Olá pessoal!

esse aqui é meu primeiro post!

Sempre que precisar fazer alguma rotina para copiar alguns determinados arquivos ou qualquer coisa que precisa realizar um loop. Você pode utilizar esse exemplo abaixo para rodar com mais tranquilidade.

Além de ficar mais fácil de visualizar o código, também simplifica na hora de montar os comandos.

Praticamente você precisa de um arquivo .bat contendo os comandos que desejam executar, lembrando que é possível passar parâmetros… (se não fosse possível não teria nenhuma razão em fazer dessa forma!rs)

Exemplo do arquivo de comandos : c:\execute_copy.bat

1- mkdir c:\teste\folder%1\img
2- copy V:\ed%1\paginas\previews\p_1.jpg c:\eds\ed%1\paginas\previews


linha1- Cria a pasta “img” em cada folderX (folder1,folder2,folder3,…)
linha2- Copia a imagem img.jpg de cada pasta folder de V:\folders para as pastas img de c:\teste\…

%1 = parâmetro passado ao chamar o arquivo .bat

Agora para executar a rotina… basta executar no Prompt o seguinte comando:

for /L %A in (1,1,100) do c:\execute_copy.bat %A


Here is the first soundtrash that I decided to post. I spent my time to define a style and my references and this composition is for me enought revelant for my intention. It also contains different pieces of previous work which I considered coherant with this project. Basically its a 6 minutes loop-based composition, I needed to make a montage to post it because I do not have all my devices in London to handle it and record it live. I worked with 16 loops and 3 tracks used for transitions. Many of them got basic effects like reverb, flanger, bit crunching, echo, and I also often use kind of a slicer effect on pre-processed loops and in the live handling. The montage is a draft, I did not want to spend too much time on it because the final outcome will be performed. I try to stay simple in the composition and the complexity is in the loops. Using kind of a surgical processing of sound I try to make a loop act between each other

1-Loop-based soundtrack, research 01

Here is the final composition that you can consider like 1 way of combination but there could be many others

2-Loops

I had the need of breaking down this one to explain it and showing that those loops are, in a way, interdependant even if they can be combine differently. Basically there are 3 categories of loops, drums, glitches & percussion (basically different from drum, because those are recorded concrete sounds and processed sound waves ), synth loops (which plays melodies) and samples (take from some of my previous work)

DRUMS

GLITCHES & PERCUSSIONS

SYNTH
The 2 first one are played by a virtual analog synth ( I talked about it in a previous post)

SAMPLES
I used samples but from my own work, because I often work on the same tons and with the same multiple protocol. The first one cames from a song named DECE1 ( which is on Myspace) I juste take off the drum. It also contains 3 loops

Bally continues to send junk mail in the hopes of luring ex-members to return. However, the reduced rate deal is the same – a mere 10% off. Plus, you receive the standard hype of adding a friend or family member for more savings. Of course, they’ve thrown in a free 14-day guest pass. What’s next? Complimentary toilet paper with every visit?

Enjoy your workout.

Oops. We posted the final entry too soon. An ominous letter appeared in the mailbox with a message that read: Your IMMEDIATE ATTENTION is required.

It turned out to be from Bally, announcing receipt of our membership cancellation request. And the note stated: However, your account remains eligible for promotional reactivation offers.

Oh boy! Guess we can expect to receive more 7-day guest passes.

Enjoy your workout.

I seem to have been completely enamoured by Loop Poetry…

Here’s my second try at the same…. Raji… babes… ur pretty influential dear….

