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before the god or before the birth?


The report, "du faire au savoir et au modèle de l'œuvre" (C., 1952, p. 172) is the main subject of "Reflexions sur la création artistique selon Alain", appeared in an essay of 1952 number of Revue de métaphysique et de morale.
In these pages, C. (cf. ibid, p. 171) takes to write that the comparison between what man perceives and what man builds creates a twofold problem: the problem of creation (which already, what has already been created) and the problem of human creation (what man creates, what he produces with his own hands). The classical concept of the operation aesthetics (cf. ibid, p. 174) includes three different rigid rules of interpretation as regards the production of a work of art: 1) the inspiration, 2) fees and 3) the model. The inspiration pertains to contemplation, the fee pertains to the archetype, the model is to establish demiurgic.
If God is an example of Cartesian unusual in the pantheon of gods (see above, pp. 20-23), the demiurge of Plato has always puzzled scholars of the time. It is not clear, if in fact the creation of the world, in Plato, poses "a problem of origin et de dépendance, ou de destination et d'organization '(C., 1952, p. 171).
Here is an extract from the Timaeus demiurgic on the act of creation. In it, we understand, Plato suggests the indispensability of a model building (in front of a becoming ever-changing) under which the Demiurge works for the creation of the world:

"Everything that is born is necessarily caused by a cause of anything, in fact, it is impossible to be born without a cause. Everything, therefore, the Demiurge which carries out the form and power by looking at what remains always identical to itself and serve as a model, can necessarily all fair On the contrary, what he achieved and looking to become a model using a transition can not nice [...]. So we must again consider on its behalf as a model the author was inspired to make it: if what remains identical to itself or the one generated. But if this world is beautiful and the Demiurge is good, obviously he has looked to the eternal pattern, otherwise - but it is not permissible to say - to the one generated. But it is clear to anyone who has watched the Demiurge Jehovah, the world is in fact the most beautiful creature and he is the noblest of the artisans (Timaeus, 28 b-29, trans. Com. 1994).

In fact, says C. (see 1952, pp. 171-172), the problem of creating demiurgic joins in Plato and the production of artifacts. The dialogues of Socrates criticizes the artisans and poets who act in the heat of artistic inspiration and are not able to provide an explanation of the effects of the unfolding of its modus operandi. On the other hand, the production activities of man, like that of the Demiurge, proceeds by imitation or imitation of an imitation of the Idea of \u200b\u200bthe Idea. Of these two activities, the former is more noble than the second, since draws directly to the idea. What has been learned, Canguilhem writes, in a passage of the Sophist (235 d-236 c).
noted that even in The Republic, Plato mentions the same issue:
-
These then are three beds: one, that exists in nature, what shall we say, I think, God has done, or who else?
-No, I think.
-Another, the one made by the carpenter.
Yes.
-E a, by the painter. No?
-Sia.
-The painter, the manufacturer of beds, God, these three are responsible for three different kinds of beds.
Yes, three.
-Or, God [...] did, however, only what "is" really the bed and two or more of such as these are neither born nor ever will be born by God [...]. Would you call him now that the "natural creator 'of this, or something like that?
-That's right, he said, because by nature he did this and everything else.
-and how to call a carpenter? Did not "craftsman" of the bed?
Yes.
-E may also call the painter maker and creator of such an object?
-Not at all.
-And you say then that he is, on the bed?
-This said, I think the more appropriate designation of "imitation" of what those are authors (La Repubblica, 597 BE, trad. Com. 1997).


Some modern philosophers, however, according to C. (see 1952, pp. 172-174), prove not to believe the existence of a role model when you are about to forge a work of 'art, or when you want to perform a task poietic manufacturing of any kind of artifact: Pascal, Thoughts, writes that when you start to produce a work you never know where to start, in Beyond Good and Evil (§ 277), Nietzsche notes that after building a house, "you realize you have learned something in that job unexpectedly, that should absolutely know before you start building "(1886, tr. com. 1977, p. 196). If, however, for Pascal - as we learn from De l'esprit géométrique - the authentic creative act is the exclusive prerogative of the deity, for only God, after creating, recognizing his work in an ideal of perfection that does not require adjustments and 'human imagination, as power as possible is a source of error that violates the existence of a geometric order transcendent and fixed, according to Baudelaire - as we learn from the Salon de 1859, II and III - the imagination can be regarded as the real decision maker in the world, because the truth resides only in the imagination and effort is an extension of true. In light of these considerations, it is reasonable to assume that the activity of creation does not involve any aspect of preliminary or anticipation. The activity of creation is not a faithful imitation of an external model and absolute. "On a supçonné Plusieurs fois que si de création the notion [...] descendue est du ciel sur la terre, c'est qu'elle était d'abord Montée de la terre au ciel" (C., 1955, p. 174). The fact that the man considered to have been created in the image and likeness of God means in fact that man has made God in his own image and likeness. This means that the human being, constantly prey to the eternal illusion of creating something from time to time conforming to a higher model, extra-human, as he puts in that model. The unraveling of the art is thus linked to a psychology of technology, a process of thought in action free from any prior knowledge and any kind of representation:

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C. thus observes (cf. ibid, pp. 23-29) that if Comte, as dictated by the maximum historical progress as regards the development order, the Broussais principle would enable him to establish a scientifically based and the maximum raised to the ranks of the social sciences, because if it is possible to determine with mathematical accuracy, and when a body is in a state pathological or not, and how or to what extent the disease must be traced back to its level of standard, regular, normal, then a similar procedure can be applied to the social body. Comte's objective is to establish and demonstrate the existence of a complex of laws and invariants also apply at the social level, given the parallel existence of laws and valid scientific invariants in physics: the principle of Broussais He is the glue for a perfect link between the natural and physical (sighs) social physics.
We note in this regard, the father of positivism, the theoretician of the Physical Society organized in the Sermon on the positive spirit does not hesitate to treat the body to the car, evidently regarded as a mere assemblage of mechanisms that perform a command or subject to rules as a basis of the same organism (as a company subject to physical laws must be composed of individuals playing strength subject to the same scientific constants, and by that measure):

"For the new philosophy, the order is without stopping the condition fundamental progress, and, reciprocally, progress becomes necessary in order order: as in the animal machine, balance and progress are mutually indispensable, as a foundation and goal "(Comte, 1844, trad. it . 1985: 66).


Comte actually states in the preface to the sixth volume in the course of positive philosophy, dated July 19, 1842, that positive science is rooted in the historical doctrines of Descartes and Bacon:

"Une telle harmonie philosophique put it Toutefois pleinement être constituée d'après que la première exécution, commencée en 1825, et réalisée en 1829, de l'oral elaboration here raises the elaboration écrit term maintenant que je pour la final de la philosophie positive Systemation, graduellement préparée par mes divers prédécesseurs depuis Bacon et Descartes "(Comte, 1975, p. 441).

That said, C is still observed (see 1943/1966, trans. com. 1998, pp. 27-28), remains a significant problem: there is still no scientific evidence able to ascertain with certainty that the disease is identical to normal, which differs from the latter only in relation to intensity. Not only do not understand "what in an artery sclerotic artery is similar to normal, what a heart asystole, and identical to the heart of an athlete in possession of all his faculties "(ibid., p. 27), but is not given even know the criteria that defines as a normal phenomenon, nor Comte is working to supply them or even report them:

" should first be noticed particularly abstract nature of this argument, the absence, in its literal exposure of any doctor who can substantiate clear example "(ibid., p. 27).

