holes, gamma-ray bursts, the early universe and other standard topics of his field. But for more than a decade he has also courted a more contentious subject—namely, space aliens, including how to find them. Until relatively recently, Loeb’s most high-profile work in that regard was his involvement with Breakthrough Starshot, a project funded by Silicon Valley billionaire Yuri Milner to send laser-boosted, gossamer-thin mirrorlike spacecraft called “light sails” on high-speed voyages to nearby stars. All that began to change in late 2017, however, when astronomers around the world scrambled to study an enigmatic interstellar visitor—the first ever seen—that briefly came within range of their telescopes.

The object’s discoverers dubbed it ‘Oumuamua—a Hawaiian term that roughly translates to “scout.” The unavoidably cursory examinations of this celestial passerby showed it had several properties that defied easy natural explanation. ‘Oumuamua’s apparent shape—which was like a 100-meter-long cigar or pancake—did not closely resemble any known asteroid or comet. Neither did its brightness, which revealed ‘Oumuamua was at least 10 times more reflective than one of our solar system’s typical space rocks—shiny enough to suggest the gleam of burnished metal. Most strangely, as it zoomed off after swooping by the sun, the object sped up faster than could be explained by our star’s waning gravitational grip alone. Run-of-the-mill comets can exhibit similar accelerations because of the rocketlike effect of evaporating gases jetting from their sunlight-warmed icy surfaces. But no signs of such jets were seen around ‘Oumuamua.

To Loeb, the most plausible explanation was as obvious as it was sensational: taken together with its possibly pancakelike shape and high reflectivity, ‘Oumuamua’s anomalous acceleration made perfect sense if the object was in fact a light sail—perhaps a derelict from some long-expired galactic culture. Primed by years spent pondering how we might someday find evidence of cosmic civilizations in the sky’s depths, he became increasingly convinced that, with ‘Oumuamua, the evidence had instead found us. In late 2018 Loeb and his co-author Shmuel Bialy, a Harvard postdoctoral fellow, published a paper in the Astrophysical Journal Letters arguing that ‘Oumuamua had been nothing less than humanity’s first contact with an artifact of extraterrestrial intelligence.

The paper has been a smash hit with journalists but has fallen flat with most of Loeb’s astrobiology-focused peers, who insist that, while strange, ‘Oumuamua’s properties still place it well within the realm of natural phenomena. To claim otherwise, Loeb’s critics say, is cavalier at best and destructive at worst for the long struggle to remove the stigma of credulous UFO and alien-abduction reports from what should unquestionably be a legitimate field of scientific inquiry.

The observations suggest this unusual object had been wandering through the Milky Way, unattached to any star system, for hundreds of millions of years before its chance encounter with our star system.

“For decades we’ve theorized that such interstellar objects are out there, and now―for the first time―we have direct evidence they exist,” said Thomas Zurbuchen, associate administrator for NASA’s Science Mission Directorate in Washington, in November 2017.

Immediately after its discovery, telescopes around the world, including ESO’s Very Large Telescope in Chile, were called into action to measure the object’s orbit, brightness and color. Urgency for viewing from ground-based telescopes was vital to get the best data.

Oumuamua (First Contact Album Version)

music & production . Enternet Boy @enternetboy
lyrics & vocals . Mariam Zohra D : Myrh

remix of original: "och" con myrh
https://soundcloud.com/enternetboy/och-con-myrh

Enternet Boy

"Och" con Myrh (Remix) | Enternet Boy

Sonopoetry by https://soundcloud.com/ilaria_boffa
Field recording taken at Teatro Cinema Astra in Padua (Italy) during the meet&greet with filmmaker Andrea Segre for the premiere of ‘Welcome Venice’ film as part of the ‘Mostra Internazionale del Cinema di Venezia 2021’.

pic: 'Venetia', Map by The Hebrew University of Jerusalem & University Library

'Almost real

Why is there nothing rather than something? 
Why is there something rather than nothing? 
They say ‘knowledge that something is actually true 
is compatible with ignorance as to how it could be true.’ 
No thing, non-thing, the absence of a something
nonexistence, niente. Reductio ad absurdum 
in the maze of doubts.
Il nulla is subjectively unacceptable.