Aap tho hamare guruji haai

I hope you guys like this one…

Black is the night

Night swathed in white

White cos of the moonlight

Moonlight as the moon shines bright

Bright are the stars

Stars glitter blue

Blue like the sky

Sky patterned in grey

Grey with the clouds

Clouds scattered around

Around me I see green

Green from the trees

Trees in the garden

Garden of roses

Roses coloured Red

Red the colour of Love

Love is his language

Language of silence

Silence that’s golden

Golden like the first ray of the sun

Sun rising up  the horizon

Horizon muted pink

Pink I blush

Blush when he smiles

Smiles brighten up my day

Day that’s yellow

Yellow tulips I see

See across the mountain

Mountain bathed brown

Brown like my earth

Earth with its myriad shades

Shades of life

Life filled with colours

Since its release in 2008, „Ultimate Beats“ from producer talent Michel Baradari has evolved becoming an allround specialist among todays sample libraries. Many well-known producers such as Gregor Tresher and Stephan Bodzin gave their recommendation and value, that this sample pack offers everything not just to build respectable beats, but to produce entire tracks with it. „Ultimate Beats Vol. 2“ sets the bar even higher and offers even more sounds and even more loops than its predecessor. Next to a diversified collection of different bass drums, claps, snares, cymbals, percussions, FX as well as powerful bass and synth sounds, also the successor again offers a huge loop section that meets all requirements with its fresh loops and is likely to cause tingling in the hands of Electro, Techno and Progressive House producers. As usual at Mutekki Media, all samples are produced at highest level to give the sounds maximum assertiveness.

Title: Ultimate Beats Vol. 2
Catalogue No.: mm066
Releasedate: November 2009
Formats: 24 Bit WAV, REX, Apple Loops, Ableton, EXS24, Kontakt 2/3, NN XT
Price: 79.99€ Download (incl. VAT) at mutekki-media.de
http://www.mutekki-media.de/press/artikel/mm066/mm066.pdf

This upcoming project will see me explore the concept of looping, inspired by my own personal “fixations.”

According to my handy little Macbook dictionary, fixation has three possible definitions:

1. an obsessive interest in or feeling about someone or something
2. the action of making something firm or stable
3. the action of concentrating the eyes directly on something

So, to begin, what are my obsessive interests? What do I focus my eyes on (literally and metaphorically)? For what thoughts do I build a permanent home in my mind? Here are the fixations that make the top of my list:

Graphic Design

This one might be obvious given that this is a blog about my design process, but it still had to be said. I’ve committed this stage of my life to design, and I love it, even when it’s stressful. I spend the majority of every day conceptualizing and producing design work, so it’s easy to see how my head would be so wrapped up in it. And I can’t turn off that part of my brain… I can’t read a book if the letter-spacing is bad, and my friends know me to interrupt myself mid-sentence and exclaim “wow, did you see the sexy type on that poster?”

Marriage

My beloved grandparents on their wedding day in rural Saskatchewan (1956).

While design consumes my life and I’m enjoying the early days of my career, it is not what I want most. Deep in my heart, I have a huge desire for marriage: to be a good husband and father, to lay my life down for my own family. Marriage and courtship are on my mind constantly, even when I’m kerning type.

The Sun

This orb captivates me. Life depends on it. When it shines its warm rays down upon me, I feel loved by it and I can’t take my eyes off it (even though Mom always told me not to stare at the Sun).

Mountains

In the Bible, mountains have symbolic value as places where people would often encounter God to receive a revelation. I can totally relate. I have climbed a few mountains, and the arduous journey upwards always rewards me with an incredible view. You feel so close to the sky that you could almost reach out and touch Heaven. I feel the call of the wild in the danger, the adventure, and the grace that mountains have to offer. As Blessed Pier Giorgio Frassati used to say, “Verso l’alto” – let us go upward!

The Ocean

This is a scrawny me in March 2001, at age 14, moments before triumphantly plunging into the frigid Pacific Ocean off the coast of Vancouver Island.

The majesty of this deep, cold body of water blows me away. It doesn’t matter if I’m in it, on it, or simply next to it. Any time I’m in the presence of the ocean, I feel humbled and inspired, all at the same time. Because of these powerful experiences, I feel drawn to coastal regions, as if there is physically a magnet pulling me. It wouldn’t surprise me if I one day move to Vancouver, Seattle, or Halifax.