Similarly, Comte betrays the available scientific rigor that is required where he tries to show the absolute physical contiguity between the normal and the pathological state. A difference, that, already found in Bichat and Broussais: Comte, Broussais Bichat and use either a type of terminology in qualitative as they advance the idea of \u200b\u200buniformity, the unique quantity that links the normal and the pathological, and that would make two of them were basically contiguous, that is identical except for intensity. C. thus finds that Comte used, for example, the term "harmony of external influences such as different internal '(ibid., p. 28) explicitly implying the existence of a sort of ideal value that should be drawn (see ibid 28-30, 37). We read in the fortieth
lesson of course positive philosophy which, according to Comte

"[...] the Constitu harmonie nécessairement idée générale de vie [...]. Une telle harmonie entre être vivant et le milieu the correspondent évidemment caractérise the fundamental condition de la vie "(Comte, 1838/1968, p. 225).

is clear at this point to C. - look - that what Comte had from the outset were not (false) conditions of excess and defect in an organism: he rather hoped to prove the existence of a state of value that constituted the unit ideal to which individuals with their biological abilities, they would have had to face to match its level of perfection and thus achieve the 'harmony'. When, therefore, which seeks to use of two coordinates of metric such as excess and deficiency, and perhaps even regardless dall'inattendibilità these coordinates, the space between the two polarities, in the midst of the "more" and that "less", will not identify simply the 'normal' health in a living being, but will indicate in advance what is normal and what is not, the healthy individual and the individual patient: it will be to make a rule, an index value. Its existence is prior discriminatory state of health of an organism, which was built at the same time the effect of a point for every individual who aspires to "normal." Normal in this case becomes a standard.
A demonstration of this, we choose to bring an excerpt from page 32 of The Normal and the pathological together with an extract from a 1966 essay, "From the social life", published today (along with two other essays) as a postscript to thesis of '43:

"[...] you will notice the vagueness of the concepts of excess and defect, their qualitative and implicit legal, barely concealed under their alleged metric. It is in relation to a measure deemed valid and desirable - so in relation to a standard - that there is excess or defect. Defining the abnormal by too much or too little is to recognize the character regulatory state called normal. This was normal or physiological is no longer just a provision and possess the detectable explained as a fact, but the manifestation of a reference to some value "(C., 1943/1966, trans. Com. 1998, p. 32).


"In any case, the peculiar character of an object or a plain fact that, in reference to an external norm or intrinsic, it could be, in turn, taken as a reference to objects or events that are yet to be be called such. The normal is thus a time extension and expression of the rule. It multiplies the rule in the very moment when the shows. It requires, therefore, beside himself, alongside him and against self, all that still eludes him. A rule takes its meaning, its function and its value from the fact that it exists outside of what we do not need answers from which it depends "(C., 1966, trad. Com. 1998, pp. 200-201 ).


Ultimately, according to C., the principles of medical science which Comte proposes to base in advance and seek to establish an entirely ideal, the difference between a healthy body and a body sick, failing to be taught by particular case: the medical science is a doctrine comtiana objectifying, which responds perfectly to the positivist motto "knowledge to predict." and then in Comte, as in Descartes, knowledge of that time Once in the technical action. Comte, Descartes, see the individual in terms of the third person, as a mere object of analysis, physicalization the body's own biological functions. For both philosophers, in fact, it is similar to the machine.

"The common idea [...] is a technique that should normally be the application of a science. It is the positivist idea fundamental to know to act. The physiology of the disease should be clarified to establish the therapeutic" (ibid., p . 72).

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Cang. Vs Comte Comte


From what we read, says C., "Comte attributed to what he calls the" principle of Broussais' a universal phenomenon in the field of biological, psychological and sociological "(1943/1966, trad.it. 1998, p. 23).
learn from the pages of The Normal and the Pathological (cf. ibid, p. 29-33) that the doctor and physiologist François Joseph Victor Broussais (1772-1838) provides a distinction in purely quantitative terms (in De l'irritation et de la folie 1828, but also in the Traité de physiologie appliquée à la Pathologie of 1822-23 or in the Catechism physiologique de Medicina of 1824), in the study of symptoms of diseases and health conditions in humans, including the normal or physiological and the condition known as pathological. In the search for the causes irritation of the tissues, dysfunctions that are found in the lungs lead to such a finding, according Broussais, surpasses the mind of a defect or an excess: when the air inside the lungs is too small in size, that is when the air is too little, you have a case of asphyxiation, which is the obvious example of irritation, when the air inside the lungs is too much or too much oxygen we are dealing with inflammation. It is clear that the two polarities excess-defect Broussais will be recognized by a normal operation that will identify the "regular" organ or tissue. The normal state would be allowed by the 'excitement', that is, from the constant omnilaterale agents outside the body (the components of the environment, such as air) together with the action of the internal organs: this combination of inside and outside to keep alive the living being. The mere "excitement" matches well, for Broussais, with the normal, but when this excitement, therefore resulting from the action of internal and external factors, is at fault (irritation) or excess (inflammation), the next state pathological. This is the 'rule of Broussais.
In this way, do you know C. Ideology and rationality in the history of life sciences (see 1977/1988, trans. com. 1992, pp. 54-56), the future transition from state normal, an organ or a tissue, the pathological condition becomes a scientifically measurable process that can be controlled and brought back to normal conditions through remedies such as bleeding or the application of leeches: what has historically happened in France between 1820 and 1832, year of an epidemic of cholera which killed, passed in vain to this care, showed the inconsistency of the theories of Broussais. He was thought that all dysfunction in tissues were solely attributable to inflammation or irritation, making no distinction, for example, between chronic gastritis and pneumonia. Every phenomenon of inflammation was well treated by the depletion or removal considered in excess of body fluids, which explains the fact that, in 1820, the French import about a million leeches from across Europe and more than thirty million in 1827.
It should be noted, moreover, says C. in The Normal and the Pathological (see 1943/1966, trans. com. 1998, pp. 33-39), that the origin of this quantitative way of understanding the disease dates back to Broussais, but the Scottish physician John Brown ( 1735-1788) and after him the French Marie François Xavier Bichat (1771-1802). For Brown, "life is maintained only by virtue of a particular property, the incitabilità, which allows the living to suffer disease and react. The diseases are not just a quantitative change [...] Of this property, according to an instruction that is too intense or too weak "(ibid., p. 33). The therapeutic procedure consists, according to Brown, back in the pathological state to its normal stage (since the gap that separates the two is only quantitative in nature) and intervene by administering agents that lower or raise the level of incitement diseased tissue: the purge, cold, diet, etc.. Similarly, Bichat, in Recherches sur la vie et la mort (1800), postulates the existence of a natural state in living bodies, bearing in mind that consists in altering the pathological phenomena, the increase or decrease in this state. So Brown, Bichat and Broussais theorize the absolute contiguity between the physiological and pathological state, does not differ anything else, the latter, and intensity.

