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	<title>Fragility &#8211; Fragments of Beauty</title>
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	<title>Fragility &#8211; Fragments of Beauty</title>
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		<title>Vulnerabilità</title>
		<link>https://frammenti.stefanseifert.com/essay/vulnerabilita/</link>
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		<dc:creator><![CDATA[elementi]]></dc:creator>
		<pubDate>Tue, 29 Aug 2017 05:34:30 +0000</pubDate>
				<category><![CDATA[Beauty]]></category>
		<category><![CDATA[Entirety]]></category>
		<category><![CDATA[Femininity]]></category>
		<category><![CDATA[Form]]></category>
		<category><![CDATA[Fragility]]></category>
		<category><![CDATA[Ray]]></category>
		<category><![CDATA[Venus]]></category>
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					<description><![CDATA[… se sono [i sensi] ancora aguzzati dai raggi del sole che giocano intorno ai...]]></description>
										<content:encoded><![CDATA[<blockquote><p>… se sono [i sensi] ancora aguzzati dai raggi del sole che giocano intorno ai lor bei muscoli.</p></blockquote>
<p><span class="initial"><span class="cap">H</span>o</span> visto nel pieno del mezzogiorno delle gambe dal lato di dietro che mi hanno fatto venire la voglia di cambiare la mia vita. Non era tanto per la loro forma <em>intera</em>, tanto che già impressa nelle nostre memorie, che per un dettaglio: lì dove quel forte muscolo che congiunge le due parti della gamba, espandendosi a forma di un ponte, sopra la parte retro della capsula del ginocchio, si prolunga e sparisce nella carne vibrante della coscia.</p>
<p>Perché vi era in questa nudità tesa, e invisibile agli occhi di lei medesima, di un muscolo blandamente messo all’estremo, qualcosa di commovente: in quanto malamente copriva la necessità per così dire «primaria» (e in essa risiede la sua vulnerabilità) di un apparato motorio; del resto come in pochi altri punti del corpo femminile, destinato per lo più ad apparirci in rotondità piacevoli, ritirate, e quasi si verrebbe a dire inutili, se non per la loro bellezza medesima. E sia che è stata questa vulnerabilità scoperta che mi rendeva incline a servirle di proteggergliela?</p>
<p>E, sicché, non ero nel mio paese si faceva avanti un pensiero, più insistente di ogni congettura quale avrebbe potuto suggerirmi finora un mio ragionamento, o si avrebbe potuto solidificare tramite le mie esperienze: quello di espatriare. Era il destino a farmi votare immaginariamente a quella creatura cui tale dettaglio apparteneva, oppure ad un’altra simile, in una possibile convivenza tutte le mie forze per renderla felice ed avermene cura.</p>
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		<item>
		<title>Memoir</title>
		<link>https://frammenti.stefanseifert.com/typeface/memoir/</link>
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		<dc:creator><![CDATA[elementi]]></dc:creator>
		<pubDate>Thu, 04 Aug 2016 07:51:03 +0000</pubDate>
				<category><![CDATA[Bodoni]]></category>
		<category><![CDATA[Classicism]]></category>
		<category><![CDATA[Didot]]></category>
		<category><![CDATA[Fragility]]></category>
		<category><![CDATA[Magazine]]></category>
		<category><![CDATA[Memory]]></category>
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					<description><![CDATA[<p><img src="https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer.jpg" class="attachment-md_post_thumb_large size-md_post_thumb_large wp-post-image" alt="" decoding="async" fetchpriority="high" srcset="https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer.jpg 838w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-768x550.jpg 768w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-600x430.jpg 600w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-430x308.jpg 430w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-645x462.jpg 645w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-640x458.jpg 640w" sizes="(max-width: 838px) 100vw, 838px" /></p><span class="initial"><span class="cap">I</span>t</span> was <span class="author">Luca Stoppini</span> from <span class="author">Condé Nast</span> asking me to do for a magazine concept (GQ) a <em>Didot</em> like typeface which should have a definite “computer influenced” shape. At this time we both experimented a lot with what later became a series of experimental typefaces. I started out doing some very rough sketches of characters that have a free classicist <em>Bodoni</em> spirit but consisted mainly in straight Bézier curve segments put together very quickly. Certainly my years long studies around the Italian punch cutters’ typefaces of the 18th century were quite helpful to not feel the need to hassle a lot with these shapes. They came quite natural to me and most of them stayed as they were originally sketched in the first trials.

<strong>Credits:</strong>
<span class="author">Paolo Roversi</span> | Photography]]></description>
										<content:encoded><![CDATA[<p><img src="https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer.jpg" class="attachment-md_post_thumb_large size-md_post_thumb_large wp-post-image" alt="" decoding="async" srcset="https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer.jpg 838w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-768x550.jpg 768w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-600x430.jpg 600w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-430x308.jpg 430w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-645x462.jpg 645w, https://frammenti.stefanseifert.com/wp-content/uploads/2016/08/Cartier_Natalia_overlayer-640x458.jpg 640w" sizes="(max-width: 838px) 100vw, 838px" /></p><span class="initial"><span class="cap">I</span>t</span> was <span class="author">Luca Stoppini</span> from <span class="author">Condé Nast</span> asking me to do for a magazine concept (GQ) a <em>Didot</em> like typeface which should have a definite “computer influenced” shape. At this time we both experimented a lot with what later became a series of experimental typefaces. I started out doing some very rough sketches of characters that have a free classicist <em>Bodoni</em> spirit but consisted mainly in straight Bézier curve segments put together very quickly. Certainly my years long studies around the Italian punch cutters’ typefaces of the 18th century were quite helpful to not feel the need to hassle a lot with these shapes. They came quite natural to me and most of them stayed as they were originally sketched in the first trials.

<strong>Credits:</strong>
<span class="author">Paolo Roversi</span> | Photography]]></content:encoded>
					
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