Urbanism

Ever since leaving my home in rural northern Ontario and coming to Toronto to chase after my graphic design dreams, I’ve been mesmerized by the city. It’s a complex place, strange and beautiful, and it exists like a huge organism made up of thousands of diverse micro-organisms (I am one of them). After spending my summer as a design intern at Spacing Magazine, I notice more than ever how this urban creature lives and breathes.  I’m especially interested in what I call “urban grit” (chipped paint, graffiti, cracks in the sidewalk), as well as public transit (on weekdays, I spend an hour each way commuting from my downtown home to my suburban school).

Music

This fixation actually borders on being an unhealthy obsession, since I listen to music almost constantly during the waking hours of my day. Sometimes I really have to pull myself away from it, and not be afraid to just face the silence. Generally, I’m a big sucker for independent/alternative music, the sweet sounds that you don’t hear on the radio. I pride myself on scouting out all the up-and-coming local indie bands and getting their album before anyone hears about them. If I were ever charged with having a fixation to music, the evidence presented in court would look something like this:

• Exhibit A: Jason has over 150 bands listed as “favourites” on his Facebook profile.
• Exhibit B: Jason buys a new album twice as often as he buys groceries.
• Exhibit C: Jason creates and freely distributes his own cacophony on Purevolume.

I think you get the point.

God

Since my teenage years, my faith has been at the core of my life. It has grown from being insignificant to being my purpose and the source of my hope. What’s interesting about all the beautiful fixations that I described earlier is that they lead me towards God, one way or another; I think it’s because beauty has a certain sacredness to it. One of my favourite Bible verses actually encourages me to keep God as a fixation: “Let us run with perseverance the race marked out for us. Let us fix our eyes on Jesus, the author and perfecter of our faith.” (Hebrews 12:1-2)

[Bringing it all together...]

Looking at all of the aforementioned fixations, I realize that these are more than just random obsessions. These are my deepest desires and my greatest sources of peace and joy. They are some of the “things” that drive my life. Now the challenge is to use this video project to navigate the relationships between all these fixations.

Let’s hope the final outcome will be a piece from which neither you or I can take our eyes off.

Mein Versuch die XXL-Loops einer großen Modekette nachzuarbeiten ist im Tauschforum auf große Resonanz gestossen und so habe ich die letzten Tage damit verbracht insgesamt 6 Loops zu häkeln. Loops sind Schals ohne Anfang und Ende und können wie ein Kragen zweimal um den Hals geschlungen werden. Hier Bilder von zwei Exemplaren.

Veiðivörðinn langaði til að vekja athygli manna á Loop Evotec G4-hjólinu. Þannig er mál með vexti að Evotec-in fengu andlitslyftingu á dögunum, en nú eru þau líkari Loop Opti-hjólunum að útliti. Mér skilst af heimasíðu Loop að hjólið sé eins innbyrðis, en mér gæti þó skjátlast.

Evotec G3. Sannarlega fallegt hjól.

Veiðivörðurinn gerði sér ferð í Ellingsen á dögunum til að skoða hjólið en greip í tómt. Hins vegar virtist nóg til af eldri gerðinni. Ég get vel skilið að menn hiki við að flytja inn nýtt hjól þegar nóg er til af því gamla, sérstaklega ef munurinn er fyrst og fremst hvernig það lítur út. Samt blundar alltaf í manni þörfin til að vera með það ,,nýjasta og flottasta”!

G4-gerðin, komin með L-rammann. Fallegri?

Þá liggur fyrir að þessi hjól eru nokkuð (lesist mjög) dýr, og spurning hvort þau nýju verði enn dýrari?
Ég ætti að minnsta kosti erfitt með að hemja mig ef G3-gerðin yrði seld með afslætti til að rýma til fyrir G4, en þangað til held ég að ég spili bið-leikinn.
(Bið forláts á hörmulegri íslenskun á enska frasanum ,,playing the waiting game”)

Jim Hart’s Gemini: Narrada (Loop Records LOOP1010)
This is a persuasive disc if you give it time to persuade you. When it starts out, it is clear that the playing is most accomplished and the writing strong but it feels that as a composer Jim Hart might have fallen, like so many of his contemporaries, under the spell of the music/mathematics masters like Steve Coleman. Certainly Four Little Words has that “funk for the head” kind of mental appeal, and it does throw the unsuspecting listener in at the deep end.

