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                <text>Periodico di storie, di lotta, di conflitto e prospettive anticapitalistiche inn Sardegna ed oltre...</text>
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                <text>A cura dello Arkiviu-Bibrioteka "T. Serra"</text>
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                <text>INV. 217/2</text>
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                <text>Sommario&lt;br /&gt;L’importanza di una solidarietà organizzata (pag. 3)&lt;br /&gt;Sulla “sanità” carceraria (pag. 8) &lt;br /&gt;Lotte popolari e industrializzazione in Sardegna (pag. 12) &lt;br /&gt;Razzista o no...(pag.24) &lt;br /&gt;Resistenze contro la barbarie (pag. 28) &lt;br /&gt;Sas craes (pag. 33) &lt;br /&gt;Non sputare nel piatto in cui mangi (pag. 37) &lt;br /&gt;C’era una volta una nazione (pag. 42) &lt;br /&gt;Anzitutto (pag. 52) &lt;br /&gt;Su votu (pag. 55) &lt;br /&gt;Sa cadena est'ora ‘e la segare (pag. 56)</text>
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                <text>Supplemento a Anarkiviu : bulhitinu bibriografiku de s'arkiviu-bibrioteka de kurtura populhari "T. Serra" / a cura dello Arkiviu-Bibrioteka "T. Serra"</text>
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                <text>v. : ill. ; 24 cm</text>
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                <text>Kritik. Prontuario di sopravvivenza all’agonia del capitale</text>
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                <text>Contro l'abuso la convenzione lo svuotamento di senso non più dominanti e dominati ma forza contro forza rendere partecipe il lettore azzerando il linguaggio sequenza di immagini sparate come slogan l'attacco va minuziosamente preparato secondo una prospettiva rivoluzionaria secondo una prospettiva rivoluzionaria un altro mondo sta apparendo l'attacco va minuziosamente preparato non più dominanti e dominati ma forza contro forza si può sentire lo strappo sonoro scorrere il sangue la nuova vita che arriva."</text>
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                <text>187 p. : ill. ; 21 cm</text>
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                <text>INV. 216</text>
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                <text>Il decoro illustrato. Tragedia!</text>
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                <text>Se, come dice Mark Fisher, è più facile immaginare la fine del mondo che la fine del capitalismo, se cioè manca la possibilità di pensare un diverso sistema economico e una diversa organizzazione sociale, di che si occupa davvero la politica? Di decoro.&#13;
&#13;
Si occupa di fioriere, aiuole recintate, di panchine antibivacco, di scritte sui muri, di videosorveglianza, di controllo e soprattutto di selezionare chi può stare in città e chi non se lo merita. Sotto la maschera compita e sorridente della buona educazione, del buonsenso, dell’ordine c’è il cipiglio severo di chi si è autonominato “persona per bene” e lo sguardo paranoico di chi, dall’alto del suo privilegio, continua a condurre la lotta di classe contro i poveri.&#13;
&#13;
Filomena “Filo” Sottile questa volta sviscera il libro La buona educazione degli oppressi di Wolf Bukowski e si presenta nei duplici panni della punkastorie e della guida turistica alla città decorosa.</text>
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                <text>INV. 215</text>
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                <text>303. 33 FIL DEC</text>
