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Spaces by Enzo Mari on display at the Massimo Menini gallery in Brescia – Carlo Franza’s Blog

The way the first research into the perceptual ambiguity of 3D space grew out

Enzo Mari He was the inventor of languages, and considered them necessary tools “Improving the quality and effectiveness of cognitive communicationImpossible to define: artist, designer, architect, graphic designer, but also theorist, teacher, intellectual, perhaps philosopher, utopian, these are just some of the many aspects of a composite and revolutionary figure. He characterizes the process of all his subsequent research, and originates in his first investigations into the field of visual arts, those investigations into the perceptual ambiguity of three-dimensional space that he has made since the early 1950s when he was still a student of scenography at the Brera Academy of Fine Arts. A scientific method consisting of theses, instrument building, verification, model comparisons, and transcription of the results of these notes.
To describe her style, Mary wrote:I am familiar with the mysterious processes of intuition. After a pause, casting begins, which continues through continuous negation […] The project, like any other intellectual activity, is realized only through denial. He denied it all, but he is not. I could go on forever, but the project had to have an end. At this stage, the project remains to be implemented, even if new horizons of questions and hypotheses open up.“.
The method that splits into a methodology is the common root of each of his projects, and Marie’s primary need is to design transformational tools useful for the progress of society. The aim of this exhibition project to be held in the spaces of the Massimo Menini Gallery is to re-map the public to understand the nuances of the research, which led to artistic programming, and the roots of the way that distinguishes The research process conducted by Enzo Marie.

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The first research and investigations into the perceptual ambiguity of three-dimensional inner space

The perception of three-dimensional space (meaning the environment) is one of the most mysterious things as it can only be understood through the complex relationships of the messages received by the various senses in our bodies. Especially since the definition of each specific knowledge almost always occurs through only one of the senses, with which only memories of other people’s experiences are integrated.(E. Marie, The Aesthetic Research Function, Society Editions, Milan 1970).
These are the premises that proposed to the author various types of research, were verified and represented by the creation of drawings, studies and models.

gold chain or synchronized

In this early research, the author’s goal was to create a work that could be enjoyed asynchronously (in space and time), as it happens in Music; The depicted surface features a sequence of gold units.

Early research on the relationship between color and size: tools and model sequences

To deepen research into the phenomena of three-dimensional space and the relationships with its surroundings and environment, Marie devised Tools for Researching Relationships between Color and Volume (1952), useful for analyzing the relationships between color and volume; He builds equal environmental models, coloring the interior surfaces of them differently, noting the differences revealed through observation and comparison.

Early search for relationships of depth or dimension

By changing the depth of three-dimensional space, its environmental perception is differentTo extend this research, the author created the New Depth or Dimensions Relationship Tool (1965). The resulting comparison models incrementally change the dimensions that indicate depth-generation sequences for visual memories.

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Objective differences

During the research phase, Marie explores the potential for unexpected relationships inherent in the programmed assembly of the ready-made modular elements it represents by creating a series of models formed from different modular programming.

Carlo Franza