This document discusses the relationship between gestures and diagrams in mathematical thinking and problem solving. It argues that gestures and diagrams are embodied acts that constitute new relationships between people and mathematics, rather than just representations of abstract concepts. The work of philosopher Gilles Châtelet is used to conceptualize gestures and diagrams as mutually dependent, with gestures giving rise to diagrams and diagrams enabling new gestures. Viewing gestures and diagrams this way provides a framework for understanding mathematical thinking and embodiment in a distributed, networked way rather than located within individuals.
This document examines Deleuze's concept of "transcendental empiricism" through his analysis of cinema. It makes three key points:
1) Deleuze seeks to free experience from its Kantian limitations by conceptualizing a "transcendental experience" that is grounded in the virtual and exceeds sensory-motor capacities.
2) In cinema, the "time-image" arises when action-images break down, dragging the viewer into the temporal dimension of the image and a direct experience of time itself.
3) This transition results in a "fissured ego" as the transcendental subject is grounded in absolute time rather than vice versa, resulting in a
Stadon Digital Simulations and Real Time Applications Conference 2011Julian Stadon
This document discusses syncretic post-biological digital identity and hybridizing mixed reality data transfer systems. Recent developments in bridging autonomous relationships with digital representation through mixed reality interfaces have created a need to analyze these new "post-biological" hybrid states of being. The document provides background on mixed reality and data transfer research, and discusses how mixed reality could constitute a "reterritorializing" effect on syncretic post-biological digital identity construction through embodying information across reality states. Examples of mixed reality applications that layer virtual content over real video are provided.
This document discusses seeking syncretism in post-biological mixed reality systems through analyzing hybridized states of being that traverse paradigms of time and space. It explores how Roy Ascott's concept of syncretism can facilitate understanding multi-layered worldviews emerging from engagement with computational technologies and post-biological systems. It also examines networked agency and the need for a holistic approach to understanding relationships between humans and autonomous agents, and their effects on consciousness and identity.
This document summarizes two mixed reality art projects - Promethean Alchemist and Terra(socio)sonica. Promethean Alchemist allows participants to manipulate DNA sequences in augmented reality, combining them to create new life forms. It explores ideas of translating between biological and computational codes. Terra(socio)sonica translates human movements in a physical space into soundscapes in both the physical world and a virtual Second Life environment. It aims to sonically represent social interactions and dialogues between participants. Both projects use interactive mixed reality systems to blur boundaries between real and virtual worlds in order to redefine concepts of embodiment, representation, and posthuman identity.
This paper introduces a concept for transferring and manipulating objects between different interface contexts like AR and VR. It proposes using a virtual marker proxy to provide a bridge between the worlds. A prototype allows users to transfer objects between a Massively Multiplayer Online World and a desktop AR application. The virtual marker acts as an anchor for objects in the virtual world and provides a bridge into the AR environment. Users can transfer objects bidirectionally between the virtual marker and an AR contextual base using a transfer tool.
Paper title: Syncretic Social Agency: Deterritorialised Robotics and Mixed Reality Data Transfer Systems.. Apolgies for formatting issues from this being a .doc!!
This document discusses the relationship between gestures and diagrams in mathematical thinking and problem solving. It argues that gestures and diagrams are embodied acts that constitute new relationships between people and mathematics, rather than just representations of abstract concepts. The work of philosopher Gilles Châtelet is used to conceptualize gestures and diagrams as mutually dependent, with gestures giving rise to diagrams and diagrams enabling new gestures. Viewing gestures and diagrams this way provides a framework for understanding mathematical thinking and embodiment in a distributed, networked way rather than located within individuals.
This document examines Deleuze's concept of "transcendental empiricism" through his analysis of cinema. It makes three key points:
1) Deleuze seeks to free experience from its Kantian limitations by conceptualizing a "transcendental experience" that is grounded in the virtual and exceeds sensory-motor capacities.
2) In cinema, the "time-image" arises when action-images break down, dragging the viewer into the temporal dimension of the image and a direct experience of time itself.