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To try to give back to the reader all the important theoretical and scientism committee set takes in an attempt to prove the existence of a link type quantitative and measurable (as we shall see), in medicine as a sociological side, between the state defined as normal and was defined as pathological, C. opens its case (see 1943/1966, trad.it. 1998, pp. 24-25) quoted in full a long passage from the Système de politique positive, in which Comte claimed authorship of what he calls the 'principle of Broussais. We cite the passage in question:

The careful observation of ill health in respect of living beings, a number of indirect experiences much more suited for most experiments aimed at clarifying the concepts as dynamic as static. My philosophical treatise and has been performing adequately the nature and scope of that procedure, from which spring really the most important biological acquisitions. It is based on the great principle whose discovery I had to give a Broussais, as can be evidenced by the totality of his work, although I only have they developed the general formulation and direct. The medical condition was so far reported to laws entirely different from those governing normal state: the exploration of one so that he could find nothing in the other. Broussais established that the phenomena of the disease essentially coincide with those of health, from which differ only in intensity. This bright principle has become the basis of systematic pathology, which is thus subject to all of biology. Inversely applied, explains the ancient use and maintain pathological analysis to clarify the biological speculation [...]. The light that already is due to this principle can only provide a further clue of its effectiveness. The scheme will extend primarily to the encyclopedic intellectual and moral faculties, to which the principle of Broussais has not yet been applied with dignity, so much so that the diseases of those faculties are amazing or disturb us, but we do not provide an explanation [...]. In addition to its direct effect on biological issues, the principle will, in the general system of positive, happy prepare a logical process similar to the final science. Because the collective organization, due to its greater complexity, involves even more serious problems, more complex and more frequent than those of the individual organism. I am not afraid to say that the Broussais principle should be extended in this field, as I have often made to verify or refine the sociological laws. But the analysis of the revolutions could not be clearly positive study of society, without the introduction of logic in this respect derived from simpler cases that biology has (Comte, in Le Normal et le pathologique , trans. Com. 1998, pp. 24-25).

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Comte is a thinker who, like Descartes, gives a central role to the power of science, thus putting emphasis on the subordination of practice than the theory. A philosophical orientameto, this tied «[...] à une théorie fausse de l'application, qu'exprime the fundamental positivist maxim "savoir pour prévoir, prévoir pour agir", "writes Jean-François Braunstein in a short essay entitled "Canguilhem, Comte et le positivisme" (1998, p. 110). Here's an excerpt from the fifty-first lesson of the course in which Comte's positive philosophy advocates the need for a preliminary imagination over observation, science compared to the technique for the development of human knowledge:

"This is, therefore, from the simple point Logically speaking, the indispensable office primordial only intended to theological philosophy, the fundamental evolution of our intelligence, in which the progress of the imagination must always precede and are necessary in any field, that observation, for the species as for the individual "(Comte, 1830 - 1842, trad. com. 1979, p. 402).

Comte writes in the Sermon on the positive spirit: "Thus, the true positive spirit consists above all in view to provide, to study what is to conclude what will be, according to the general dogma of the invariability "(1844, tr.. com. 1985, p. 21).

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part three


appearance more appropriate at the time of construction of a new car or a new tool is a élan, a momentum that is outside the control of the intellect and which coincides with the biological urge of living. It is referred by calling into question the originality of power. A power, in fact, biological, which has nothing to do with the intellect and rationality. The latter belong, on the other hand, the ability to reflect and find new solutions on how the organic movement of the practice has failed to establish an approach to the outside world.
Descartes has thus been able to come across in the course of their experiments, the problem of diversification, heterogeneity and unpredictability of results when you are engaged in manufacturing activities. The reason why the Cartesian philosophy has no trace of an "aesthetics", a theory of creation, he then explains as soon as Descartes did not want to betray their project to draw up a definitive analytical science, whereby, Among other matters, there is a sort of in the mind of the engineer νòυς, intellect officer who already knows all the steps to follow to complete the process of building a machine, a fountain, a clock, etc..

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Today I will be light - part two


We note But anfibologica nature of the problem: if one part 1) Descartes argument dell'imprescindibilità challenges the basis of a theoretical core that determine the beginning and once and for all, the many directions that a technical act becomes conscious of its scope in completing a design already inscribed in the original plan, part 2) Descartes himself not only admits that the party immediately practice can play a decisive role in scientific discovery, but let it be precisely the same improvisation manual completely at the mercy of chance (ie the specific circumstances), a drag on the banks of scientific discovery. This second aspect is clear in the binocular where the invention is due to luck and experience of the telescope which is the fertile ground in which Descartes draws, as he writes, for the formulation of a theory of optics. This is implicitly indicating (Descartes, that is not explicitly looks like) that, first, the technique is chronologically earlier than the science (the theory is only after the practice), and, secondly, the same technique is not the product of theoretical premises: the result is fortuitous, that is always contingent and context-bound, a set of practical circumstances.
Here is what Descartes writes in the incipit of Dioptrics :

"A shame our sciences, however, this invention, as useful and worthy of admiration, you should not at first that the experience and luck. "(Descartes, AT 81, trad. com. 1983, pp. 187-188) .

However, since the brand new telescope built by Descartes has revealed some shortcomings in the operation, it was loaned to scientific analysis (by Descartes) who wrongly credited to the conditions of effectiveness of the new discovery physical laws are already in the manual of good scientist (in this case the telescope, Descartes infers the size and shape of the lenses by the constant light).
If there is then a chronological priority of practice over theory, theory (or science) does not act by then a mere recipe for the success that can then be used to "map" for future applications. On the contrary, it is a question on the conditions of technical failure carried out by the Act, an act unconscious and free of any constraint stainless theoretical initial trigger. And nothing prevents you from saying that this is a precedence of earlier theoretical character even chronological knowledge is not part of the theoretical foundation, but from practice. The latter is the conditio sine qua non of the human cognitive process, where the science takes over at the time of the act sets out a practical failure unexpectedly.

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In Principles of Philosophy and Rules for the direction of the spirit of Descartes bring to the attention of the reader several times and made some gestures of ordinary experience that show how the basis of manual arts or business most common techniques, but also study and rational explanation of all human and natural phenomena, there is always a "truth of knowledge" and by that indispensable preliminary. We give a few scattered cases cited by Descartes in his works: cases concerning the use and effect of medicines, the operation of fountains, changes in the air the smoke rises from chimneys, the tides. Not to mention that the purpose of the construction of machines, telescopes (in Dioptrics ), but also the same explanation of the medical arts have become famous among the aspects of the Cartesian system. Making a fountain or a machine is then, for Descartes, the implementation of some basic principles that can not be ignored by the engineer (the person committed the act of manufacture) and in fact the same engineer has to follow step by step to get the order that was initially proposed. Similarly, look at the phenomenon of the columns of smoke into the air or the motion of the tides, is to collect the scattered amount of variables observed in order to reduce the variables to the laws by which they are derived. The mode of production not subject to reflection, unconsciously, a craftsman who ignored the conditions and the effects of an act maker aware of their scope, that is the depositary of the conscious knowledge of a particular theoretical principle prescriptive, it is frowned upon by Descartes .
Here are some excerpts from the Rule V ( rules to guide intellectual ) Descartes

"Any method that is not in the order and disposition of those things which should be directed to the keenness of the mind find some truth [...].
This only contains the sum of all human work and this rule must be followed by those wishing to address the knowledge of things, no less than that Theseus was about to enter the Labyrinth were to follow the thread. But many or reflect on what it prescribes or ignore it altogether or assume they do not need it [...].
So do most of those involved regardless of the Mechanics and Physics blindly produce new tools to produce movement [...].
In truth they all obviously sin against this rule "(Descartes, trans. Com. 1994, pp. 249-250).