But, let’s get back to the beginning. Gemini is Hart on vibes, Ivo Neame on alto saxophone, Jasper Hoiby on bass and Dave Smith on drums – all four players are strong giving the band  a fine balance, with Hart’s vibes tone and Neame’s relatively rich alto sound stopping things getting too harsh, and Hoiby giving a powerful bottom end. Smith is pushy when he needs to be but is always very musical with it.

Dark Moon starts with loads of atmospheric stuff from Smith and Hart coming in on marimba, before we are headlong into mind games once more, with Neame and Hart in parallel.

It’s when we reach the long title track that the heart makes an entrance to complement the head. Narrada is a place on Bodmin moor where Hart grew up, and this more elemental, lyrical music begins to leaven my initial wariness that this might just be clever-clogs music. Nifty, funky tune taken in harmony by sax and vibes, followed by expressive and finely formed solos from Neame and Hart. Then Bodmin is inexplicably annexed to Cuba at the end!

Other stand-out tracks are the thoughtful Kindred, the driving Crunchy Country and the elegaic Last of the Leaves, which sounds a bit like it was written by Django Bates and J.S. Bach in tandem – not bad role models for a young composer, I’d say.

A really fine record from a group currently touring to support it and are in Nottingham at the Bonnington Theatre on Thursday, Derby at the Eden Gardens on Friday and in Birmingham at the Yardbird on Thursday 26 November.

The time has come to say farewell. We have opted to end our tour of duty at Bally. Not surprisingly, email offers begging for membership renewal are already arriving regularly – seeking to entice with reduced rates. Why do services wait until customers leave before offering extra special prices?

Thanks to everyone who has visited in the past months. Plus, thanks to all the Bally members and staffers who provided content ideas.

Enjoy your workout.

This “episode” is too far on in le plot.  Suffer the confusion, Ima fix it up eventually.

Feeling weightless and free, with the stink of paste in her nostrils, a bunch of nodes jammed into her spiky hair and Shonen Knife yelling through her headphones, Scar was about as close to happy as she ever got in those dumpster days.  Sitting with the crew getting pasted up and ready to jack in earlier, she’d found herself explaining breeze-blocks to a drag queen as, “building accessories, like bricks, but bigger and really porous, doll,” and it made her feel that sense of tribe again, where shit like that was joyfully commonplace.

Veto and Samanth0r were off somewhere coding the killer virus to kill all killer viruses – by the time you read this, you probably know all about it.  The Mobius Matrix Virus didn’t come at you with any fucking lilac crap or rainbows or little pink triangles, but that thing was queer by name and nature for sure.  What it did, was tangle your processor, while entertaining you with a never ending loop of rather pretty DOS coloured binary in the shape of the good old infinity symbol.  Your memory, meantime, was harnessed by our jerrybuilt server, downtown.  And it was goodnight she said to pretty much every Hetero network in G-City.  Every network that worked on the ubiquitous Makro$hark sys anyway.

When we deck-jockeys jacked in, Veto and Sam streamed coded instructions right to our goggles.  We didn’t even needs brains for the mission, just a certain level of dexterity.  If you’d been standing at the decks that day, you’d have seen a very motley crew indeed, all wired up and doing something that looks a little like tai chi and a little like we’re about to karate chop your ass right off.  I can feel the excitement of it all even now.  It wasn’t your everyday data theft gig, no sir.

(Yup, I’m afraid it was the kind of event that forced an American accent upon one).

Helen’s team went in first, in deep stealth mode, to recce and open up the dataways.  The the deep geeks themselves, Sam and Veto, unleashed the unholy hounds of hell looping through cyberspace and after that it was up to us, to literally hack and slash our way in the aftermath, creating new portals to spread the infection, spread the chaos.