3) This transition results in a "fissured ego" as the transcendental subject is grounded in absolute time rather than vice versa, resulting in a
Stadon Digital Simulations and Real Time Applications Conference 2011Julian Stadon
This document discusses syncretic post-biological digital identity and hybridizing mixed reality data transfer systems. Recent developments in bridging autonomous relationships with digital representation through mixed reality interfaces have created a need to analyze these new "post-biological" hybrid states of being. The document provides background on mixed reality and data transfer research, and discusses how mixed reality could constitute a "reterritorializing" effect on syncretic post-biological digital identity construction through embodying information across reality states. Examples of mixed reality applications that layer virtual content over real video are provided.
This document discusses seeking syncretism in post-biological mixed reality systems through analyzing hybridized states of being that traverse paradigms of time and space. It explores how Roy Ascott's concept of syncretism can facilitate understanding multi-layered worldviews emerging from engagement with computational technologies and post-biological systems. It also examines networked agency and the need for a holistic approach to understanding relationships between humans and autonomous agents, and their effects on consciousness and identity.
This document summarizes two mixed reality art projects - Promethean Alchemist and Terra(socio)sonica. Promethean Alchemist allows participants to manipulate DNA sequences in augmented reality, combining them to create new life forms. It explores ideas of translating between biological and computational codes. Terra(socio)sonica translates human movements in a physical space into soundscapes in both the physical world and a virtual Second Life environment. It aims to sonically represent social interactions and dialogues between participants. Both projects use interactive mixed reality systems to blur boundaries between real and virtual worlds in order to redefine concepts of embodiment, representation, and posthuman identity.
This paper introduces a concept for transferring and manipulating objects between different interface contexts like AR and VR. It proposes using a virtual marker proxy to provide a bridge between the worlds. A prototype allows users to transfer objects between a Massively Multiplayer Online World and a desktop AR application. The virtual marker acts as an anchor for objects in the virtual world and provides a bridge into the AR environment. Users can transfer objects bidirectionally between the virtual marker and an AR contextual base using a transfer tool.
Paper title: Syncretic Social Agency: Deterritorialised Robotics and Mixed Reality Data Transfer Systems.. Apolgies for formatting issues from this being a .doc!!
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazion...Raul Gabriel
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazione Divisionismo Tortona-Museo Diocesano Tortona- testi di Paolo Bolpagni e Alessandro Beltrami
Avvenire Agora Raul Gabriel - Quel miracolo di luce al Rijskmuseum 02 01 2018Raul Gabriel
"...Al Rjiskmuseum ci sono due opere. Una enorme e una minuscola. La maestosa Ronda di notte di Rembrandt del 1642 e La stradina, 1657-58, di Vermeer, un muro anonimo di città su cui molti maestri sarebbero caduti senza colpo ferire. Per motivi diversi, in un modo totalmente differente, questi due capolavori hanno una luce che non ho trovato in nessuna altra parte del museo. Le danno vita in una maniera impossibile da definire, ma che si può quasi toccare. Una luce che dà sostanza e spessore alla presenza. E non è la presenza dei personaggi, la costruzione dell’illuminazione, pure magistralmente messa in scena, in particolare nella ronda. È un indefinibile ectoplasma che fluttua nel quadro e ne viene fuori senza però riuscire a sfuggirgli...." Avvenire Agora Raul Gabriel 02 012018 - Quel Miracolo Di Luce Al Rijskmuseum
Raul Gabriel Via Crucis, Sinopie, Sala Lucio Fontana,Testo Paolo Biscottini, ...Raul Gabriel
This document provides information about an art exhibition titled "Sinopie" by Italian-Argentinian artist Raul Gabriel. The exhibition was curated by Paolo Biscottini and took place from October 11th to November 23rd, 2014 in the Sala Lucio Fontana at the MUDI art museum in Milan. The exhibition featured a series of wood panel paintings by Raul Gabriel titled "Via Crucis #2" that depict the Stations of the Cross through minimal markings and abstraction. The curator's essay discusses Gabriel's focus on image, matter, light and abstraction to convey narrative elements and spiritual themes.
