Immovable minutes
Peter ciccarielloWelcome to Immoveable moments, my Substack art and writing journal. My name is Peter Ciccariello and I'm honored you've decided to join me on this journey of discovery.
| Platform |  | Pricing | Only free issues | Publishes | Daily |
|---|---|---|---|---|---|
| Issues | 375 | Founded | 2 years ago | Last Issue | 9 days ago |
| Active | |||||
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peterciccariello.substack.comLatest Issues
On Books
I’ve always had a love of books. I can trace it back to my mother; growing up, we had shelves and shelves of books of all sizes and shapes. She developed her love of reading from her father, a man whose heart was entirely in the right place...
THE GLASS MARBLES
A Contemporary Absurdist Play in One Act
EPIGRAPH
“The exhausted self is too alive to die and too dead to live.”
— after Byung-Chul Han, The Burnout Society
PROLOGUE
Projected text before lights up:
The silence is the key.
The silenc...
Lover of Consequence Redux
Digital collage transformed into a cartographic relief.
Mechanical strata, Arabic script, and the human face are reimagined as elevation lines, fault zones, and contour‑mapped terrain.
A meditation on consequence rendered as landscape—whe...
Three Mile Harbor
M turned into the lot off Maidstone beach just as dusk was beginning to fall and cut the engine. The beach and jetty were empty; he’d seen the last stragglers driving off on his way in. The tide was moving, and he was sure the stripers and...
A Fable
An elderly man of modest means and no fixed prospects takes a job as a night guard at a small museum in a quiet New England town. He is old enough to be grateful for the work, and poor enough that gratitude comes without difficulty.
As par...
Audience Metrics
Subscribers, engagement, traffic and sponsorship for Immovable minutes.
| Subscribers | Engagement | 77 | Monthly Web Visits | ||
|---|---|---|---|---|---|
| Accepts Sponsors | Estimated Cost per Ad | ||||
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Authors
The writers behind this newsletter.
Fifty years of digital art—from plotter to language model. I bring photographs, prints, and text into dialogue with machine-learning tools, testing how meaning shifts. Selection and authorship remain mine. The tools change; the disposition doesn't.
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