Energies Visualizer, created by Luigi Pagliarini, will be hosted on the Arshake banner in the coming months to act on digital space matter, to visualise its energies. This software was developed in 2004 and is based on the dynamics of Artificial Intelligence of which Pagliarini was a pioneer. Images, paintings, screenshots, frames and so on are transformed into an algorithmic video or infinite painting. Pagliarini continues the Eventualist approach of one of his Masters, Sergio Lombardo, and enlarges perception to encompass new horizons, embracing what is unfathomable within matter. Each pixel is treated as an atom and behaves as such.
Energies Visualizer brings art back to life and does this when everything revolving around the vitality of non-organic matter is still a niche topic and not yet metabolised as it is today. Everything that exists within an image, any fixed image such as the Arshake logo, is returned to the idea of ‘perpetual motion’, a creative approach that Pagliarini developed even before 2004.
The vital dynamics of digital matter respond to the equivalent of molecular biological laws. The chorus of voices accompanying this work also arises from the shared life and work of the authors with the artist. Each intervention comes alive in a diversity of forms and texts: a poetic one by Giorgio Cipolletta and Elena Giulia Abbiatici, a critical one by Antonello Tolve, an activist one by Nilo Casares and an analytical one by Valentina Tanni, who in a few lines visualises a portrait of the artist and his creative approach.
The new work by Luigi Pagliarini Ferrara which has been proposed as a special banner for Arshake is part of a project where the sharable is shared through basic intermittent interactivity giving new density to the image with strokes of metamorphism underpinned by a blurred, manipulative and regenerative deconstructive taste of the eventualist type. Based on studies focused on the self-defining behaviour of a group of robotic cells with a hydropneumatic or atronic force, the artist produces a constant pulverisation of the pre-existing image which coincides with its subsequent recomposed variation, using the software program (Energies Visualiser, E.V. – October 2004) that transforms elementary units into complex structures in perpetual motion.
(Antonello Tolve)
Immersing oneself in the complex, layered fabric of the world, with eyes wide open, resisting all attempts at simplification. Recognising the interconnectedness of different forms of existence as a basic reality, despite the present moment, operating beyond our control. Thinking of intelligence as a widespread force and energy as an active subject. These are the challenges posed by life on Earth, which Luigi Pagliarini’s research focuses on with a clarity of mind and an open spirit, questioning everything we think we have seen and everything we think we know about the world, using the tools of art and science.
(Valentina Tanni)
En estos tiempos de reduccionismo conservador, en los que el botarate de turno fija el -ismo que está bien visto, resulta enriquecedor que se vuelva a la autonomía de la obra de arte fijada con entera libertad durante la Ilustración europea, cuando las obras tuvieron la oportunidad de desentenderse por completo de sus autores.
Hoy los populistas exigen la unidad entre la vida y la obra, sin cuyo conocimiento no puede ser entendida la vida, ¿o era al revés?
Por eso, ver que el autor desaparece por completo porque la obra se genera a sí misma, me resulta muy atractivo ya que, ¿cuál es la biografía que pueda asignar al autor (artificial) sin la cual no entender lo que me salta a la vista?
In this time of conservative reductionism, in which any old fool can establish the currently acceptable “-ism”, it is enriching to return to an autonomous artwork created in complete freedom during the European Enlightenment, when works could be completely separate from their authors.
Today, populists demand the unity of life and work, without which life cannot be understood, or was it the other way round?
That is why seeing the author disappear completely because the work generates itself attracts me – for what biography can I ascribe to the (artificial) author without which I cannot understand what is seen?
(Nilo Casares)
Opus ex fortunam (the work of chance)
Semantics simmers in the quantum broth: broken down, decomposed, resolved.
It plays the role of the master, devoid of self-criticism. Creating and regenerating its complex order.
In particle physics, every force finds its point; reappearing at will, displaying mythical metamorphoses. It fades into beauty, deformity, heroism; sometimes it seems to ask:
What shape do you want this time?
In vain. The theory of tabula rasa creeps into every plan.
Chance can resist everything: spontaneous, raw and strong; not renouncing new input intent on upsetting the code.
Complex, genetically contrived forms are its bread and butter.
Raining down from the Cloud, the new kingdom of heaven.
(Elena Giulia Abbiatici)
Flatlandia: Energies Visualiser by Luigi Pagliarini (for a shamanic relation of images)
Perpetual motion.
In the infinite painting,
it explores,
it envelops
it relaxes:
explodes.
Polyphonic energy
in the traces of toroidal visions.
Metamorphosis of robotic molecules
gravitating in plural dimensions.
Chaotic image manipulation.
Multiple dance energy
within mobile strategies.
Rotating pixels generate
chaotic scenarios.
On a scale of grey or in colour
the undisciplined nerves of abscissae and ordinates
break the bones of the Cartesian axis.
Aggregation, openness, eventualism, interactivity.
Evolution, involution:
“shamanic” process,
buzzing
and swirling.
A working biography
in a complex work.
Algorithm as sculpture
investigates exhausted life.
Art becomes the author
in its act of disappearance,
falling into the frantic swarm
of an unfathomable world.
Giorgio Cipolletta
Luigi Pagliarini, who trained as a neuropsychologist, is an artist who has been working in software art and robotic art since the early 90s. He is Professor of Theory of Perception and Psychology of Form, Semiology of the Body, Psychology of Cultural and Mass Consumption at Macerata’s Academy of Fine Arts and Consultant Professor at Playware at the Danish Technical University, where he works on Robots and Dynamic Agents Interfaces Design. In the past, Pagliarini has collaborated on several projects with companies such as LEGO Group, SONY and Real World Records. He was the founder and director of the Pescara Electronic Artists Meeting; artistic director of Ecoteca; curator of the Robo[art] section at the Robotsatplay Festival in Denmark; inventor and founder of RoboCup Junior, now adopted as a teaching tool in schools around the world, and has published his writings in books, magazines, webzines, conference proceedings and international conferences. He is currently a member of the editorial board of the Journal of Artificial Life and Robotics, the editorial board of the Journal of Art Psychology, a member of the Scientific Committee of the International Conference Psychology-Based Technologies and a board member of APEXperience. Pagliarini has exhibited his works in several national and international museums and some of his creations have featured in the global press.
View also:
– The interview to Luigi Pagliarini by Giorgio Cipolletta published on Arshake in 2020 in three parts:
For a Body- Terrarium (Arshake, 31.03.2020)
From the body and its ‘infinite-measurable possibilities”, to intelligence in its various forms (Arshake, 01.04.2020)
Dal corpo e le sue «smisurate infinite possibilità» al rapporto tra arte e scienza (Arshake, 02.04.2020)
– Luigi Pagliarini, Choral Manifesto (Arshake, 25.06.2021)
– Choral Manifesto. Interview to Luigi Pagliarini by Giorgio Cipolletta (Arshake, 01.07.2020)