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                <text>Milano, 1966: i primi capelloni invadono le strade. Tra loro Mel, un siciliano da poco tornato dalla Svezia, dove ha conosciuto il sesso libero e un pianeta nuovo. Insieme ad alcuni amici tonda la rivista "Mondo Beat" e inizia a praticare nella vita quotidiana la filosotia beatnik. I giovani accorrono in massa. Nasce Barbonia City, ed è subito scandalo! Mel, però, non può fermarsi. Uomo senza radici, dinamitardo della natura umana, fugge quasi subito dalla città e inizia un viaggio lungo cinquant'anni. Da leader della contestazione si trasforma in istrione, artista, erotomane paradossale, abile provocatore della comunicazione e campione di audience in molte trasmissioni televisive. Melchiorre Gerbino: l'affabulatore, lo storico e il cialtrone.</text>
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                <text>INV. 214</text>
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                <text>Mutate or die. In viaggio con la Mutoid Waste Company</text>
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                <text>Il gruppo Mutoid Waste Company nasce nella Londra thatcheriana dall'incontro di artisti, attivisti e meccanici per creare sculture ad alto contenuto distopico, recuperando materiale di scarto. Con le loro performance hanno anticipato e influenzato la cultura rave e molte delle pratiche sociali che si sono opposte al grande business delle multinazionali dell'intrattenimento. Fin dall'inizio hanno scelto di vivere in comunità all'interno di edifici e capannoni dismessi o costruendo villaggi a impatto zero nelle zone abbandonate, come Mutonia a Santarcangelo di Romagna, convertendo camion, bus e furgoni in case sempre in movimento. Nel loro trentennale cammino sui terreni fertili dell'underground hanno raggiunto ogni angolo del mondo, gettando i semi del suffisso oide per sottolineare il concetto di mutazione al quadrato, un'originale utopia che non tollera alcuna separazione tra vita e arte e che ha come simbolo il riutilizzo creativo del rifiuto, in alternativa ai banali modelli della società dei consumi. Mutate or die ripercorre le principali tappe del loro viaggio attraverso una moltitudine di testimonianze orali, un racconto dettagliato della loro storia alla ricerca di un immaginario ribelle ed ecosostenibile. Un vero e proprio antidoto a un futuro postapocalittico che sembra destinato a generare nuove diseguaglianze e ingiustizie e che perciò necessita di essere cambiato nel qui e ora del presente.</text>
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                <text>224 p., ill.</text>
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                <text>INV. 213</text>
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                <text>792.0223  ROT MUT</text>
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                <text>Attivi dal 1977 al 1984, i Crass furono un collettivo politico e musicale che s'impegnò a fondo per trasmettere un ideale consapevole ed egualitario. Sono considerati i fondatori della scena anarcopunk e i principali promotori delle pratiche del Do It Yourself. Il loro originale concetto di azione diretta comprendeva, oltre ai concerti in cui mischiavano arti visive e incitamenti anarchici, anche attività di coordinamento di comunità post-hippy e spazi occupati, la redazione di riviste underground e una casa discografica. I Crass hanno sovvertito la cultura dominante, infliggendo un segno sulla vetrina patinata della società dello spettacolo, con un messaggio radicale che ancora oggi può servire da detonatore per migliaia di giovani potenziali attivisti del dissenso. "Crass Bomb" è un libro antologico con i migliori saggi, i racconti e le grafiche del gruppo libertario che all'epoca rappresentò una vera bomba a orologeria pronta a scoppiare contro gli squali del business che speculano sulla ribellione giovanile. Completa il volume una dichiarazione scritta nel 2009 da Penny Rimbaud, ex batterista della band, e alcune traduzioni emotive di loro brani musicali firmate da ex punk e traduttori professionisti che per primi hanno amato i Crass.</text>
