. *** - A FUNDAMENTAL DIGRESSION-*** ***DEAR CONNECTIONS*** *** You must know,understand , as far as I am concerned remains for me very hard to describe my work. I don't like . I've always left to the audience, the observers to judge, express opinions, give responses, regarding “The work itself”: SO in drawing up this post, I will use "concepts, digressions, definitions”, already having been used by “Others” , in defining “IT”. -“As a writer” I am able to describe the fundamental aspects of “THE NYC KABBALAH DANCE WORK” >>>forgive me if I will seem self-referential , this is not the case. >IF I should have been verbose forgive me as well but, I believe, i have been also accurate, concise and easy, in this description. ***§*** § I want also to share the work's images, which are for an acknowledgement and high-level public , also to better understand the existence of irrefutable certain "things"shown by the pictures, that are not for everyone.

1. *** - A FUNDAMENTAL DIGRESSION-***
***DEAR CONNECTIONS***
*** You must know,understand , as far as I am concerned remains for me
very hard to describe my work. I don't like .
I've always left to the audience, the observers to judge, express opinions, give
responses, regarding “The work itself”:
SO in drawing up this post, I will use "concepts, digressions, definitions”,
already having been used by “Others” , in defining “IT”.
-“As a writer” I am able to describe the fundamental aspects of “THE NYC
KABBALAH DANCE WORK” >>>forgive me if I will seem self-referential ,
this is not the case.
>IF I should have been verbose forgive me as well but, I believe, i have
been also accurate, concise and easy, in this description.
***§***
§ I want also to share the work's images, which are for an acknowledgement
and high-level public , also to better understand the existence of irrefutable
certain "things"shown by the pictures, that are not for everyone.

2. ° I AM GOING TO PROCEED IN THE DESCRIPTION OF “ALL THE
SITUATION”.
-My main “REFERRER” was ANTONIN KRATOCHVIL with who I have
stopped all our relations after 14 years .
*** Unlikely , honestly I have to admit that Antonin and me , we discontinued
our partnership , our friendship for my sake . (…) .
I have no alibi, I would have done the same.
°°°It is also thanks to his unconditional support and friendship I managed
to finish the “NYC-WORK”.
***To him my utmost respect and affection for have choosen me , for His
“sympathetic-energy” which he has always given to me all those past 14
years, for His great honesty by in telling me explicitly that I have great
talent:THE GREATEST ARE ALWAYS THE MOST HUMBLE.
***Antonin is a living Legend, I think one of the greatest communicators in
the history of mankind.
***§***
The MAIN -POINT OF THIS POST :
°Therefore i found myself without someone of his caliber “in managing the
sale of the work”.
"Without the lost of Antonin, we should already closed the sale OF THE
NYC-WORK”.
>I am an artist not a curator , so now I need a contact person of the same
caliber of Antonin, someone I can trust unconditionally and it is not an easy
thing to find such a person.

3. ***§***
>>>GENERAL DESCRIPTION OF THE WORK<<<
*DURING THE THREE AND A HALF YEARS I have been working in New
York(2000-2004), before,- during and after 9/11,a very special historical
period , I "structured","created", a"Concept- WORK" with the City as a
scenario .
-In that "period" of time in the City “there was a very special energy”, I
would write, using an euphemism"a very dark-powerful permanent tensio on
the island of Manhattan”.
§From 2000 to 2003- so I have been “shooting” almost everyday in Town
-producing the material which later it would be structured the work.
>The first chapter of the work, under the title of "VISIONS", was produced
and shown by the Flemish in Antwerpen , they granted me “The entire
Museum of the Flemish painters”of the city.The catalogue of that exhibition
can be consulted at the library of "The Art Institute of Chicago".(In the
"painting-section" of the library).
***NOW THE WORK IS COMPLETE AND FINISHED.
>>>The final title is:
-”LOOKING FOR MY TEDDY BEAR- N.Y.C.- KABBALAH DANCE
QUANTUM PROJECT”-(2000-2004) -
>THE "BODY OF WORK" IT IS COMPOSED BY 111 IMAGES; 111 IN
B/W (two in colour), printed by myself 30x40 /fiber base- selenium-prints/ ,
then scanned at high resolution and printed with Lamba A Printer to produce
“the pieces of art in digital”;-let me admit that the final result it is noticeable
almost three-dimensional.
-The 70 %percent of the work was photographed before September 11.-

4. ***§***
°-Powerful men of Art and Culture, "Luminaries by global caliber True
Enlightenment already in The Olympus of the mankind's art history”claim
and believe §I have elaborated and articulated, during those years a ”new
viusal-semiotics concept” contemplating the use of a specific technique,
“pushed at it's maximum level” stylized by a “QUANTUM VISUAL
LANGUAGE” , to create, they said:“a Timeless Opera ” which It touchs"
extremely sensitive and fundamental topics of the past , the present and the
future.
°It seems I have “ended the old semiotics level", to create-reach “a new
visual -semiotics structure”, conceiving , by using-shifting an innovative,
method to “portrait” the Mankind’s things” .
The -Level- I have "shaped" and “molded”, it is "designed” with an unique
imagery, made of "a matter" that is aesthetic- conceptually-philosophically
universal recognized as, in retrospect, not existing yet: easily decipherable,
when compared with “the current context” of our Historical-Time.*They told
me I have developed “the Saeed” for a “ new visual full form to portray the
reality”and so I have, as a matter of the facts, created “a different art”:
A configuring turning point that"can be made" only by using photographic
tools.
>They also think that historically, the only, possible, conceivable kind of
Contemporary Art ( especially over the future shape),will be the one “able” to
portray with extreme precision and in an absolute realistic way our Time ,
our present and future history.
§Through a"new point of view “ , with an easily interpretable unique
language, "THE-NYC-Work”, they “said” , transmits and shows, “like a
mirror”, representatives, fundamentals core, values and ancestral, universal
meanings :
Looking to the images of the work, the interlocutor, the observer is able to
universally recognize and acknowledges “ his own reflection , his shape , his
everyday life-time” .

