Tentativi

Contemporaneity carries with it the inertia of past time and with it the contradictions of different ways of understanding existence. It is an ambivalent inertia: many aspects should be left to history, while others, preserving their significance, can still be references and give meaning. The ultimate horizon is technique with its bureaucratic normativity that permeates every nuance of human living. While enabling the achievement of purposes, in a transmutation from means to ends, it becomes itself the ultimate purpose to undertake and satisfy. Thus Milan, a metropolis with international ambitions, participates in these dynamics and offers, beyond the future and technology, also the spectrum of what remains of the past, in manners, in buildings, in representations of an operativity never concluded. Claudia’s poetry gives expression to these contradictions lived on the skin, lived in the soul, lived in Milan. With a syncopated rhythm, it tells emotions that come to life in the imagination of the reader, evoking the ghosts of a gray and heavy normativity, not only in the papers of bureaucracy but also in the apparent transgression of social interactions. The fog that envelops the future is a metaphor, in the verses, of the alchemical vapors that are a constant reference to indispensable metaphysical concerns. And if to every emotion a color can be associated and if what defines a color is no longer the poet but the concretization in standards of the techno-industrial apparatus, which objectifies the sensible into models and norms intersubjectively communicable, then it is poetic to associate a regulated color code with stanzas. The unified RAL color chart thus becomes, by intrinsic law, the index of the emotions and images expressed by Claudia’s poetry, Goethe in the heart of the words, Newton in the vector images of a monitor.