Giornale umbria 26:04:2014 Dottori GabrielRaul Gabriel
due mostre particolarmente significative: la prima è dedicata al percorso artistico di Gerardo Dottori, affermatissimo e celebrato artista umbro futurista, che ebbe una particolare e significativa attenzione al tema del sacro e in particolare alla figura di san Francesco (Gerardo Dottori, Santo Francesco, Museo della Porziuncola, Antico Conventino, 3 maggio – 31 agosto 2014), e la secondo dedicata ad un artista che sta emergendo sempre più come punto di riferimento per un’arte sacra aperta al linguaggio contemporaneo: Raul Gabriel. L’artista si cimenterà su un tema particolarmente caro alla fede cristiana ma non altrettanto rappresentato nell’arte: il corpo nella sua tensione escatologica (Raul Gabriel, Caro cardo, Museo della Porziuncola, Sala San Pio X, 3 maggio – 31 agosto 2014).
Abaco 2012, estratto Raul Gabriel, Arte e EmozioneRaul Gabriel
ABACO , aperiodico di arte contemporanea, estratto Raul Gabriel. IN QUESTO NUMERO:
Giorgio Di Genova, Albert Mayr, Francesco Michi, Martina Mazzotta,
Genny Di Bert, Valerio Dehò, Ugo Dossi, Giulia Ronchi, Gabriele Picco,
Raul Gabriel, Raffaella Formenti, Claudio Cerritelli, Giovanni Sabatini,
Giorgio Bonomi, Federica Boràgina, Pasquale Misuraca, Cristina
Petrelli, Giovanni Galizia, Simone Scortecci, Paolo Bolpagni, Luca De
Silva, Giampaolo di Cocco.
www.abacorivista.it
Comitato di Redazione di questo numero:
Paolo Bolpagni, Luca De Silva, Giampaolo di Cocco
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazion...Raul Gabriel
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazione Divisionismo Tortona-Museo Diocesano Tortona- testi di Paolo Bolpagni e Alessandro Beltrami
Avvenire Agora Raul Gabriel - Quel miracolo di luce al Rijskmuseum 02 01 2018Raul Gabriel
"...Al Rjiskmuseum ci sono due opere. Una enorme e una minuscola. La maestosa Ronda di notte di Rembrandt del 1642 e La stradina, 1657-58, di Vermeer, un muro anonimo di città su cui molti maestri sarebbero caduti senza colpo ferire. Per motivi diversi, in un modo totalmente differente, questi due capolavori hanno una luce che non ho trovato in nessuna altra parte del museo. Le danno vita in una maniera impossibile da definire, ma che si può quasi toccare. Una luce che dà sostanza e spessore alla presenza. E non è la presenza dei personaggi, la costruzione dell’illuminazione, pure magistralmente messa in scena, in particolare nella ronda. È un indefinibile ectoplasma che fluttua nel quadro e ne viene fuori senza però riuscire a sfuggirgli...." Avvenire Agora Raul Gabriel 02 012018 - Quel Miracolo Di Luce Al Rijskmuseum
Raul Gabriel Via Crucis, Sinopie, Sala Lucio Fontana,Testo Paolo Biscottini, ...Raul Gabriel
This document provides information about an art exhibition titled "Sinopie" by Italian-Argentinian artist Raul Gabriel. The exhibition was curated by Paolo Biscottini and took place from October 11th to November 23rd, 2014 in the Sala Lucio Fontana at the MUDI art museum in Milan. The exhibition featured a series of wood panel paintings by Raul Gabriel titled "Via Crucis #2" that depict the Stations of the Cross through minimal markings and abstraction. The curator's essay discusses Gabriel's focus on image, matter, light and abstraction to convey narrative elements and spiritual themes.
