RE-FLUO, 2022
06:01

RE-FLUO, 2022

RE-FLUO is a project that investigates the AI-based photogrammetry technology that encounters chaos and error. What happens when we take a 'selfie' with a 3d scanner? First of all, we have to think that we will no longer be projected, cell by cell, pixel by pixel, on that invisible and two-dimensional screen that ideally separates us from the phone. We must move, let ourselves be explored slowly, inch by inch. We have to disclose our bodies, and turn around to reveal the interstices. 3D photography is a dynamic, empirical experience: a dance with light that relies on the imperfect intelligence of the device, which interprets, senses, reconstructs and puts together our fragmentary simulacrum. And what happens if you decide to stress the device towards imperfections and glitches, embracing the beauty of chaos and error? For example, what happens if I start scanning my face in 'face mode' and then I introduce an inorganic object in the picture, with unnatural colors and a too-perfect shape to belong to Nature? A plastic wreck, a scrap saved from the waste bin? The software does not know how to interpret and integrate the intruder, the mysterious object, and then elaborates improbable Cronenbergian digital meltings, conceived by the crazy algorithm that stops recording and starts dreaming. And what happens when these unreal agglomerations of pixel and color are transferred into a 3D software, illuminated with a virtual light, coated with a digital porcelain patina, and rendered with the metaphysical setting of a rendering engine? RE-FLUO is a contemporary self-portrait experiment for artificial intelligence, a 3D scanner, and household waste.
SCONFINAMENTO - full performance, 2020
40:41

SCONFINAMENTO - full performance, 2020

During the COVID-19 LockDown, the Italian squares, always so full of life and rowdy, were suddenly silent and deserted, while life was hiding inside the houses, inside the silent buildings that harmoniously surround them. Daily life, once feverish, has become a fleeting and ephemeral circumstance: the squares were controlled by police vans, enlivened by the flight of a seagull, by a flag in the wind, by a runner's bicycle, by a couple wearing masks while walking the dog. And so the loners adventuring in the confined city were narrative elements of a dystopian and cinematic story, which I started spying on avidly, through the dense system of tourist and surveillance webcams, accessible via the web, which I have discovered oversee almost every city in Italy. While I was locked in my studio, it gave me relief to look 'outside', to spy those beautiful airy and sunny squares - the places where I would have had an aperitif and a nice dinner, under normal conditions, through this virtual window on my computer screen. I also came to project these images, on the wall of my room, as in a new panopticon urged by the discomfort of the quarantine. At that point, being an artist working with live media and interaction design, I decided to take the next step. Through motion tracking technology, I grabbed the webcam feed and passed it to a software, specially compiled for this project, which records and visually tracks the movement of people, vehicles, and animals, processing all the data flow and turning it into a concert for synth: movements generate sounds, modulations, graphic visualizations, digital effects. Finally, I returned everything back to the network, through a series of live streaming on Facebook, in a creative ring of real-time manipulations and interpretations.