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                <text>INV. 212</text>
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                <text>782.42176 DIY CRA</text>
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                <text>Percorsi di altro rock, cinema e cultura</text>
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                <text>p. 4, Velvet mail &lt;br /&gt;p. 6, What goes on &lt;br /&gt;p. 10, The future looks bright &lt;br /&gt;p. 14, The Velvet interview: Tom Petty (Ermanno Labianca) &lt;br /&gt;p. 20, Flaming lips (Eddy Cilia) &lt;br /&gt;p. 22, John Cougar (Massimo Cotto) &lt;br /&gt;p. 44, Demetrio Stratos (Valerio Corzani) &lt;br /&gt;p. 46, Le regole dell'attrazione (Piero A. Corsini)&lt;br /&gt;p. 48, Mudhoney (Marco Mathieu)&lt;br /&gt;p. 50, De La Soul (Paolo Ferrari) &lt;br /&gt;p. 52, Bill Frisel (Maurizio Favot) &lt;br /&gt;p. 54, Guns n' roses (Federico Guglielmi)&lt;br /&gt;p. 58, Nikki Sudden (Thomas Lasarzik)&lt;br /&gt;p. 62, R'n'R Babel (Marco De Dominicis) &lt;br /&gt;p. 64, N.Y.C. Serenade (Elliot Murphy) &lt;br /&gt;p. 66, Cheap thrills (Eddy Cilia) &lt;br /&gt;&lt;strong&gt;The Velvet consumer guide&lt;/strong&gt; &lt;br /&gt;p. 27, 33 r. p. m. &lt;br /&gt;p. 36, Vinyl Shots &lt;br /&gt;p. 39, All that jazz &lt;br /&gt;p. 40, 45 r. p. m. &lt;br /&gt;p. 42, Lost &amp;amp; Found</text>
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                <text>1989-06</text>
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                <text>INV. 211/6</text>
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                <text>Velvet Anno 2 N. 8</text>
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                <text>Percorsi di altro rock, cinema e cultura</text>
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                <text>p. 4, Velvet mail &lt;br /&gt;p. 6, What goes on &lt;br /&gt;p. 10, The future looks bright &lt;br /&gt;p. 14, The Velvet interview: Stan Ridgeway (Massimo Cotto) &lt;br /&gt;p. 20, Coolsville girls (Massimo Cotto) &lt;br /&gt;p. 22, Psichedelia minimale (Lorenzo Miglioli, Eddy Cilia) &lt;br /&gt;p. 44, Lawrence Kasdan (Piero A. Corsini) &lt;br /&gt;p. 46, Tom Petty (Ermanno Labianca) &lt;br /&gt;p. 50, Back to the future (Federico Guglielmi &lt;br /&gt;p. 54, Raï music (Paolo Ferrari) &lt;br /&gt;p. 58, Cure (Alessandro Andolina) &lt;br /&gt;p. 62, Cheap thrills (Eddy Cilia) &lt;br /&gt;p. 64, N.Y.C. Serenade (Elliot Murphy) &lt;br /&gt;p. 66, R'n'R Babel (Maurizio Bianchini) &lt;br /&gt;&lt;strong&gt;The Velvet consumer guide&lt;/strong&gt; &lt;br /&gt;p. 27, 33 r. p. m. &lt;br /&gt;p. 36, Vinyl Shots &lt;br /&gt;p. 39, All that jazz &lt;br /&gt;p. 40, 45 r. p. m. &lt;br /&gt;p. 42, Lost &amp;amp; Found</text>
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                <text>Percorsi di altro rock, cinema e cultura</text>
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                <text>p. 4, Velvet mail &lt;br /&gt;p. 6, What goes on &lt;br /&gt;p. 10, The future looks bright &lt;br /&gt;p. 14, The Velvet interview: David Crosby (Massimo Cotto) &lt;br /&gt;p. 20, New Order (Marco De Dominicis) &lt;br /&gt;p. 22, Irish heartbeats e strade d’Irlanda (Davide Sapienza) &lt;br /&gt;p. 44, Gavin Friday (Davide Sapienza) &lt;br /&gt;p. 46, Grateful dead (Maurizio Bianchini, Eddy Cilia, Riccardo Bonanni) &lt;br /&gt;p. 54, Colpire al cuore (Piero A. Corsini) &lt;br /&gt;p. 58, James Taylor Quartet (Peter Sarram) &lt;br /&gt;p. 62, R'n'R Babel (Massimo Cotto) &lt;br /&gt;p. 64, N.Y.C. Serenade (Elliot Murphy) &lt;br /&gt;p. 66, Cheap thrills (Eddy Cilia)&lt;br /&gt;&lt;strong&gt;The Velvet consumer guide&lt;/strong&gt; &lt;br /&gt;p. 27, 33 r. p. m. &lt;br /&gt;p. 36, Vinyl Shots &lt;br /&gt;p. 39, All that jazz &lt;br /&gt;p. 40, 45 r. p. m. &lt;br /&gt;p. 42, Lost &amp;amp; Found</text>
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