Logical arguments often turn out to be justifications for the irreducible in- tuitions that precede them, but by accepting the violent accidental nature of inner movements it is possible to give rise to pure events, as necessary consequences that exceed or reject conceptualization.
Through the emanation of light from below, in the “Cielofuturo” exhibition at the Basilica of San Celso, a large ledwall placed on the ground displays a chain of abstract and self-generating moving compositions, digital paintings that constitute the ultimate result of Francesco Tosini’s research on video feedback, started in 2016.
The video has been created making use of programming languages that were chosen to obtain recursive interaction effects. Hence, it is made up of visual sources that reiterate themselves causing self-organizing processes. Placed at the center of the Romanesque basilica, the installation creates an abstract and antinarrative multimedia space
that generates an infinite amount of reactions that, by definition, are unpredictable. Feedback is a process that can refer to both living beings and technological tools, which occurs when the exit of a system is repor- ted back to its entrance. This connection generates a random loop which, based on its sound or visual nature, develops following an autonomous behavior. In video feedback, the processes of growth or decrease are determined by light modulations. The status of the video’s single unit – the pixel – is constantly changing, implementing an artificial morphogenesis that borrows the dynamics of natural processes by applying them to an inorganic device. Towards the end of the Sixties, the first examples of analog video feedback were introduced in the psychedelic art scene of New York, and then spread to the rest of the United States, especially among the counterculture movements, until its strong success within
the rave scene starting from the Eighties. The artist’s digital (moving) paintings, shown here, were born researching Vjing and constitute visual processes of contemplative recursion.
Usually used as a conductor between the initial idea and the result, the sequences of procedural commands of graphics softwares, become anti-representative, by expressing only their own structure.
The compositions are non-mediated emanations of intuitions that precede signification, approaching magical and technological ritual and manifesting visual models that are both intimate and collective, which draw on primordial memories. In the dim light of the Romanesque Basi- lica, the synaesthetic musicality of the moving images interacts with the transdimensional sound environment composed in the occasion of the exhibition by the Cortex of Light trio. The generative system is based on a series of patches that reproduce some of the morphogenetic processes existing in nature, such as plant growth or fluid mechanics, and apply
its trend to different sound parameters.
