imageIf this show has gone to your head, what you need is a big glass of bloody mary. In the last two weeks, we've gone all out: your *L* is back on stage, and has made a scene. First at the **Teatro Studio Uno**, involving new audiences and reviewers (Gufetto, Ghigliottina, Persinsala, Kirolandia), then at the mutual aid space **Communia**, turning what until a few months ago was a landfill into a "scene." "Scenarizing," as **Yves Citton** would say, is an activity that works on the scaffolding of narration as much as on the mental one: seeing and remembering Communia as the "clockwork" room of young Alice is worth much more than simply imagining or hypothesizing such a vision. The same goes for the steampunk crafts that **Davide** of the Progetto Steam has created and chosen for the show. They are real "cognitive artifacts," material objects that embody clues triggering divergent practices and ideas. These are not mere scenographic frills: Davide's artifacts work and are unique. If you open the chassis of the phone, you discover an audio input compatible for mp3 players, just as, if you look closely at Alice's mechanical forearm, you feel the ticking of the clock, the crunching of the gears. image *L* with mechanical forearm and shoulder pad + belt by **Progetto Steam** All this serves to show and cross multiple worlds, load and accumulate resistances in view of the scene and beyond. The "resistant theater of Alice," a prolepsis of the essay that **Giuseppe Sofo** dedicated to us, analyzes this type of conflict that criticizes the modes of production, the paradigms of artistic direction, the spectatorial models and the psycho-cultural limits of the object-show, rather than insisting on the presumed "socio-political" content of the plot. With *L come Alice* we self-produce by collaborating with other self-producers, not to close ourselves off but to extend the virus; the director/actress relationship is deliberately taken to the extreme so that it generates a subversion of the same; the spectators live a targeted experience that mixes **cinema of the origins** (where the projections were alternated with shows of *vaudeville*, musical interludes, presentations) and **phantasmagoria** (rear projection of "ghosts" inside a semi-lit environment, dating back to the end of the 18th century); and finally *L* questions the fetish of the object-show as a moment concluded in an hour of silent conviviality and "rustic gazette" in the time frame suitable for consuming a pizza. Yes, the show is also that, but **if it does not involve the participation of the spectator before and after the *mise-en-scene*, it is destined to become only a ritual of *strolling*.** For this we arrange around the scene, on the web, in the places, a whole series of breadcrumbs to orient this walk before, after and during the show. An example is our double-bag suitcase, a bulletin board of multimedia contributions in continuous updating. But this is not enough, because it is still a railway, while **we would like to come across hidden paths, unexplored caverns, overhanging belvederes on the ocean that you yourselves might have discovered without our knowledge.** So we offer you a *virtual bloody mary*: imagining the aftertaste of vodka making its way through the spiced tomato, here **you can ask questions, compare versions and reconstruct the story** of the evening in which you got drunk on *L*. Getting rid of the hangover in company, isn't it part of the party?

image In 2010 I was reading Žižek, criticizing TV series and dancing breakdance: then Breaking Bad came along and I started writing about philosophy. Since then, many have thanked me for having guided them through the tunnels of that series. Here are my reviews from the first to the fifth season. I suggest you also pay attention to the framed images in the text (part of the underpaid work of the online reviewer, but also an integral part of critical reasoning). Tell me if I got it right ;-) Breaking Bad - Season 1 (First Episode feat. Alfred Hitchcock) Breaking Bad - Season 2 (Complete Season feat. Quentin Tarantino) Breaking Bad - Season 3 (First Episode) Breaking Bad - Season 4 (First Episode feat. Mark Rotkho) Breaking Bad - Season 5 (Critical note feat. Antonin Artaud) image