Giornale umbria 26:04:2014 Dottori GabrielRaul Gabriel
due mostre particolarmente significative: la prima è dedicata al percorso artistico di Gerardo Dottori, affermatissimo e celebrato artista umbro futurista, che ebbe una particolare e significativa attenzione al tema del sacro e in particolare alla figura di san Francesco (Gerardo Dottori, Santo Francesco, Museo della Porziuncola, Antico Conventino, 3 maggio – 31 agosto 2014), e la secondo dedicata ad un artista che sta emergendo sempre più come punto di riferimento per un’arte sacra aperta al linguaggio contemporaneo: Raul Gabriel. L’artista si cimenterà su un tema particolarmente caro alla fede cristiana ma non altrettanto rappresentato nell’arte: il corpo nella sua tensione escatologica (Raul Gabriel, Caro cardo, Museo della Porziuncola, Sala San Pio X, 3 maggio – 31 agosto 2014).
Abaco 2012, estratto Raul Gabriel, Arte e EmozioneRaul Gabriel
ABACO , aperiodico di arte contemporanea, estratto Raul Gabriel. IN QUESTO NUMERO:
Giorgio Di Genova, Albert Mayr, Francesco Michi, Martina Mazzotta,
Genny Di Bert, Valerio Dehò, Ugo Dossi, Giulia Ronchi, Gabriele Picco,
Raul Gabriel, Raffaella Formenti, Claudio Cerritelli, Giovanni Sabatini,
Giorgio Bonomi, Federica Boràgina, Pasquale Misuraca, Cristina
Petrelli, Giovanni Galizia, Simone Scortecci, Paolo Bolpagni, Luca De
Silva, Giampaolo di Cocco.
www.abacorivista.it
Comitato di Redazione di questo numero:
Paolo Bolpagni, Luca De Silva, Giampaolo di Cocco
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Matka ! Fix Satta Matka ! Matka Result ! Matka Guessing ! Final Matka ! Matka Result ! Dpboss Matka ! Matka Guessing ! Satta Matta Matka 143 ! Kalyan Matka ! Satta Matka Fast Result ! Kalyan Matka Guessing ! Dpboss Matka Guessing ! Satta 143 ! Kalyan Chart ! Kalyan final ! Satta guessing ! Matka tips ! Matka 143 ! India Matka ! Matka 420 ! matka Mumbai ! Satta chart ! Indian Satta ! Satta King ! Satta 143 ! Satta batta ! Satta मटका ! Satta chart ! Matka 143 ! Matka Satta ! India Matka ! Indian Satta Matka ! Final ank
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Fashionista Chic Couture Mazes and Coloring AdventureA
Virtual Apraxia, Raul Gabriel, The Format Gallery Milan november 2014 text by Roberto Diodato, Curated by Guido Cabib
1. Virtual Apraxia
Raul Gabriel
The Format Contemporary Gallery
Milan 30/10 -12 /12 / 2014
curated by Guido Cabib
text by Roberto Diodato
catalogo virtual apraxia.indd 1 25/11/14 16:20
3. Virtual Apraxia
Raul Gabriel
The Format Contemporary Gallery
Milan 30/10 -12 /12 / 2014
curated by Guido Cabib
text by Roberto Diodato
English translation By Dr Tessa Marzotto
catalogo virtual apraxia.indd 3 25/11/14 16:20
4. Intro
Apraxia (from Greek praxis, an act, work, or deed) is the inability to execute learned
purposeful movements, despite having the desire and the physical capacity to perform
the movements. Apraxia is an acquired disorder of motor planning, but is not caused by
incoordination, sensory loss, or failure to comprehend simple commands (which can be
tested by asking the person to recognize the correct movement from a series).