Waiting in the wings, was Blue, to haul out anyone with the slightest sign of earbleed.  I heard later Helen had actually stopped breathing when she got yanked back.  Me, I got off light, with my usual little oozes of blood from nose and ears.  Veto generally blames my history of medication for that one.

What does it look like out there?  Nothing like that fucking pretty green serpent Veto and Sam cooked up, I can tell you that with confidence.  And it doesn’t matter how corporate the data you’re surfing, there are no logos and colour out there … well it’s something you feel, you don’t see it as such.  If you’re synesthetic, you’ll know what I mean.  It’s damn near impossible to explain to a noob, you’ve got to pilot a deck to understand.  The moment you jack in, gravity’s not an issue – nothing is an issue.  There’s just what you feel in your hands, and see on your eyefeed.  There’s just … this incredible focus.  I just can’t explain it, man.

The Loop Bally club appears to be making a conscious effort to update the facilities. The other day, maintenance dudes were replacing a TV monitor that has been defective for many months. However, the replacement is still the only monitor that is not a flat-screen unit. Plus, it was sorta ghetto – and not very safe – for the maintenance dudes to be using weight machines as step ladders for the installation process.

Enjoy your workout.

The other day, we spotted a Bally member using a hand dryer to dry his feet. It wasn’t clear why he thought his towel wouldn’t suffice. At least he wasn’t using the higher dryers designed for drying hair.

Enjoy your workout.

Outhouse: Ruhabi (Loop Records LOOP 1009)
The coming together of the London jazz quartet and the five Sabar drummers from The Gambia is best experienced live, I think, but then you could say that of most jazz. On disc it still has a lot to recommend it, though, especially if you haven’t had the chance to see and hear the band in the flesh.

The opener, Mam Bamba, is very much a piece of two halves (although unlike football games both show strong play) – the drummers first setting out their stall, then the jazz band theirs. Having understood the constituent elements, we can then get really into the way they mix on track two: Duck Dance (Leumbeul). In some ways, while Outhouse’s bass and drums team of Johnny Brierly and Dave Smith can get in amongst the Sabar drummers, the saxophonists, Robin Fincker and Mark Hanslip, need to tread more carefully or else it gets far too chaotic, and so they do with some cryptic little melodic phrases in harmony half way through.

Other highlights are the interweaving of vocal and saxophone lines against an infectious riff and rhythm on Bara Mbaye, and the title track which again features an infectious bass sequence and a lovely interlocking of sax and drum phrases.

In fact the strength of this disc is, ironically, that the two groups don’t try to all play at the same time all that often, choosing to act as contrasting/complimenting textures and moods. What is clear is the vibe that each group takes from the other and uses to enhance their own music. A fruitful collaboration, in other words, without ever being a forced one.

Loop Opti Switch, 10′7″  #8

Loop sprangar inn á switch-markaðinn á sinn sænska hátt með Opti Switch. Korkurinn er byltingarkenndur, en í stað hringlaga skafts er átthyrntur strendingur, og er meiningin að þetta bæti gripið til muna. Ég mun ekki geta lagt mat á það, enda ekki með stöngina í höndunum, og mun þar af leiðandi ekki meta það Opti Switch til lækkunar.

Verð: 6.5
Verðið er um 650$, eða rúmlega 80.000 krónur. Engin fyrirstaða í sjálfu sér, en þessi verðmiði gerir það þó að verkum að ég er ólíklegri til að ,,taka sénsinn”.

Kastgeta: 7
Loop lofar ,,progressive action”, eins og reyndar á nánast öllum þeirra stöngum.

Klaus Frimor: Many Switch rods on the market present as good-casting single-hand rod. but buckle in the mid-section when power is applied with a two-hand cast. Avoiding this common problem became a large part of the design.

Eigum við ekki bara að trúa honum?

Þægindi við köst: 8
Ef stöngin er jafn-þægileg í kasti og Loop lofar á stöngin áttuna vísa. Hins vegar geldur þessi skoðun fyrir það að Opti Switch er nýlegust þeirra stanga sem koma til greina, og því áberandi minnst til af lesefni um hana.