to be continued

Rules For Borrowing From Annunity

What everyone knows, and nobody knew is the subject. It is, therefore, that carries the world is the universal, every hour of every phenomenon assumed condition of each object, because that exists, exists only for the subject. This is each subject in itself, but as yet only known, not because he himself is the object of knowledge. Object is already rather his body, and therefore also, according to this view, we call representation. Indeed, the body is the object among objects, and subject to the laws of the objects, although it is a direct target. It is, like all objects of intuition, in all forms of knowledge, time and space, through which there is plurality. But the subject, the knower, never known, is not also in those forms, from which in fact is rather always already assumed: Do not touch it, nor the plurality nor the opposite of that, units. Never did we know it, but it is known that, wherever it is knowledge. The world as representation, then - and we do not consider it here if not in this respect - has two halves is essential, necessary and inseparable. One is the object of which have shaped space and time by which you have the plurality. But the other half, the subject is not in space and time so that it is whole and undivided in every being representative;

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Aion


There are no live, but infinite: Aion unlimited, which is divided to become infinite in the past and in the future, always dodging the present, so that the time must be grasped twice, in two complementary ways, unique from each other, entirely, as present in live bodies who act and suffer, but also as entirely instance infinitely divisible into past-future, the effects resulting from the incorporeal bodies, by their actions and their passions. Only the present exists in time and collects, absorbs the past and the future, but only the past and the future insist on time and divide indefinitely all persons present. Not following three dimensions, but two simultaneous readings of the time.
Gilles Deleuze, Logic of sense

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pretty bad! Again the old story! When you have finished the construction of your home, you realize suddenly that you have learned something that would have absolutely know before you begin. The eternal curse "too late!" The melancholy of everything that is done ! ...
Nietzsche, Beyond Good and Evil

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begin with the movement. I have a hand in the point A. The transport to point B along the interval AB. I say that this movement from A to B is a simple thing.
Of this, each of us has the immediate sense. Undoubtedly, as we bring our hand from A to B, we say that we could stop at an intermediate point, but we would not have more to do then with the same movement. There is no longer a single movement from A to B, there would be, say, two movements with an interval of arrest. Or from within, through the muscular sense, nor from the outside, through our eyes, we will still have the same perception. If we let our movement from A to B as it is, we feel we have to declare and undivided and indivisible.
When I look at my hand that goes from A to B describing the interval AB, I say, "the interval AB can be divided into as many parts as I will, therefore, the movement from A to B can be divided into as many shares as this movement is applied to this range. " Or better yet, "every moment of his journey, the mobile switches to a certain point, then we can distinguish many stages in the movement than you want, then the movement is infinitely divisible. "But let us reflect for a moment. How can the movement applied on the space go? How will the movement coincide with the property? How does the object moving in would a point of its path? It will pass or, in other words, there may be . You would if you would stop, but if you would stop, we will not have to do with the same movement.
Henri Bergson , Thought and motion

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act and action

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The suspected appearance, Bradley Castellanos



Since the painting has become eminently camera, thanks to the influence of a genius like Gerhard Richter, has been gaining an ever wider opening conceptual digressions on their cultural and media, and the relationship with the world el ' environment, also as a space, virtuality to explore and fill epochal meanings, concerns, visions, signs and expectations of freedom, each time taking a new and profound anthropological connotations naked together in launching the space of the paint surface, so ecumenical and a powerful impact. After the dual symbiotic pulse of abstraction and figuration as in the case of the master German, there has been a breach in a positive sense, of total contamination inside the same practice of painting. As if the whole film, performance, video art, installation in the nineties seemed to have to replace or remove the vehicle, instead they came together in the canvas, creating a new superpittura, stratified, can revolutionize the representation of reality and exploit in the framework of the theoretical and instrumental lines to express a more frontal, but at the same time with no ambiguity, and Cartesian doubt, the extended value of the image that communicates. Since the painting after having passed its periodic crises, is going through some mechanisms of self-analysis, of un'illusorietà that comes to terms with the profound nature of things, with a certain type of reconstruction of the real, as opposed to an industrial production of images, and then compare to natural especially in the broad sense that was de-legitimized by the rejection of the romantic. Even as the Scotsman Peter Doig, a special formulation of natural landscape and figurative realistic touch, has reinstated a romance in a position to channel the energy of a poly, the unusual and poetic. It returns a "religion" or a science passing through a hard and close comparison with the real / natural, with the space transformed the world of technology and hyper-hyper-industrial, sifting annoyances and idiosyncrasies era.
Speaking about the work of Bradley Castellanos is to suffer the effects of problems that explore the natural and altered strategies of iconicity, of the superficial and deep mental processing environment, understanding variations in purity dream or in the degradation and corruption of any matter subject to an evolutionary step in the same way that focuses overwhelmingly on manual painting a gestalt that idolizes the bright color and then decline more towards the implementation of a real world, and visually scored by excesses of all kinds. Something of toxic, ominous hovering in the mixed-media works of this Mexican artist, who lives in New York, where the warm color or resin is laid on the photographs, in a hallucinatory eloquence that moves continuously from the fantastic to the social, with a great respect for vision of the work and the nature of the message, concealed and revealed according to the syntax you want to produce. In fact some of the works of Castellanos focuses on the landscape, especially the dark forest where the size of the atmosphere, and allegories suspended engages the ancestral, the unconscious, like some fairy tales, which today are channeled into a cinema or evil a literature which could include as much Kubrick Stephen King. The other aspect of this work is that instead of alienating narrative describes and defines the areas of the provocative "in disarmament", the places abandoned and no human presence, such as foam-water port and the sky Fallen Belle fluorescent chemical, or out of the factories full of debris, waste materials, sheet metal parts, which bring to mind a whole world of rust, the corruption of matter, molecular biological and consumption of things, immersed in the vital sphere of man as its inner components. There is always an overlap of biological el'incorporeo in this painting, until the pantheism that obscure the soul ends meet with the debris, with excreta or consortium created the modern industrial and post-modern. The idyll was removed even in an ironic approach, allowing only the blind stupidity of a real nightmare. Unlike here Doig Eden is absent or reversed in a carnival where the divine mineral in metallic pipes, the spiritual coincides with a process of sedimentation and acidification of chemicals, which are concentrated in the colors, and overflow where everything is was produced and consumed in a cosmogony becomes existential scrap the residual.
But be careful to focus on what is the true intent of this metaphoric and metamorphic, because if the first approach betrays a semiotics linear and indignation, the strong impulse that drives you to observe a deep understanding of the nature of perception and anxiety over political and anthropological habitat that resides in it as a social drama, history, inseparable from its media terror and unreal . The media are characterized according to the position of Paul Virilio dromologo from overexposure of information and images that cause the viewer to a loss and a glare that flattens the senses and the ability to move closer to reality and understand it. This "enlightenment" to involve the media ends up producing some real artistic blend into a sense of barrenness and superficiality. Then the Painting is a cosmos of images that persist in the perception and resist any neglect and indifference, by analyzing different practices and the dynamics of speed and change. Castellanos all'illusorietà than offset by the television un'illusorietà painting that goes deep into the contemporary reality of it is the exasperation prophetic images are related to these collective unconscious, tied to an iconography of "too known" that reveal a system of paradoxes in which the balance is between the image released acrobatic in its sense of nudity and shouting his excess of meaning. So the acid tones, and artifacts are integrated to achieve sensory output that goes well beyond the pop and goes up to the digital graphics, video game. Substantially reverse to the beauty and dazzling kaleidoscope of a commercial plant, is equally as dilapidated, in which the transience of visual cognition anesthetized, here the color vitality awakes from slumber, the appearance is suspected to warn and lift the problem of representation than any referential visual experience filtered and acting as a catalyst for stimulating energy and invisible, thus overcoming the issues on the retina, but also Audiovisual. The painting of Castellanos speaks with force, parodying the media, and by burning more than to move towards the essence, not away from it in fact creates a film scenario sometimes suspect as an excess of quiet, sometimes running as an alarm, but the shocking vision which linked directly to the object, it leaves us something, a track, deeper into matter, to re-emerge and remain in us, paradoxically, the truth about the condition of corruption and mystery to which we are necessarily related. In fact, the artist proposes metropolitan scenarios and its post-apocalyptic New York, see King's garden, but adapted to a comment dreamy and surreal in the deformation makes them universal, saying the hard character of a city that is now hostile space, dark animal that human settlement has not yet achieved the balance between primary, necessary, and progress. As inspiration for the De rerum natura of Lucretius investigates the anatomic construction of nature and of nature iconography and evolutionary aspects are highlighted along with the violence of an exponential insatiability of our time, as he listens to the exponential value of the painting that gives codes decryption. The fluidity of the transition between the objective and the plasma instead of a cosmos mnemonic of silence and theater, is full of death, the space is the locus amoenus, but the desert caustic and chilling. The war (against the arbitrary conduct of America in the world) is that incinerates the vegetation, on the mother planet, the soil to grow into a decline of people already, and for that sense of openness we were talking about painting the top introject this deep swoon in horror and an overview of the performativity of paint that contains what it reveals , something sordid and terrible, but not limited to the bourgeois fear of nature and medieval, but the most virulent and less mysterious explosive, in which the boundary between the improbable true el'inverosimilmente is weak as on September 11 under the eyes of the world-directed video. For this painting Castellanos detector is concealment of what is ancestral and contemporary, shows us as an unreality bitterly credible on the verge of collapse, is the transfer of a transcendent eternity transience of the work, so in the end, canceling out the filters in annihilating their repetition, except the shining thoughtfulness of his painting, post-apocalyptic scenario in which plays the resistance of images that are related to human values \u200b\u200band artistic practice heroically.