image Warren Ellis vs Friedrich Nietzsche; Sherlock Holmes vs Carmelo Bene; Alice (the Disney one) vs Alice (the Videogame one); Lewis Carroll vs Antonin Artaud; Steampunk vs Theater & Video Art. And also: cyborg militancy, media archeology, hacktivism, embodied cognition, and many, many questions. This will be the conference on *L come Alice*, the transmedia steampunk project, which I will hold tomorrow, September 14th at 6:00 PM at the Steamfest Roma, at the former slaughterhouse in Testaccio. In the morning, also tomorrow (!), I will hold a breakdance workshop in the company of the rest of the crew, Urban Force, at the Energy Fitness Club in San Cesareo (Rm). The day will be entirely dedicated to breaking culture, and in the afternoon there will be challenges, show battles and open circles. After all, the name of the event is smoKING, a clever play on slang terminology to find out who will smoke (i.e. beat) the highest number of b-boys/g-girls, establishing themselves as King or Queen of the day. Furthermore, I have resumed working on my book focused on the history of breakdance. Two years after the opening of the construction site, the narrative building is far from complete, but the historical-stylistic foundations are well rooted. Probably the title will no longer be the one initially proposed (Be-girl), but the protagonist will absolutely remain a b-girl. There remains also the desire to tell a story in the form of a novel, rather than propounding a historical essay, and to give space to the heralds of the you-weren't-there-either. Indeed, the fictional component will touch very steep terrains mixing thriller, fantasy, afrofuturism and who knows, maybe even a bit of wuxia. For the rest, I remain thirsty for stories regarding Italian b-girls active in the 80s and early 90s: if you know any, of history or b-girl, send me a carrier pigeon to nexusmoves@gmail.com. *** The absence from the pages of this blog, and the unusual presence of content through my Facebook Page and Twitter is due to the preparation of this and other initiatives that I hope to be able to transfer here on nexusmoves.com to be able to comment on them together. And now if you want to excuse me, I'll go back to unclogging some notes.

image Can *Alice in Wonderland* represent a paradigm of conflicting self-production? Two months after the conference I held at **Steamfest** in Rome, it seems to me that this question summarizes the essence of the discussion. With #LcomeAlice, the transmedia project we launched last year, we are experimenting with a path that mutually links theoretical-artistic research to forms of political-productive strategy. At stake is an ecological conception of collective and individual subjectivity. Instead of a story, we have generated an archeology of Alice that reconstructs (and imagines) the countless crossings that make up this character. **We realized that Alice's fragmentary but "existential" condition reflects that of the actor/author and primarily that of our subjective consciousness.** If we deliberately placed traps inside and against the stage, at the production level we moved reticently, co-determining the work through the creative and political encounter with other subjects. Furthermore, by crossing multiple media platforms, we would like to promote an equally ecological conception of the spectator: no longer the Cartesian subject cloaked in the darkness of the room, but a situated agent who must explore #LcomeAlice as in a playground, if he wants to get the meaning out of the hole (or a hole out of the meaning!). *** Here above **the recording of the first part of the conference**, with attached images and an excerpt from the show. For a brief overview of the topics covered, below you will find a division by thematic chapters with relative timing. Have fun and let me know what you think! ;-) **(02:40)** Intro: *Aetheric Mechanics* by Warren Ellis; **(06:20)** Steampunk existentialism and Alice; **(06:53)** Fredrich Kittler and Nietzsche's typewriter; **(09:05)** Consciousness as a magic lantern/camera obscura feat. *Men In Black* and robbots; **(12:26)** Carmelo Bene and becoming-Watson; **(14:00)** The existential traps of #LcomeAlice; **(14:30)** Lewis Carroll, photography and transmedia storytelling ante-litteram; **(18:33)** Alice in cinema feat. Walt Disney, Betty Boop, Alice Madness, Claude Chabrol, Jan Svankmajer; **(21:00)** The re-actualization of the Phantasmagoria and Pepper's Ghost in #LcomeAlice; **(25:00)** Steampunk, zombie media and materialism; **(26:48)** #LcomeAlice: self-production/management, hacktivism and social spaces.