Ábyrgð og þjónusta: 8

Loop er kannski stórt merki á Íslandi, en það verður að athugast að á hinum stóra Bandaríkjamarkaði er Loop ennþá ,,up-and-coming” fyrirtæki í bráðri þörf fyrir að verða mainstream. Þeir þurfa viðskiptavini, og ætla sér ekki að klúðra því með losaralegri ábyrgðarstefnu.

Útlit: 6
Mín skoðun – stöngin er byltingarkennd í útliti, sumir munu dá hana og aðrir ekki. Þessi stöng er DeLorean switch-stanganna! Höfðar ekki alveg til mín, en ég myndi ekki skammast mín fyrir hana heldur.

Annað: 7
Smá töff-faktor fyrir byltingarkennt útlit þrátt fyrir einkunnina 6 í útliti hér að ofan.

Great. Now Bally is emailing members to hype the offer du jour. This is another notice for winning a Free Year of Membership. The catch: it’s a Bally membership. Plus, check out the benefits of signing up for a mybally.com account. Three out of four bullet points involve billing. Brilliant.

Enjoy your workout.

Viele VST-Plugins werden Monat für Monat veröffentlicht und nur selten ist etwas dabei, das durch Innovation und durch Einfallsreichtum hervorsticht.

SLIX von de la Mancha ist aber eines davon. Im Grunde genommen handelt es sich hierbei um einen Loop-Slicer. Was das Plugin noch alles kann, zeigt die folgende Review!

Die Slix Benutzeroberfläche

SLIX das in Kooperation mit sink (http://www.sinkmusic.com/) entwickelt wurde, ist leicht zu bedienen und hat eine gut verständliche, übersichtliche Oberfläche.

Die Vorgehensweise ist simpel: Einfach ein WAV-File mittels der Import-Funktion in den Sequenzer von SLIX laden (SLIX unterstützt 16, 24 oder 32 Bit, Mono oder Stereo WAV-Files), eine beliebige Taste auf dem Midi-Keyboard drücken (SLIX reagiert auf jede Note!) und schon beginnt der Abspielvorgang!

Wer SLIX kauft bekommt zudem gleich mal 295(!) Loops aus allen möglichen Bereichen wie z.B. Breakbeat, Dubstep, Drum and Bass, Electro u.v.m. mit.

Um einem die Möglichkeiten von SLIX aufzuzeigen, liefert de la Mancha das Plugin auch noch mit 57 Presets aus!

Weitere Features im Überblick:

- vier Effekte (Reorder, Repeat, Reverse und Gate), die unabhängig voneinander auf den Loop gelegt werden können.
- Eine prozentuale Verteilung legt fest wie stark sich ein Effekt auf den Loop auswirkt
- Pro Loop kann eine andere Anzahl von Slices (bis zu 64!) eingegeben werden.
- Das WAV-File das in SLIX geladen wird, wird außerdem automatisch an das Tempo der Host-Applikation angepasst (!)
- Die Lautstärke des Outputs kann über einen Normalise-Button erhöht werden.
- SLIX kommt in einer Stereo-Out und einer Multi-Out Version (SLIX und SLIX 4×4)

Der Effektbereich von SLIX

Fazit:

Ich bin begeistert! Da ich bis jetzt schon einige andere Slicing-Plugins ausprobieren konnte und von diesen zwar angetan aber aufgrund fehlender Funktionen; nicht sonderlich begeistert war, trifft SLIX genau bei den (für mich) wichtigen Kriterien ins Schwarze!

Selbst antesten könnt ihr das Plugin mit einer Demoversion (die Vollversion von SLIX kostet 39$), zu finden auf http://www.delamancha.co.uk/slix.htm. (Die Demoversion ist leider in einigen der oben genannten Bereiche eingeschränkt z.B. kann man keine WAV-Files laden u.v.m.).

Auf der Homepage von de la Mancha findet ihr zudem auch noch andere gute Freeware Plugins.

Bally is giving away free tickets to the circus. Ironically, there are far more circus-like activities taking place at Bally. Additionally, the circus elephant stables are aromatherapy compared to the Bally locker room stink.