But what’s almost real quotes the third landscape.
It entices us to browse through the wreckage
of visibility. Leftovers from passages that no one
had the rashness to venture.
Whereas the straw, bland and ditched, avails
scarecrows and stuffed chairs.
These deeds of the might-be
stare out of people’s eyes and gnaw at us.

All of me wanted all of it. 
All of me surrendered.'

Almost Real

Sonopoetry by https://soundcloud.com/ilaria_boffa 
Field recording by https://soundcloud.com/ilaria_boffa taken at 'HYPERVENEZIA' exhibition (Urban Photo Project by Mario Peliti) at Palazzo Grassi Punta della Dogana in Venice (excerpt from the slide box: original music by Nicolas Godin, text from 'Fading' a short film by Sébastien Peretto, voice by Alan Cox).
pic HYPERVENEZIA exhibition, detail

'Naked

The city and this solitude
found architecture of things
no shades in the north light.
Inhabitants disappear hence
built structures reside naked.
Abstract counterparts, we owe
the aesthetic of utility-bearing composites.
Some places open causal profiles
they extend semantics.
Designing shelters though intrinsically social
yields to moral relevance.
Did we choose Beauty?
There is a joint liability, viable obligations.
Our gaze can be so disengaged and violent
in such need of repurposing.
Our gazes, spectators of their own standpoint.
We accommodate our limbs
on the madieri*, and cover the masonry with
waterproof clay and lime plaster
stapling bones.
Everything moves, every thing aches.

Spoglie

La città e questa solitudine
architettura trovata delle cose
niente ombre nella luce del nord.
Gli abitanti scompaiono e allora
le strutture fabbricate risiedono spoglie.
Controparti astratte, possediamo
l’estetica di materiali orientati all’utilità.
Alcuni luoghi aprono profili causali
estendono la semantica.
La progettazione di ripari, intrinsecamente 
sociale si piega alla rilevanza morale.
Abbiamo scelto la Bellezza?
Esiste una responsabilità congiunta, obbligazioni fattibili. 
Il nostro sguardo può essere così distratto e violento
così bisognoso di riqualificazione.
I nostri sguardi, spettatori della propria posizione.
Appoggiamo le membra
sui madieri* e copriamo la muratura
con argilla resistente all’acqua e intonaco di calce
graffettando le ossa.
Ogni cosa si muove, ogni cosa fa male.'

*timber boards

Naked

'Giganti Rosse/Red Giants' reflects on what sacred may mean, the non-negotiable and radically vital choices of our life.

This sonopoem will be performed in Florence (Italy) by https://soundcloud.com/marcolucchi during the Festival 'PAESAGGI SONORI URBANI'.

Poetry, sound effect and mixing by IB
pic Selvazzano Dentro, 2015 by IB

'What if this is the time 
the non-negotiable self, the sacred.
The line we already crossed.
Nothing is more real than the wind 
in the winter when it cracks the skin and
clenches the throat, when it forces 
each frequency.
On the riverbank, it lashes 
the floodplains and then it pauses.
You told me about these years
the fatigue, and I do nothing
but ponder over our presence.
Where have we been? What are we
bringing along? History is
a tale within a tale 
a series of omissions, hypotheses
and extenuations. 
And we may desecrate remembrance
and contaminate our becoming
but the urge to outlast the death
of the sun slams into us. 
Massively entrenched the anxiety 
to get lost, evolving away from
the main sequence like red giants.  
A few decades down the line
we will meet, I will sit down across 
from you and I’ll ask once more
do you know my name?' 

'E se fosse questo il tempo, il sé
non negoziabile, il sacro.
Il confine ormai oltrepassato.
Nulla è più vero del vento in inverno
quando taglia la pelle e serra
la gola, quando forza le frequenze.
Sull’argine sferza le golene
e poi si arresta.
Mi hai detto della fatica di questi
anni, e non faccio che pensare
alla nostra presenza. 
Dove siamo stati? Cosa 
ci accompagna? La storia è
un racconto nel racconto
una serie di omissioni, presunzioni
e attenuanti. 
E possiamo profanare il ricordo
e contaminare il divenire
ma la foga di sopravvivere allo spegnersi
del sole ci sbatte addosso. 
Radicata in modo massivo l’ansia 
di perdersi, uscire dalla sequenza
principale come giganti rosse.
Qualche decade più oltre
ci incontreremo, mi sederò
di fronte a te e ti chiederò di nuovo
conosci il mio nome?'

