about mixing, remixing, listening and arranging… ornaments…

~.~.~.~…. random stream of ideas…

Idea of centre is lost in favor of poly-centre

Codes and automatism

Material takes form / figure – can be decomposed

Ornamentation as multiplication of ideas, recursive process in which things (objects) hide in other objects and any object is in a transformative relation to each other

Figures transform, layer, but they do not develop in a teleological sense

Form as structure, articulation; organic form in which continuity is not stability of materials but the act of maintaining of one or more functional dynamic scheme and transitions/transformations.

Contrapposizione tra materiale cristallizzato in forma di figura / arabesco / ornamento e una sua traduzione sonoriale organica in which transformation always comes back to a different departure point (pattern, mix, interference, relation)

Qualita’ dell’ornamento: si manifesta come figura in cui qualsiasi parametro e i vari livelli di articolazione consentono di riconoscere una identita’ tipologica-non come organismo individuale soggettivamente connotato ma come singolarita’ riconoscibile nelle determinazioni che sono proprie alla sua connotazione generalizzata.

Il dettaglio microformale è funzione della qualitá macroformale e agisce qualitativamente attraverso la distribuzione di quantitá singolarmente misurabili.

The meaning of the ornament as a rich organic figure (hyper-articulation, richness and abundance of levels of articulations … and so forth) is original to fit out with “necessary” things and not only to embellish.

“Décor” (what   is   decent ) – ornament – related and adapted to that particular person/object,

that is what enhances particular qualities of that person/object.

The ornament as a necessary complement: a pure functional attribution.

The ornament enhances hidden multiple qualities. L’ornamento è attributo della creativitá.

In the ornament its origin is not erased but becomes infinitely relative.

In these patterns we find not only mutation in maintaining

but also the maintaining of mutational processes.

These mutations become like a narrative process reduced to pure metric.

They tell a lot but they do not need to remember their past.

As a pure redundancy in an everlasting present they are iconic expression

of the absence of time and of possible perceptive mutations.

Used materials are used, redistributed and made available for new perceptive recreations. The same function of ornaments and accessories (sound clips) is enhanced in its inner essence while underlining what ornaments and accessories really are and not what they should have been according to a pure consumerist approach:

signals of the fluid mobility of mutations, dynamic expression of the not recognizable,

in which the final result seems to contradict its own original sign.

Nell’invenzione, the chronology of figures and sounds states the sequential process of their creation through:

-Exposition

-Growing (not development)

-Juxtaposition (mutation not evolution)

-Stasis (in a continuous time)

-Vibration (timbric/chromatic mobility in an immovable space)

When the original sources disappear in the translucent realm of discontinuity, the real appearance of visual and sonic figures composes the similar and dissimilar harmonizing the oppositions in our mental space.

We do not perceive the movements and procedures necessary to produce sense:

these movements in fact do not become the work;

these movements become projections.

They fade out from the substance of forms; they persist in the uselessness

of their transitorily immateriality.

They exist as we manifest (loose) ourselves.

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