Giuseppe Di Bella

Fibrous Tumors In Feet

Orme light, stratigraphy of the soul.


Milena Nicosia's work began in the nineties and now emerges as a sign of artistic experimentation aimed at clipping the intimate evocation of the precariousness and individually through the series of works devoted to lingerie and use digital representation of feminine. But right from this first generation approach, which also deviates from a certain formalism technical staff to become research in cosmology, genetic footprint shows the intensity of painting with a high rate Condensing analytical and fantastic. The creative process is indeed through, within, and the picture becomes text, diagnostic score an existential journey that is universalized and collects the memory humoral, chemical, organic x-ray path in the reception, which is beyond: a survey of sound, of the sui generis' introspection. Today, Milena's interest extends to the observation that change color from deep existential referents chief concern crystallizing the objective correlative of feminine ambition and human thought on the management of a sense of "romantic" communicative invocation. Radiographs of Man Ray are the reference composition in which the young artist seeks to capture the fluctuations frequencial emotion: Plates in which the Proustian memory becomes sharper and is defined in the footsteps of light that will prevail in the act of expression.
binding are forms of genetic formulation of the image, and then in power in the filing that the plasma configuration anemic. The artist uses the effect of perceptual performance for the delineation of opportunities left out, moments of troubled childhood or stigmatized the riddles of everyday life that emerge as luminous ectoplasm in the dynamic fluidity of movement, fixity in the photo and negative warp Space limited. But probably what transpires is always on the border of the selection process of desire and power outlets on the unknown.
The dress that has turned its attention in its aesthetic implications and the historical essence of which coincides with the coordinates of life, is the stark indication of an event it is also the disappearance and death of the individual, that determine their presence in the residue, fossil, shroud, a path of bodily impulses and transcribed as a disturbing report that diagnose illness and pain but not limited to dissolve with the passing that bad, but to accept the value of that feeling is reflected in the nude (because without its model) suit, remains in rarefactions mental, or the power of a conceivable future, such as that performed a wedding dress. The sheer givenness of the spoils with which Milena headline many of his works, is not only an indication of being emptied, but also the verification of identity, what remains, but is not forgotten or obliterated by a consumer dictates the course: indeed is the housing and the recreational value of that sensitive evident in his iconic, but physical, evolutionary. For example, in the 23 relics of a dark black dress party is bathed in red, full of sand from a muted emotional appeal of a painful back that with excellent mimicry stains, imperfections pellicular diaphanous, luminous generate indentations nature, the ramifications, the efflorescence a slight counterpoint, a fifth infinitesimal.
From a text of prose creative artist wrote that the same as a declaration of poetics are drawn some interesting ideas in the vision of a double intoxication recast between the high ambition of philosophical inquiry, and the shrine of personal fixations: "I am analyzing pictorially the 'place' invisible body, "the Soul", not understood in the Catholic sense, but the heart of the heart, our intimacy absolute unity which is the whole, in the infinite time that is instant, on the inviolable us, in the alchemy that brings the humanity and humanity to ashes to ashes. Faure phobias and contemporary to diseases, viruses and infections that sour blood. "In heartfelt thanks, the configuration of a bicycle joins polymorphically the sole of a shoe that shines out of focus, envelopes, perhaps never sent, and the fabric Light, silky garment is fluctuating, fluctuation of the painting is the face of the stay as it is clearly the result of representation that contains the spirit of those institutions as they would not in the religious sphere, rather as the photographic impression of a mysterious energy intended archive of some occult investigator, a recording seismic soul. The garments are the issue, almost hollow, the container that hosts the possibility of unexploded, a female power of art to dwell on the detail essential, but above all the ability to be belly to release the essence and transparency, as the reverse male art, oil, sulfur of "fotoradiografie" John Manfredini.