Giganti Rosse/Red Giants

Sonopoetry by Ilaria Boffa
Field recording taken at Teatro La Fenice Opera House, Venice, 2022 by Ilaria Boffa
pic Teatro La Fenice 2022, by IB

Untitled 

'Whatever comes to pass
time will file the time and this
extraordinary wait.
The drama and the epic 
the events that befall the beginners
invoke glory and rage. 
Because of necessity they happen to live
because of belongingness they happen to become.
There’s no difference between
starting and starting over for
what was or wasn’t done cycles with
the stringency of a climate feedback loop. 
And the silence of hesitation hits the air 
that condenses on the inside of a mask
accelerating the dew point.
It muffles this new normal. 
Beginners challenge the so called 
tragedy of the time horizon
in which people can’t imagine the suffering
of the humans of the future and so
nothing much gets done on their behalf.
Beginners are seamless and they care.
Some of them give in. '

Senza Titolo

'Qualunque cosa accada
il tempo archivierà il tempo e questa
straordinaria attesa.
Il dramma e l’epopea
gli eventi che accadono a chi comincia
suscitano gloria e rabbia.
Per necessità succede di vivere
per appartenenza succede di divenire.
Non c’è differenza tra
iniziare e ricominciare perché
ciò che è stato o non è stato fatto si ripete
con l’intransigenza dei cicli climatici di feedback.
E il silenzio dell’esitazione colpisce l’aria 
che condensa all’interno della mascherina 
accelerando il punto di rugiada.
Attutisce questa nuova normalità.
Coloro che iniziano sfidano la cosiddetta
tragedia dell’orizzonte temporale
per cui le persone non riescono a immaginare
la sofferenza degli esseri umani del futuro
e quindi poco viene speso a loro favore.
Coloro che iniziano sono senza soluzione
di continuità e a loro importa.
Alcuni si arrendono.'

Untitled/Senza Titolo (excerpt from my in progress new book of poems)

Sonopoetry and field recording in Venezia by https://soundcloud.com/ilaria_boffa

Conversations, sotto voce

Hemp. 
Loosen the rope 
secured to the bollard
onto the wharf. 
Unmoor, I hold you.

Canapa.
Allenta la fune
cinta alla bitta
sul pontile.
Sciogli l’ormeggio. Ti tengo.

Conversations, Sotto Voce

Poetry and the Human Human

'I use this space to offer an experience of Sonopoetry, the voice of verses blended with field recording and sound in multiple forms (music collaborations included).
Writing and composition marked the passage from pre-history to history for human beings. I firmly believe that writing&listening (active care/empathy and full attention to each and every sound from each and every living and non living being) could inform, guide and represent the Posthuman era that I'll call Human Human era -from sapiens sapiens to human human.
The contemporary alliance between the disciplines of Art, Science and Philosophy elicits the conceptualisation of the Posthuman that to me also implies the transition from the Anthropocene to the Age of Art as a driver of thought and vision. I advocate the responsibility to assign a 'more than human' meaning to the Posthuman concept, that's why Human Human, in order to emphasise the human core, the genetic connection to bio and non-bio diversity as per the Biophilia Hypothesis.
Are we listening?'

Born 6 January 1972, Ilaria Boffa is an Italian poet and sound artist. 
She has published three poetry collections and she is one of the eight authors included in the North East American Association publication ‘Writing in a Different Language’ Vol XL 2018.
Over the last years, she has been experimenting with field recording, blending her spoken word with sound.
Publications:
About Sounds About Us, 2019, book of poems
http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

Writing in A Different Language, volume XL NeMLA publications (Northeast Modern Language Association), College of New Jersey, 2018
http://www.buffalo.edu/nemla/publications/nis/past/volume-xl.html

The Bliss of Hush and Wires, 2016, book of poems
http://www.samueleeditore.it/periferie-the-bliss-of-hush-and-wires-ilaria-boffa-2/

The Shallows, The Birds (1901 & Ilaria Boffa)

Ilaria Boffa

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