catalogo virtual apraxia.indd 4 25/11/14 16:20
5. Gli Incidenti di Raul Gabriel
Testo di Roberto Diodato,
Gli incidenti di Raul Gabriel sono eventi: l’ evento, nodo di relazioni molteplici in
divenire ( i corpi sono insiemi di eventi e non enti materiali occupanti un volume
definito proprio e uguale per tutti gli osservatori) non è né fisico né psichico, ma
virtuale e reale insieme, plesso di percipiente, percepito e rapporto tra questi, gesto
che è pensiero: logos estetico, chiasma o incarnazione del logos. Gli eventi strut-
turano a loro volta nodi complessi intrecciandosi con altri eventi, e assumendo
eventi come parti; svolgono così la funzione di soggetto, ma circolarmente di og-
getto qualora siano a loro volta presi come parti di altri eventi. Soggetto e oggetto,
e attivo e passivo, sono quindi funzioni processuali reversibili, cioè il soggetto non
è subjectum o substratum bensì punto-luogo provvisorio di alcune fasi spazio-tem-
porali del processo. Una situazione ontologica a partire dalla quale possiamo ri-
pensare alcune entità che esibiscono uno statuto squisitamente relazionale. Infatti
gli incidenti di Gabriel fanno cortocircuitare physis e techne ponendoci di fronte a
una poiesis da pensare nuovamente: chi o cosa produce le “cose” che vediamo, che
percepiamo come se fossero il prodotto di una volontà creatrice? Quale potenza
crea qui la dimensione dell’esperienza estetica, l’esperienza più complessa per l’es-
sere umano? Quale relazione tra necessità e libertà viene messa in scena in questa
prova? La convergenza effettiva tra libertà e necessità, potenza dell’immaginazione
e apparato tecnologico, doppia produzione incompatibile, non è razionalizzabile
ma semplicemente si dà, e accade talvolta quale evento artistico. E’ questione che
catalogo virtual apraxia.indd 5 25/11/14 16:20
6. riguarda l’essere, le cose, il mondo, e che l’opera umana e insieme disumana dell’arte
esibisce esemplarmente. Negli incidenti di Raul Gabriel questa convergenza o potenza
produttiva è consapevolmente ricercata nella genesi dell’immagine: il processo digitale
permette un incontro tra la contingenza estrema del gesto personale e lo sguardo ano-
nimo e agghiacciante del processo tecnologico, che consiste nella trasformazione della
realtà in numero, nella scomposizione della complessità in una complicazione tenden-
zialmente computabile. Così negli incidenti di Gabriel si fa strada uno strano rapporto
tra invisibile e visibile: l’invisibile sensibile. L’invisibile è ciò che rende il luogo un’abi-
tazione, ciò che lo rende mondo-per-noi; l’invisibile non può essere, ovviamente, reso
visibile, eppure non può essere colto come tale, cioè come invisibile, senza il corpo, il
gesto, la voce, lo sguardo… è il senso dell’evento, il quale davvero accade e ha una sua
peculiare concretezza, senza mai lasciarsi afferrare e tradurre in significato determinato.
Ora il virtuale in questione nell’operazione di Gabriel, con il complesso delle sue qualità
percepibili (l’insieme di colori, di tracciati, di densità tattili, di energie, di suoni…) non
è che l’attualizzazione del contenuto di una memoria digitale, la messa in scena di un
algoritmo elaborato in sistema binario. Ciò spinge a interrogarsi sul rapporto tra aisthe-
sis e noesis. Ci troviamo infatti di fronte alla possibilità di una riduzione della percezio-
ne sensibile in termini computazionali, la quale però non implica una riduzione delle
qualità secondarie a qualità primarie, e nemmeno la riduzione possibile del mondo a
numero, bensì dice di una originaria e reversibile solidarietà tra percezione e pensiero
che si esprime in un arco operativo a un estremo del quale si trova una descrizione digi-
tale in memoria informatica e dall’altra un corpo doppiamente sensibile: la concretezza
della cosa e un’ esperienza: una struttura complessa, un soggetto-oggetto risultato di un
progetto inestricabilmente tecnologico e artistico, un corpo che si traduce in entità fan-
tasmatica eminentemente attiva, certamente artificiale, prodotto da tecnica, ma insieme
tendenza “innata”, che non dipende dai suoi componenti “naturali” ma dalla sua propria
“natura”, al mutamento, al farsi esperienza, per il suo essere strutturalmente evento.