image I am pleased and honored to announce the arrival of a new, ambitious project, in "company" with Laura Garofoli. Constituting ourselves as an association for social and cultural promotion, from today we will operate under the name Garofoli/Nexus, promoting art, education and research. This start up - as it is usually called today - promotes the convergence between theater, street dance and media art, intertwining my path as a dancer and theorist with Laura's theatrical and educational one. A plot, that between me and Laura, which already starts from 2008 with the collaboration in the short film *Questione di attitudine* and which restarts in 2012 with our first self-production *L'Ombra*, to grow and flow into the Garofoli/Nexus Company. There are many news coming, first of all the new site - www.garofolinexus.it - a petrol green platform where you will find all our works and projects. Take a ride on the carousel and keep your antennae perked up. Garofoli/Nexus: *hot inside, fresh outside*.

image «De-programming everything, theatricalizing the struggle, occupying new spectatorships»: returning from three days at Teatro Studio Uno, L come Alice will appear in an openly "conflictual" guise in a day entirely dedicated to forms of resistant theatricality within Letteraria, the social literature festival promoted by Edizioni Alegre and the mutual aid project Communia. Below you can read the program, which will open with the presentation of the book Lotta di classe sul palcoscenico by Lidia Cirillo and a round table that will see Rialto, Cinema Palazzo and Teatro Valle present. image If you have already seen L come Alice and are wondering what L has to do with resistance, this is the right opportunity to explore the issue. Giuseppe Sofo, who is also our assistant director, has racked his brains a lot on this topic, giving birth to an article with the (provisional?) title of "The resistant ghost of Alice: a new theater for new practices of resistance" in the process of being published in a scientific journal. To untangle the viscous threads of the Alice project, Giuseppe also conducted an interview with Laura Garofoli and the undersigned, ordering both not to peek at each other's answers. The text is hilarious, as well as precious, and will soon be put online (right Sofo?). We are devising further cultural traps, but we much prefer to stumble into yours: ergo: participate! ;-) ♕ L come Alice (Facebook) | ♞ #LcomeAlice (Twitter) ♔ L come Alice: the double-bag suitcase (Pinterest) ✉ LcomeAlice@gmail.com

On **Friday, April 10th** at 7:00 PM, I returned *to the street* with R.O.M., the break dance and video art performance conceived in 2013 for the Perepepé Fest in Pesaro. Welcoming me was the setting of **Largo Spartaco** and the *Boomerang Fest*, this year entitled "a scream will bury itself". Below are some directorial notes. Above is the video, below are some directorial notes. Enjoy the experience. *** In computer language, ROM is the acronym for *Read Only Memory*. A CD-ROM is a read-only memory: we can read its content as many times as we want, but we cannot modify it. In the Romani language, "rom" means **"human being"** and indicates a culture and a people currently migrating and dispersed. Rome is rom: a city composed of dispersed existences and experienced in read-only mode. Via dell'Acquedotto Felice: here passes the medieval continuation of the ancient Roman aqueduct, here emerge the "street urchins" inked by Pasolini. Here the bulldozers have cleared the papier-mâché shacks built under the austere arches, absolving that tentacle of illegal villas clinging along the same stretch of wall. From here, continue along Via del Mandrione, towards Porta Maggiore; from here, escape to the Parco degli Acquedotti, a pile of overlapping stories and temporalities: where water once flowed, now drones float. The Colosseum, the Arch of Constantine, the colonnade of St. Peter's: they are non-existent places. The inhuman desire for conservation has shielded them between metal meshes, scaffolding and partitions. They have become read-only spaces, epitaphs of an inaccessible future cemented by artificial nostalgia for a glorious past. These places, like our memory, are always "under scaffolding". What is the difference between a memory evoked in our mind and one generated by a walk in an old neighborhood? None. Both bloom suddenly in our consciousness. We perceive the final result but we are never participants in the cognitive process that underlies them. Our existence is intimately stuck with the body and the environment in which we are immersed and in which we re-act. Crossing the city we extend and contract ourselves, continuously. The aqueduct was the extension of our blood oxygenation system, the skeleton that protected the vital functions of the homeless, the remains of skin that attest to the life lived by our ancestors. We exist, as part of a collective archive that is not intended for the accumulation of "read-only" material, but for genuine and participatory formation and transformation. We are rom, and much more.           [Facebook Event]