The work is prefigured in the epic narrative of a human transformation performed by the uncertainty not only doubt about the value of the ancient existence and condition of general insecurity, but full of fear of insecurity in the instant, a technological dimension , concentrated in the medical and biological spasms daily which is the ash gravitational slide the ball. Ash is in fact the other anthropological theme that appointment plates apodictic ghostly vector of anxiety which is based on the contemporary tragic sense-that "niccianamente" is order and chaos, of events such as Ground Zero (the dust that rises after the collapse and in turn generates a metamorphic structure) or the wars for oil or even on the basis of contemporary physical theories that reveal the dark matter from the combustion of which is knowable and exhale mephitic powders that are concrete, metal, flesh, where there meet with the dust of the private, such as powder, slimming creams, talcum powder, dust that settles nell'alchemico oxymoron, is clotted and solidifies, tremble and crack concrescitivo dell'unicum archaeological and stratigraphic image of existence, to form a cosmos of the beyond, or ritual. The monochrome works behind the ritual of creating a tribal approach in which the artist placed horizontally on the support drops to the ground tracks of pure pigments derived from the ashes of life, asbestos, cocoa powder and mixed with an acrylic glue that keeps the surface in a state of moisture, (a technique almost "cool"). He strongly feels the love of the fourteenth century Italian painting, but also to the sixteenth century in which the mineral preparation, color magic, even in Leonardo, is the creative self and not just craftsmanship, rather sacredness that remains. The color is a semantic mechanism that expresses itself in a strong descriptive and analytical. Without returning to Multiforms of Rhotko but the color differentiation for practical Nicosia has a destiny: "The colors range from variations of gray, more or less pink or blue or amber or there is a strict and metaphysical synthesis of black and white. White is the absolute light as the absence of color, a symbol of terror that is the root of the world, death severe, dry, cold, caustic, burning like the frost. By contrast, black is the darkness and the tendency to not be provided from what he used the fire and abandoned, (the soot and coal). "Here, sometimes playing the double possibility of control and randomness, however, always carefully scrutinized: eco-action painting of Pollock and dance around the work being reformulated under the sign of a delicate exercise of salvation tenacious interior formal connotation. on a particular, the liquidity of the elements that landslides, slip, breath air from the lips of Milena acts to balance the pregnancy, to authenticate harmony. The practice manual is dematerialized in issuing vital and pulverized a coital practice. The painting is fading, and volatile liquid form, hovering over his attempts to grasp the extent and patterns cataloging absence, on which it falls, according to the verses of Andrea Temporelli, "the silent ashes of history." But the recording or disclosure is not regulated following a scan of the passage, each time dimension is void, because in the dream time, or the remembrance of the freezing process variable can triumph only by the sense of contemplation and firm suspension, which refers to the time of the art which is the opposite of what the death and corrosive of the hourglass of life. The impossibility of death for art here is minimization of what for example is the preservation of bodies dissected in formaldehyde by Damien Hirst, the rejection of that death occurs (provocative) cutting and spectators fixed Biological conservation status leads them to agree on a wry sense of immortality. The conservation jealous that inspires Milena is rather that of the boxes, the interior of a cosmogony, closures revealing, nude house of the human sense, private, minimal, precious. In the work box 24 and a butterfly embroidered petals of a rose, only elements colored in monochrome imagery pertaining to a female semiotics, in its turn task is essential. From the figures transparent, seductive in the first period where the thong, the bra was iridescent colors, warm followed tensions biography of the artist, now dissolve in cold, icy white and black, the absolute colors within which comprises the whole range of perceptions, which are not abandoning the feeling that originated them, as understood as a removal of the passions in Seneca, considering the maturity and light avoidance, not to mention the weight of history on which painting gives a phenomenology. Let's play! 2, is the work that best shows this acrobatic dance between the concerns and the horrors of the present time, saw, in the bottom is compared to the negative buoyancy which slows down the turnaround of the suit, because the game is knowing how to remember the enemy, or neon shades, perhaps fetuses, ultrasound of a pregnancy which are not welded in the will for implementation. Almost time to call in a Heideggerian sense, to revive, save or re-create the reality that underlies why the artistic instinct. Giuseppe Di Bella

Crazy Self Portrait Idea

between coating and disintegration of the flesh. Mauro Di Silvestre


coordinates on aesthetic increasingly diverse and inclusive than the intricate unfolding of contemporary artistic expression, the only imperfection programmatic offering a true short-circuit communication, seems to condense all the flourishing of a deformed conception of subjective vision that descends into an objective, no longer or not so illegal alien, from the path timing incorruptible West. Certainly in the East, between the very strong fuchsia redness of maidens and the bodies of Feng Zhengjie stripped of theatrically Xu Wentao, in line with all that school recognized by 2003 as Chinese painting photo, body size and body of the neo-figurative is compressed into a dialectic that if one party terminates only in a mirror and reiterante glossy superficiality and turgor , is certainly a possibility semiotics exploited to the full resources of its historical and artistic features.

The approval of the language of analogy in the synthesis media seems to play against the globalization of cultural heritage, as a spectacle aimed at the merger at any cost, of each element seducer, even and especially the naked body, emblematic of classical expression of art. And even in the canon of the West seemed to regain primacy figural nude with only a high quality of lineage in a reverse proportion to the production in this sense. Lucian Freud and his body broken, disfigured realistically on the beds, in poses that compensate for harmony in his Greek and curtains that exceed the ability to not feel the need for atonement, but rearranging geometry and implementing values \u200b\u200bof beauty extraordinarily houses and overturned. So the meaning is always that of the primitive language, a language to be restored under a renewed aesthetic content, the more fruitful dichotomy between East and West creation, in continuous contamination and denial of their formulas. You can find such striking similarities between the poses and movements of the household of John Xu Wentao el'iperrealismo Iudica. Women, modern worship with piercing, ankle bracelets, statues, silhouette, lost and overshadowed the alienation of their desire, in one case, and another of their daily boredom: wax figures lying against cold radiators or abandoned tanks water as observed from above to confirm the residual film ever touched ol'onnipotenza divine artistic ego. A superficial difference between East and therefore always shrouded in the mystery of his cantor tense all'icastica irreverence and a fleeting desire for immortality embodied by the West, a hic et nunc increasingly threadbare and misleading. And painters are far

extraction and yet united by a common perception voluptuous, hedonistic Dionysian of the human figure. Let's talk about Marco Grassi, Elisa Rossi, speaking of Constantine and many others, almost all sequencers correlative to the more famous American counterparts of that line of refined eroticism placed in Renoir, Monet, Klimt. It would appear the sign of a structural shock that could lead to extensive melting in the name of a truly global model where live the differences and similarities are enhanced by using the figure naked and not as a subject of art, but as a place of lost in the tension between classical philology and denial. However, it is the similarities that we need to base this research, noting that once again the dizzying era of the virtual, the image coincides with the increasingly be, and how the meat undergoing a visual phenomenon of lamination, material, semantics confuse the boundary between reality and fiction where the first one that mimics the second as noted in a book that is extremely sharp age of fiction. Art and society between reality and ecstasy Massimo Melotti Publisher Sossella published in 2006.
is interesting to see how all these artists, particularly attentive to the human figure to take the technique to confuse, rather than a reality of the difference between grain and synthetic media material made of humors, blood, hair imperceptible pores, bluish veins just under the skin, and no longer sublimated erotic nell'acme the lens of story, using the fall of pagan shame in re-packaging and industrial serial elide all passion and contact.

So this is perhaps the key, we are in the formal reconstruction of classical perfection sensual ecstasy where the meat is in his rosary ginned maze of icons from the Internet and television, while reassuring the beauty without wrinkles el 'horror of a body is falling apart, existential reflection denied any relationship with the metaphysical and natural with his alter ego, the dream. Perhaps bodies without souls, if projected onto the bottom of the screen where everything exists because it is visual. Certainly we are no longer at the terrible and magnificent deformity torn by Francis Bacon, where the deformity is more mental than anything before. But from an affinity with Bacon as one could find the necessary shock to a differential compensation in addition to normal overlays that spoil or improve on the classic bow to minimalism, relates to a survey that expressionistically us back to the myth of beauty or its opposite to a level truly superhuman, and then superstructure, as in painting extraordinarily open, corrupt, hard of Marlene Dumas. In art, the nude is classic aesthetic means that "mutton" of his physical, expresses the myth of the body, protecting the mystery of beauty (..) in the nineteenth century, Ingres immortalizes odalisques, devoted to the delights of turkish bath, modeled on the 'example of classical nudes. So recalls in an essay Jaqueline Ceresoli and find the cause of a rift between the nude in art as naturalistic or realistic, however, voyeuristic realism. Today, the nudes are indexes, as well as sexuality, integration between man and machine. The body has been transformed from an aesthetic reference, icon in the flesh of the pleasant pain of living in contemporary culture. If the Olympia Monet is the first nude modern bourgeois respectability where already in 1863 created a scandal with the pleasure of alchemy emerged from the scandal, we are at the point where the pleasure comes from the visual redundancy without shame that ignites the senses to to retract the same image of the nude in his blind recoverable, leaving a black hole on the screen of our indifference accustomed. So it is right to propose a semantic linking to the erotic nude paintings to his own dimension, with the nuances of content able to talk again at a high level with our true feelings.

