The Futurist Tekne today interview for the quarterly the Third Eye
I report an interesting interview about my work as an electronic artist by "Il terzo occhio", from the first issue of 2009
Plot of a new multimedia iconography building a generative universe and digital interview curated by Clara Ciucci.
Your research in the multimedia field has as its absolute protagonist the Futurist iconography: what was the creative thrust that led to this expressive predilection? "In futurist iconography I have found an incredible innovative thrust, which has been able to look at the future of a hundred years ago, today, in an absolutely fitting way.
On the other hand, Futurism is an absolutely plastic style, which somehow manages to capture and synthesize shapes and spaces in paintings, sculptures and scenographies.
My "design" formation has certainly influenced this love for synthesis, and for Tekne, understood as a union between art and technique».
What kind of lesson can still provide the Futurist movement to a contemporary artist who narrates through digital systems? "Futurism is certainly one of the first expressive languages" multimedia ".
Let us think of the vision of Marinetti's Total theatre.
The current means of communication and the powerful expressive tools available today, such as the various software for animation and 3d design, are not to be understood except as a logical evolution of the canvas and the brush, combined with the sculpture and the core Ografia.
The elements designed in this way can easily become real artifacts, or in moving pictures projected in an art gallery, in an immersive installation, or through the Internet.
Another aspect that I think is very interesting of futurism is that of wanting to create a "daily" art, not usable only in museums or art galleries, but in every experience of collective life, as in mass communication: advertising, printing, the web, Second Life or whatever. '
Bernard Berenson said: "It seems that art flourishes better there where man must correct nature, where it is not discouraged by its abundance."
In This type of application, the Berensoniana definition of inner art still makes sense: is nature "correct"? "Surely in every creative process an interpretation of nature takes place.
I find that the current expressive technologies have gone now much further than what a few years ago could constitute the universe of generative and digital: The artist-Explorer was made through between the interface, the code and the sublime perceptible according to the Sensibility, trying to isolate, as a photographer, moments of computer generatismi in a meaningful vision.
I find that today it is possible to give a coherent style to the digital matter and that the technological exploration can be "correct" and integrated according to those canons that derive from the inner sensibility of the artist, a bit as it could happen During the Renaissance with the direct observation and the "modification" of nature».
The synesthesia consists of "cross-connections between complex representational systems, whereby the activity of a system initiates the activity of another system"; Is that what happens during and after its creative processes? In the first place we have an observation of the surrounding:, which can include a whole of the natural events that surround us, of the Facts of Chronicle, perhaps, or of what In an entire I may seem the most objective and sharable.
At a later time, one has a technological exploration: on the one hand, technical-expressive research continues; On the other, the observation of generative Fenomnie or related to random errors that in some way dammed, emphasized and controlled can make an integration or an improvement to my initial vision.
In a third moment, one has an almost alchemical process of synthesis between the initial perception, the technological research and the "errors" codified by now in production mode».
Claudio Castelli artist and multimedia designer.
His works are selected in over 40 interactional animation and art festivals.
Ce n ' Is every day» (Giuseppe Parmar) «Increase the years and diminish the chances of becoming immortal» (Ennio Flaiano)