Enjoy your workout.

Il Principe di Persia, di Angelo Calvisi (Round Robin, pp 109), è un breve romanzo costruito sulla falsariga di Prince of Persia, il celebre videogioco ideato da Jordan Mechner all’inizio degli anni ‘90, cui il testo si riferisce apertamente sin dal titolo. Si parte infatti da un’Intro con “la storia della mia avventura d’esordio, quella del vecchio floppy”, per poi passare attraverso i livelli e le vite – tipiche di ogni videogioco d’avventura – e arrivare fino all’Outro e ai Credits, gli immancabili titoli di coda.

Il racconto nella prima parte mostra i pensieri e le azioni del protagonista del videogame. Lo stile – godibile e scorrevolissimo – che all’inizio ricorda quello di alcune novelle medioevali o di certi racconti delle Mille e una notte, tende gradualmente a infittirsi di omaggi, ammiccamenti e riferimenti al variegato universo finzionale nel quale l’uomo contemporaneo è ineluttabilmente immerso. Citazioni di film – vere e proprie ekfrasi (come la descrizione di alcuni combattimenti ricalcata su quelli di Matrix, o le sembianze del capo degli scheletri che richiamano i tratti di Indiana Jones) – e calibrate allusioni a una vastissima gamma di libri e canzoni (da De André a Johnny Stecchino, da Dostoevskij a i Goonies) indicano, emergendo, da una parte la materia di cui è impastata la psiche del protagonista, dall’altra – con il loro stesso affiorare -  la possibilità di salvezza: il rigoglìo dei ricordi è la chiazza di luce in fondo al tunnel.

Il protagonista del Principe di Persia (tipo che oscilla tra l’eroe epico delle prime pagine e il costipato personaggio romanzesco in cerca d’autore – o meglio, più che d’autore di un’identità che lo collochi nel mondo dei fenomeni strappandolo al marasma degli input irregolari e spumeggianti come geyser nel tessuto narrativo – nelle ultime), il protagonista, dicevamo, privo di nome, si trova ad affrontare dal suo originalissimo punto di vista – per il lettore lui è e rimane dall’inizio alla fine il Principe di Persia (la trovata romanzesca, ammettiamo, è delle migliori) – i motivi archetipici della storia della letteratura: si susseguono i temi del doppio, del rapporto col sé e con la propria nemesi – temi che il Principe affronta semplicemente reincarnandosi e una volta reincarnato ripercorrendo e affrontando nuovamente – come in ogni avventura videoludica – le medesime situazioni, i suoi stessi precedenti errori, le erranti antiche proiezioni di sé. Il testo si riavvita così su se stesso per rilanciarsi a un livello conoscitivo superiore, progredendo in forma di spirale, e mostrando un andamento – soprattutto rispetto ai casi di reinizializzazione (quali l’accesso ai successivi livelli o i ritorni in vita) – paragonabile al meccanismo narrativo del Castello kafkiano, parallelismo strutturale la cui continuità viene meno solo in relazione al finale, di segno opposto nei due casi.

Da un punto di vista letterario il Principe è insieme apice e superamento del fenomeno dell’avant-pop. L’evoluzione del protagonista ottiene pieno compimento al di fuori della trovata post-moderna dell’incarnazione letteraria di un episodio videoludico. La realizzazione della vicenda del Principe avviene infatti nei capitoli finali al di là della fatidica scritta Game Over: oltre quelli che sarebbero considerati gli usuali confini di un testo concepito secondo le consuetudini della letteratura pop.

Segnaliamo infine che il Romanzo oltre a marcare la sublimazione di uno dei fenomeni letterari più chiacchierati dai primi anni Novanta a questa parte, chiude, all’interno dell’opera dello stesso Calvisi, la cosiddetta ‘trilogia della follia’, costituita dal Geometra sbagliato e da Maledizione del Sommo Poeta, rispetto ai quali anche si pone come elemento di superamento e di rottura.

Paolo Imbonati, loop