Principi Teorici PDF


BASIC  CONCEPTS  OF  EVENTUALISM


1- Definition of art: Art is a representative sample, or a representative model of the most typical values of a culture.

2- Definition of event: Event is all about which different people disagree in perceiving it, in interpreting it and evaluating it. The event does not repeat itself in the same way and it is not foreseeable. Reality is a macroevent, but we usually call reality only its saturated part. The event is subjectively experienced as lack of reality, discontinuance of time, crisis of identity, emergency situation, oneiric atmosphere. The history of events is the history itself, but it can be written only a posteriori, when the event is sufficiently saturated.

3- Phases of the eventualist process: The eventualist process is divided in three phases – the stimulus, the event and the documentation of the different interpretations of the stimulus.

4- Measurement of the event: The event is measured by the scattering of the different interpretations (interpretative spectrum) that the stimulus causes to a representative sample of persons.

5- Aim of the eventualist art: Eventualist art try to construct the stimulus capable of suggesting the most scattered and different interpretations to a culturally representative sample of people. That is to say: the stimuli which evoke the most wide and various spectrum of interpretations (evocative spectrum) in a culturally representative group of people are eventualist artworks.

6- Decay: The evocative spectrum of a stimulus is unstable. It fluctuates if the same stimulus is exposed to different persons and if exposed to the same person at different times. If exposed many times to the same people it causes a smaller and smaller evocative spectrum, because some interpretations tend to prevail over the others and some interpretations tend to go out. When the numbers of different interpretations reduces, the stimulus decays.

7- Saturation: A stimulus completely decayed is saturated. When saturated, a stimulus is not different from the common objects of normal reality. A saturated stimulus evokes the same interpretation in anyone.

8- Basic aestethic concept of eventualism: Some aesthetic concepts selected from historical avant-garde movements are put together in eventualism. They are: Abstinency of expression, minimality, structurality, spontaneity, interactivity, eventuality and deepness.

9- Abstinency of expression: The artist must evoid to express himself and his personal opinion or emotions. He must provoke te spontaneous and involuntary expression of the public  with their differen and conflictual interpretations.

10- Minimality: Minimality require taking the shortest and simplest method in the construction of the stimulus and avoiding arbitrary choises. A style identity is not required in eventualism.

11- Structurality: In constructing the stimulus the artist must work as a scientist, he has to declare in advance his method as to be able to repeat and better the experiment. Structurality is opposite to arbitrary, handicraft, or even inspired creation. 

12- Spontaneity: To make evident the expression of the public, the stimulus must elicit spontaneity in the public. Pretending spontaneity must be avoided. Undesired errors, breaking a record, dreaming, scientific inventions, non-feigning reactions are examples of spontaneity.

13- Interaction: If the reaction of the public is not uniform, expressive, spontaneous and aesthetically valuable, an eventualist interaction has happened.

14- Eventuality: Eventuality obliges the public unwillingly or unexspectedly to perform on the level of reality. Such a situation makes each person react in a different, original and spontaneous way.

15- Deepness: This aesthetic concept, not yet completely defined, require the event to modify the personality of the interacting person towards new, more complex and more refined cultural ideals.


Sergio Lombardo


 


MM quotations

Previous Succ.
"Ogni artista della seconda metà del secolo nasce all'insegna dell'esperienza diretta o indiretta della guerra, e dal modo in cui risponde simbolicamente alla morte, alla perdita e al lutto attraverso la propria creatività" (Miriam Mirolla, 2001)
"Any individual, before he can be considered an artist, is an explosive mixture of collective biography and individual pathology" (Miriam Mirolla, 1999)
"Gli Stimoli Psycho-Pop sono degli autoritratti spietati, antigraziosi, ready-made psichici che conducono la nostra percezione verso il limite del guardabile" (Miriam Mirolla, 2011)
“Nelle diverse poetiche delle giovani artiste del nostro tempo riconosciamo un comune denominatore, ovvero la ricerca di una nuova fisionomia femminile capace di tenere uniti desiderio e creatività, corpo e mente, come mai la cultura patriarcale era riuscita a proporre finora”. (Miriam Mirolla, 2010)
“Grande è la fiducia che riponiamo nel giovane artista. Cosa ci aspettiamo? Semplicemente che cambi la storia introducendo suo malgrado un nuovo sistema di valori.” (Miriam  Mirolla, 2010)
“Mi chiedo quali siano le sensazioni e i pensieri di un giovane artista oggi, quali siano i suoi convincimenti e dove affondi il proprio ideale dell’io. Come siano articolati i suoi dubbi e i momenti di incertezza. I sintomi del malessere e le forme del benessere. Da dove tragga forza per difendere i propri contenuti emotivi e intellettivi. E quale possa essere il motore mobile della sua ricerca estetica.” (Miriam Mirolla, 2010)
“L’arte ha lo scopo di allungare il nostro sguardo sulle relazioni d’amore” (Miriam Mirolla, 2010)
“Il rapporto del soggetto con la presenza fantasmatica è il nuovo asse conoscitivo del XXI secolo” (Miriam Mirolla, 2010)
“La realtà più la sua interpretazione è oggi la linea maestra dell’arte, scopo e prospettiva, futuro dell’immagine e immagine del futuro” (Miriam Mirolla, 2010)

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