However there is always at history as Gaugain who is already an exception in itself capable of sustaining any contradiction and a substrate combine emotional content and unique between West and East, mixed in rifuggente nudity without shame, because over and above any perversion or moral. So perhaps it all comes back full circle and exemplarity where the beauty of the creative power regains its healing and soothing without masks or the classics of modernism nor unfortunate. This justified the pages alongside the presence of a Polish artist, operating between Paris and New York, an artist in the declination of pure feminine beauty rediscovers the size the dream of a naked and real, but fleeting, sensual, no seducer, storyteller capable of dragging the world, but its conventions. You
Yarek Godfrey, gilder torn appearance of the video and the recognition given to painting warm, radiant and monochrome vision. We are not facing the emptiness of visionary art, but a painter more concrete than ever, the technique perfect, flawless, as is usual for any naturalist. Yarek joining pieces of flowers, fading to the human figure without the reluctance of the obvious, and is capable of combining with glazes and transitions, sinuosity and harmony of the tiger, female ancestral symbol of fertility and water, until to give us a share in a fire and wood. His views are no margin collage of fragments of time and memory illuminated by the warmth of life and also simplified mnemonics in their complexity: different levels under the same ocher background, in the vanity smug derision if not naively tries to evoke in the buttocks , as in the time of that rim size, the possibility at least in the art of a perfect world, where even the Sanctuary contains the most provocative of femininity and creates us maybe a little 'uncomfortable, finally, because it is completely alienating than the sweetness lies in their bodies, simply beautiful, desirable, perhaps irresistible, but without controversy, without mirroring shouted. His paintings have only scratched the passage of time, the inevitability of the course certainly sfiorirà vital that these bodies wither those breasts, but no regrets if we took the gift, yet the invitation to Carpe Diem, here the most heartfelt and deepest than ever.
Flow in the eyes of the many figures of Venus, Maya, of Olympia, with the triumph of the nudity that is the most direct way to reconnect with our identity: the nude is still ecstatic revelation of our being in the world and concluding with the words of Jacqueline acute Ceresoli, "a desire to avert the risk of dematerialization in the ether, being robotic or swallowed by the virtual space, where meat is a sham. "

Giuseppe Di Bella










Bibliography: The age of fiction. Art and society between reality and ecstasy, Massimo Melotti - Sossella Publisher 2006.

The new urban scene. ¬ Cittàstrattismo and urban art, Jaqueline Franco Angeli Publisher Ceresoli-2005

China Contemporary Painting, Lorenzo Damiani Sassoli de Bianchi-editor

Pokemon Soul Silver Cheats Voor R4

ethereal traces of the passage.


Mauro Di Silvestre's painting takes on the iconography of the mirage. A mirage that has the dual function ceremonial, to trace and to atone the existential their tracks. Mauro Di Silvestre tracks that exudes refined through glazing on the fabric of the work, represent a personal catharsis, which as noted by Achille Bonito Oliva has the cadence of Proustian memory and serving their precarious marble up to fulfill a desire of telling stories and distance. There is a basic cognitive tension in this transposition of photographic excerpts of childhood time to say with modesty or anxiety, the psychological substrate volunteer, so as to define the recollection of that there and then, as mnemonics practice that betrays fading as opposed to ' immanence of furniture, cars, buildings, tapestries, food, accessories newspapers dall'incorruttibilità invested which gives them the power of color and realistic on the border between figuration and deformation. There is an almost spiritual influence in the portrait of the artist, which would strip the figurative and pure as a reminder of the most intense existential sounds like a poetic research pencolante between the individual and the need for epistemological abstraction saving compared to a daily takes on the emotional iridescent forms in re-veiling, in re-bring to light reflective of the maturity of the chapters in a story which traces the whitewash that he follows to the root of human right to be there, to the essence artifice primigenio.Una gargantuan embodies vitality colors details of its tiny, monochromatic masses surrounded by a two-tier scenario between subject and object. The different levels, and the mnemonic that explored the contingency vie for the attention of the audience leaving him drunk on the threshold of perception logic, avoided taking shares in the interweaving of differing values \u200b\u200bon the sensory map of the work. It is in fact the embodiment of absence, the other word that Di Silvestre investigates and makes rhyming in unison with essence, reducing filigree insubstantial, dissolving into indecipherable endoscopy of the case. And they tend to deliberately turn positive only in the nuances of the creative or recreational mirage, as opposed to its borders dictated, the hic et nunc of imminent death or terrible realization almost paper ghost that hides in the footsteps of the plot or collective individualism: it does not matter.

Di Silvestre walking with closed eyes to his birthplace, with his eyes closed following the odor cues that bring him back to the essence of his soul. And you find all the items left, a day at sea, the corners of his ecstatic contemplation and playful. All things are symbols on which projects a desire to possess sybaritic, polymorphic energy ready to explode on the wall of an apartment vivid, or a backyard pool and ready to take the form of a beautiful tapestry or damask, which the mind perceives such, but in reality it is only the overlap the sumptuous fabric of a chair, away from home or as in The Lord Sunday (2006) where the fragility of the silhouette at the center of adult children stay indifferent and frantic trajectories. The iconography of Di Silvestre catches the glance, the reflection caught in the retina, visual typo leads to reflexivity if instills a dynamic reconfiguration in rhapsodic pauses derailment sensitive rendition of the surf that seemed lost forever. On the surface of the photographic visual memory imprints of past and present simultaneously shreds, impresses on the same frame that captures the residual halo instances empathic individual, freeing it to a later time synchronous scenario. Prophecy of an art which denotes eccentric. Art is a compendium of shadowy visions, but regains its dedication representative with the manual omnivorous artist who oppose the full vitality of his works to present a more anorexic aesthetic composition. The gesture Di Silvestre is wanted, smooth, controlled, is built on a Gothic embroidery of shapes and colors, separate the threshold concept by a glowing sense, bucolic painting multidimensional.