catalogo virtual apraxia.indd 6 25/11/14 16:20
8. Raul Gabriel’s Incidents
Text by Roberto Diodato, author of Aesthetics of the Virtual, State University of New York Press
(SUNY), Albany-New York, 2012
Translation by Dr. Tessa Marzotto
Raul Gabriel’s incidents are events: the event, crossroad of multiple ongoing relations
(bodies, for instance, are a whole set of events, and not material beings occupying
the same definite volumes for every observer), is simultaneously virtual and real. The
event is the complex linkage of perceiver, perceived, and the relation between these
two. It is gesture that is also thinking: aesthetic logos, chiastic structure or incarnation
of logos. The events, in turn, give structure to other complex crossroads, by combi-
ning themselves with other events and integrating events as parts. They thus function
as subjects, and equally as objects, if they are themselves incorporated as parts of
other events. Subject and object, as well as active and passive, are therefore reversi-
ble process functions. In other words, the subject is not subjectum or substratum,
but rather the provisional point-place of some space-time stages of the process. This
scenario provides a suitable ontological standpoint in order to take into fresh account
some entities showing an exquisitely relational status. As a matter of fact, Gabriel’s
incidents create a short circuit between physis and techne, presenting us with a new
form of poiesis still to be accounted for: who or what produces the ‘things’ we see and
perceive as if they were the product of a creating will? What kind of power creates
here the realm of the aesthetic experience, which is in general the most complex for
human beings? What relation between necessity and freedom is here at play in this
effort? The actual convergency of freedom and necessity, or imagination power and
catalogo virtual apraxia.indd 8 25/11/14 16:20
9. technology, – double incompatible production – cannot be rationally processed but
it is just given, sometimes taking place as artistic event. The issue concerns the being,
things, the world, and is exemplarily exhibited by the simultaneously human and su-
perhuman/preternatural workings of art. Raul Gabriel’s incidents actively and wittingly
seek such a convergency or productive power in the genesis of the image: the digital
process allows the encounter between the extreme contingency of individual taste and
the anonymous chilling gaze of the technological process. This latter transforms reality
into numbers and breaks up complexity into generally computable complication. Hence,
a peculiar relation between invisible and visible comes to the fore in Gabriel’s incidents:
the sensible invisible. The invisible is what transforms a place into a dwelling, what ma-
kes it world-for-us; the invisible, of course, cannot be made visible, and yet it cannot be
grasped as such, that is as invisible, without body, gesture, voice, gaze... this is the sense
of the event, which really happens and is provided of peculiar concreteness without for
this being fully grasped and translated into a determinate meaning. Now, the virtual at
stake in Gabriel’s work, with the complex structure of its perceptible qualities (the set of
colours, traces, tactile densities, energies, sounds...) is nothing but the actualization of
the content of some digital memory, the staging of an algorithm implemented using the
binary system. This raises some questions on the relation between aisthesis and noesis.
The issue at stake is, in fact, the possibility to reduce the sensible perception in computa-
tional terms, which does not entails however the reduction of secondary qualities to pri-
mary qualities, nor the possible reduction of the world to a number. It rather assesses the
original and reversible solidarity between perception and thinking, expressed within the
range marked at the extremes by the digital description of computer memories at one
end and by the doubly sensible body at the other end. The concreteness of things and
one experience: a complex structure, a subject-object resulting from some inextricably
technological and artistic project, a body translated into a distinctively active phantom
entity, clearly artificial, the product of technique, but also ‘innate’ tendency towards
change and (self-)developing experience, depending not on its ‘natural’ components but
on its very ‘nature’, because of its structurally being ‘event’. The reference is therefore to
catalogo virtual apraxia.indd 9 25/11/14 16:20
10. a natural-artificial hybrid, in some respect almost a ‘living’ system, material and virtual
body which exists only as encounter, digital writing, endowed with sensible experience
and hence with constitutional interactivity. This leads us to understand the relation (the
encounter) as in itself constitutive of entities, and to build an ontology of relations, still
mostly unprecedented, which is a grateful enlargement of the world’s furnishings. A
crossroad – luckily enough, a dangerous one – between art and philosophy. Very well...