5. >The rest of the contemporary art ,“made up” only with decorative purposes,
designed to impress , shock or “tranasmit” only aesthetic pleasure to the
observer etc.etc.etc. ,“it will be totally forgotten and It will completely lose
any economic and artistic value” .
>They also think that historically, the only, possible, conceivable kind of
Contemporary Art ( especially over the future shape),will be the one “able” to
portray with extreme precision and in an absolute realistic way our Time ,
our present and future history.
§Through a"new point of view “ , with an easily interpretable unique
language, "THE-NYC-Work”, they “said” , transmits and shows, “like a
mirror”, representatives, fundamentals core, values and ancestral, universal
meanings :
Looking to the images of the work, the interlocutor, the observer is able to
universally recognize and acknowledges “ his own reflection , his shape , his
everyday life-time” .
>The rest of the contemporary art ,“made up” only with decorative purposes,
designed to impress , shock or “tranasmit” only aesthetic pleasure to the
observer etc.etc.etc. ,“it will be totally forgotten and It will completely lose
any economic and artistic value” .
If I / WE take into consideration, what has been"told" me by those eminent
people It would appear (may seems unusual , but as the matter of the facts), I
shutdown the “contemporary and classical visual way of the art” by creating
a "new-matrix-matrice”, the substance of which "It is made" by a multiple
types, kind of different truths, both known than unknown, merged into one
personal form of perception - projection, defining new -signifiers, unique
and totally original in their content by documenting our time, using also a
sort of "A quantum-metaphysical method-”.
>° By using an unusual -approach in to analize“ the human-things”( hidden
under different aspects and meanings),I have finally found an absolute,
objective alternative truth and parallel reality.
One vision, one dimension, alternative and parallel, at the same time, to that
one of the human knowledge.

6. -Forgive me if I appeared self-referential, but I repeat; in describing “the
work” I used words, concepts, thoughts etc.etc.etc, that ”others”- have used
about “IT” before.
***§***
§To better understand what i have written above please refer to my posts:
https://www.linkedin.com/pulse/super-position-momentum-space-wavefunction-
carlo-m-rosa?trk=pulse_spock-articles
https://www.linkedin.com/pulse/quantum-physics-carlo-m-rosa?trk=mp-reader-
card
https://www.linkedin.com/pulse/a-new-semiotics-age-carlo-m-rosa?trk=mp-reader-
card
https://www.linkedin.com/pulse/new-age-art-carlo-m-rosa-c-?trk=mp-reader-card
https://www.linkedin.com/pulse/a-new-era-carlo-m-rosa-?trk=mp-reader-card
https://www.linkedin.com/pulse/chiaroscuro-carlo-m-rosa-?trk=mp-reader-card
http://www.slideshare.net/CARLOMROSA/the-anthropological-factor

7. ***§***
-"THE SAME VALUE AS GOLD"-
°GENERAL CONDITIONS OF SALE.
*With Antonin K. , we agreed ,we had established on the terms of sale of ”THE
NYC-WORK”, for its special peculiarities as follows :
>“BEING THE WORK A CONCEPTUAL WORK” i/we had-have decided with
antonin kratochvil, to sell it “as a whole in its entirety-composition” ,”both in its
form of museum exhibition than in its -book-format ".
-FOR CONSISTENCY AND INTELLECTUAL HONESTY- WE HAVE, I HAVE
DECIDED TO SELL ,TO GIVE ALSO THE COPYRIGHT OF THE WORK, BY
SELLING, UNEQUIVOCAL, >ALL THE ANALOG B/W NEGATIVES< THAT
COMPOSE THE WORK ITSELF.
>>>Paraphrasing ***The New Yorkers Luminaries's words, above mentioned
ANTONIN for first: "...in essence,"the NYC-Work -it has, due to its
characteristics, implicitly and explicit,(using an euphemism...as another it
could be used) ,the same value as gold”.
^They explained me, through a precise reasoning , with a wise cognition and
an unexceptionable analysis of the mechanisms of the Art Market,- moved by
the competent lobby, so:
°The contemporary art history , from now to the future , because political-
social-economic cultural contributing factors and causes ,“will set out- the
actual specificweight" of a work like "The NYC Kabbalah Dance Quantum
Project - Looking for my Teddy Bear” as "priceless".
I want toemphasize again you have to realize that with “THE LOST OF MY OWN
PRIMARY REFERENT ”, I have been “forced” to expose myself ; to be
seemingly self-referential. I did “this” using , concepts and words that "OTHER
EMINENT PERSONS " are expressed about my work before me.

8. °Obviously to understand “the concept, the real substance ” of -the
Work-It has to be “looked, seen”:
“All the rest are just words...in the wind .”
***§***
IF you are intresting in to “look” “ THE NYC WORK” without any
compromises but, with “actually series and positive intentions”, please
contact me as soon as you feel like:
Mail:carloempire@yahoo.it
focalor999@hotmail.com
Skype: moth812 (you find only me “under this nickname”)
Phone : +39035243311
Fax: +39035219207
I ask you this because i consider you to be an enlightenment bunch of people
with profound culture and intelligence.
BEST REGARDS
***CARLO M. ROSA***

10. ***§***