The iconography of the mirage in the labile square painting, aiming at a deliberately undefined voltage refers to the fact that Kierkegaard, tacitly asserting that the occasion, the miracle, or from the banality that can flourish sometimes it is the banality to contain within itself the miracle. The works of Vietnamese Din Q. Le, have with them, only linguistic affinity: embroider together in a virtual path of investigation, the daily life of today's Vietnam, and the epic drama of the war. But while the ghosts of the artist faces the eastern part of the universal world, shrouded in mystery hieratic, the fleeting shadows of a recurrence of the desirable aim Silvestre, cataloging a universe of private collegiate and carnival to be protected. It is an iconic reduction of the existential drama of humanity to a path of gaseous personal experience. The icons have the ethereal lightness specifying a fast transition to pop culture return. The transposition of pigmentation script-writing, material or human, branching like a collage or a patchwork that describes the infinite possibilities of language free from epistemic merely descriptive, turning to a style contaminated, not only more responsive to a balance of image, but breaking the image in the abstract, by enumerating the self-induced mirages in the desert habitat of the day. Silvestre looks forward to listening to opera, if anything, stretching to the slow course of existence where every step you time to appreciate the legacy that draws us towards a future recently dimidiato. According to the dictates

Platonic art is the pursuit of pleasure, according to Aristotle it is rather the phenomenon of knowledge, and implementing a narrative summary of this argument, the sudden painter draw a pictorial universe of elementary phenomena, where the fairness of the static context is driven by the surplus of the apparition. But the images of celebrating Silvestre dismisses it for delivery to a public gaze. It keeps her gaze from within the work to wonder about the non-unique response it arouses. As a spiritual message that celebrates the existing icon in itself, the man celebrated in its expression even trivial, Sliding through holographic projection. The appearance is camouflaged and partially underlies the purpose of technical achievement, given that the works have almost meticulous century. But then the figure of private body, or inconsistent with a body is stripped and saved only as pure distillation of the psyche and being. The flesh is removed, the ballast to represent the meaning intact, the essence, the pure distillation of contemporary art. So
its frequency accurately, Di Silvestre transcribes all the jerks, the surges, impulses, the beats, the traces of that experience which takes his leave and forget it forever, the result of a memory that is no longer just design, mirage , refraction iconography, but vital emotion arose spontaneously, revisiting the silence, boredom, walking into our homes, to the touch when brushing our alter ego, we give in memory and forgetful, the heterogeneous flow art with its allegations.

Giuseppe Di Bella

Green Nike Wrestling Shoes

Ottieri Thomas talks about his painting


today published a preliminary presentation, then that is a question and answer by e-mail with the artist himself, the work of Thomas Ottieri, which devote a large space on the our "Passeur" on the June issue of our Quarterly. Giuseppe di Bella asked some questions to the Neapolitan painter to draw the outlines best critics and creative ideas of his work:
Giuseppe di Bella - How do you put his approach to the medium of painting to the complexity of the space era transformed the technology?
Ottieri Thomas - My works are born from surveys on job I want to portray, where do fast sketches, notes and notes on colors especially make a hundred photographs of the scene a whole and its individual parts. Then, in the studio computer-made images, often hybridizing different scenes together. I mix different pieces, sometimes even in different cities: the one that interests me is the final result, which is almost always clear from the outset. When at last I begin to paint the whole, I do it with a traditional technique of oil paint or encaustic.
In this way it seems to me to use different techniques, such as some modern computer graphics, some very old as the use of oils and pigments for the same one purpose: to communicate the idea of \u200b\u200bthe magnitude man.
gdb - The importance of the sign of "scratching" that enhances and blurs its representations has a purely aesthetic value or meaning properly, that is also semantic and conceptual?
TO - At the end of the session in the studio I work in front of a painted scene in a very realistic way. At that point the gate as possible, mix the color with sponges, brushes, or even with your hands. I seized the color forget the image: in this way free the pictorial material as I can from the "slavery" of the real image, and I get a dough that is halfway between a work of landscape painting, and a sign of abstract material. Everything I put in the service of feeling that I'd put ahead of those who look at the finished work.
GdB - What does it mean for you in terms of urban space again as a new opportunity for discovery and change in the consolidated financial statements?
TO - The space scenes in my paintings are never really correspond to reality: the same prospects are sums of different perspectives. Using parts of buildings for new buildings, and entire parts of the city to get an original scene. Often, for example, I paint the skies are cumulus masses who flinch from explosions or volcanic eruptions, steam or water are no studies on the foam, and the buildings themselves are heterogeneous clusters of scattered pieces. And 'this is why often sew together many flaps canvas, to get the surface to be painted. In the end, remember a kind of Frankenstein spectacular, and will be the memory of the construction process of the image.
GdB - How can the planning of the architect within the painting enters also with regard to scientific parameters, objective?
TO - I started years ago to paint the buildings restored as an architect. It seemed a perfect short circuit: the city was being built in front of me, I saw the hard work of thousands of men over thousands of years, and put your hands as an architect and passionate. Then, the recovery on the canvas and redesigned from scratch. Sometimes my works were placed just inside the buildings that had restored. What seemed like a perfect circle.
GdB - What does it mean for you the relationship between natural and human, but the precarious balance that precious is a place like Venice?
TO - The city is a violent act against the human and creative nature has always been protected, preserved and amplified the best aspirations of men. The balance is almost never been a clear target for those who have built, and yet, over time, and in the best cases, like that of Venice, it has been achieved, because when the creation of man is done well, and his talents are spent without fear of hard work and sacrifice, you get exactly what you get, the nature of every harmony part with all sides.
gdb - The historical traces that influence its course are paintings but also come from other influences: that is, apart from the landscape painting, apart from the landscape, and what art has come into his art?
TO - I know how to build the city I know that inside the walls are the remains of meals of the masons, which ends up in the bottom of every kind of human and animal spirits, and I understand the men unwittingly humble, great thinkers, charming musicians together to leave a trail town. I always think that you can not, in a bit 'of years, see my works without also thinking of the films I'm seeing, I'm listening to the music, the fighting which I am taking part.
GDB - What is the relationship between painting and pleasure?
TO - I have always painted ... I mean, I do always. I have done several jobs for a living, many beautiful, someone a bit 'less, but at the same time I painted tirelessly. I'm lucky to be able to do almost exclusively now I see him as a normal thing, like eating, walking, talking. I can not say if there's pleasure, just do it, as something that belongs to my nature.
GdB - What is the relationship between painting and functionality?
TO - The intention of what I do is the thing for which I am more concerned about other things, always, since childhood. I prayed to teachers, from whom I went to the shop, before you even give me the techniques to clarify a goal, to help me find something to say. One does not want to convince others of what is true what they thought, but wants to give tools to try things that you thought he could try to believe you can do impossible things. How to build cathedrals gigantic, gigantic cities, tall towers, long hands with little more than twenty centimeters.
GdB - How will the dialogue with tradition? (As it is evident that there is one.)
TO - My grandfather was preparing fireworks for religious festivals. Covered the facades of churches and bell towers of colored powders and gunpowder, to fires in the festivals and show people how different their world could become, as powerful, if someone had to hand it to create the artifice that opens the mouths, and heartened the courage of the people. I think I'm trying to do the same thing.
GdB - His eye is deeply human, many artists today want the image as the possibility of ambiguity, illusion, for her or is this assumption tends to nudity?
TO - In my city, Naples, you must keep our guard high: I'd like to think about the illusions, magic and the ambiguities that art can and must give: I'd like to talk about intimacy, sexuality, debunk, defame, persuade and deter. But here, in this war, we have other emergencies. We build what we can to keep us hope, and in the end, some more context can improve the space man, these men, it is already so. Maybe one day, more relaxed, we'll take care of those other issues.
GdB - Sirens In The idea of \u200b\u200bcycle ambiguous, unsettling, fertilization misleading, but deep, seemed to be better, maybe now the eyes tends to be more properly poetic, essential?
TO - Sirens was a series of works on the willpower of men who resist, in times of crisis, war, the difficulty, in every kind of sacrifice and deprivation: huge machines of war hung over parts of cities history, as they are painted nowadays.
I just wanted to write the enormous strength, the stubborn will to survive that we had just two or three generations ago.
Remember when we were strong and were dying for those who could stay. Now, I think I'm dropping hints about what we are today, and as we become, as soon as possible possibile.Queste questions are very beautiful, and 11 is my favorite number.