Valori Plastici. Valori Plastici (plastic values) founded in 1918 by Mario Broglio. Recovering of the pictural values used in the history of Italian art. (Wish to) return to the great Italian tradition of painting, by rereading Giotto’s and Masaccio’s works. Adering to the “callback to order” after their futurist past were Carlo Carra, and Ardengo Soffici. Younger animators of this current see Giorgio de Chirico and Giorgio Morandi
The main aim of the collective research that we present in this pages is to define a new different category of media objects, that we call “transformators” or automatic media manipulators (neologism from trans-forma-actors).
The First transformators
The project here exposed concerns a new item that corresponds to the function and form of a painting on canvas: a protoquadro (from the greek “protos” plus the italian “quadro”, painting). A working prototype, NG#, that follows an original and very promising approach to generative compositions has been realized recently.
The line of research that the protoquadro sets forward is the molding of a peculiar artistic technique to deal with contents, languages and sensibility proper of our time.
Moreover the protoquadro has to behave as a transformer.
This is why we have always thought to it as a transient manifestation of activity. If it is in a exhibition (weeks), or in a monumental space (years), yet it must have a determined lifetime. All our protoquadro projects so far deal content-wise with duration and memory. The duration is set by the process of transformation and influences it. The “phenomenic life” is set. As a “memory” of the protoquadro’s process there will be the unique piece generated as more “static” or fixed.
As an example if a picture will be printed in a certain time with a still image from the running painting, the picture will be “another product of the transformation” the value of witch will be defined just from the process. For these “mnemonic” items we are thinking about objects that go from the print mechanism (limited editions) to a high dissipative personalized version (one to each viewer for example).
The protoquadro is a way to think to an object. NG# is one of the transformators that may produce these objects. NG#1, the protoquadro that lives in the unlikely canvases exposition is the first example of the application of this technique. The way the transformator is crafted reflecting it’s purpose consent to adapt it to any kind of use that is visual, from private to monumental.
A living protoquadro shall be a object defining a space and a occasion of perceptual interation with viewers. Sound is the medium that allows this to happen. The idea of coordinating sounds and visual perception in a unicum is old. Some of the most interesting old applications are fountains.
The world used in defining this field of research is synestesia(1). Coordinate perception of multiple senses together and so coordinate generationpf multiple sensorial patterns conceived as general as possible to be perceived as a unicum.
As a start we want our generative process to generate the soundscape that defines its vision. A protoquadro installation must have the possibility to act as and ambient defining visual-auditive object.
syn-es-the-sia n. Physiol. Sensation produced at a point other than
or remote from the point of stimulation, as of a color from hearing a
certain sound ( fr. Gk, syn = together + aisthesis = to perceive).
see on wikipedia:here