Roberto Diodato
Raul Gabriel, Irrelevant codes, Virtual Apraxia, 2014
Roberto Diodato is University Teacher of Aesthetics at the Università Cattolica in Milan. His last books
are: Logos estetico, Brescia 2011; L’invisibile sensibile, Milano 2012; Relazione e virtualità, Bologna 2013.
catalogo virtual apraxia.indd 10 25/11/14 16:20
11. Raul Gabriel Incident #4, steps of development, Virtual Apraxia, 2014
catalogo virtual apraxia.indd 11 25/11/14 16:20
39. back cover
Raul Gabriel, Irrelevant Code #7, digital draw on primered packaging cardboard, 30x30, 2014
Bio short
Raul Gabriel is italian-argentinian artist , born in Buenos Aires suburbs in 1966. . After a period dedicated to experi-
mentation in music, and a long journey in Santafe de Bogota, at the end of 1999 visual became his focus bringin him
in Milan,then in London gettin in few years many shows in both public and private galleries and outlining a path that
starts from body, better sayin the biological identity of reality , and his mutational processes interpreted in the different
aesthetical structures and artistic forms.
Raul Gabriel some shows
Palazzo delle Stelline in Milan in 2000, in Periscopio ,public show spotting the most interesting artistic individuals in
Milan and northern Italy, the solo
show at the Mudima foundation in 2003 (Milan), the Quadriennale of Rome 2003-‐2005 , the installation in Battersea
Park (Chelsea London), The project room in Miart with a main gallery in Milan, the solo show at Broadbent Gallery
London in 2006, with a focus on hybridation of media, the video sound performance at the Oberdan Space in Milan (
genetically modified trafficlights concert) in 2006, the solo show in Rome in 2007 at the Pino Casagrande studio gallery,
the solo show “Urban Trash” same year at the Grossetti Contemporary Art Gallery in Milan ,the shows and fairs in Ber-
lin and Miami in 2008 -‐2009, the solo show “Colournoncolour” at the Armory Contemporary Art Gallery in Perugia
in 2008, the multiple installation at the opening of Wunderkammern Foundation in Rome end of 2008,and the outstan-
ding video installation at the two worlds international festival in Spoleto in 2009. Follows these shows the project that
took origin from Gabriel’s Berlin experience with the video “Bak2Berlin” shown at the Fortezza da Basso in Florence
and subject , in its developments, of a new installation and show at the Bologna Art fair in 2010 and then at the Armory
Contemporary Art Gallery in Perugia, titled “Bak2Bike”. There takes origin the “bike removable path” on show at the
Carandente Museum of visual art of Palazzo Collicola in Spoleto until january 2011, and a room dedicated to the “forms
reflections” coming from the Berlin bike project as well. These experiences open to Raul themes relatin’ to “space” and
architecture and in fact in september 2010 Raul Gabriel gets a prize at the Architecture Department of the Sapienza
University in Rome for his project “Silkocoons”, free interpretation of the Silk Road Map, with a show at the World Expo
in Shangai 2010. In october 2010, an event at the Paolo VI Museum of Contemporary Art is dedicated to the artistic
project of Raul Gabriel in a sacred space of the late 50’s. In 2011 The solo shows in Perugia CUBE at the international
architecture festival, and the video installation O-‐One in Spoleto during the 2011 Two worlds Festival. November
2011 the video installation at Artmbassy contemporary in Berlin centre . February 2012 video installation Auditorium,
Rome . March 2012 “Transformations” London. June 2012 the show TOPOS-TOMIE at the Umbrian Foundation of
Architecture . February 2013 international group show “Lumen Ray” at Jerome Zodo Contemporary Milan, December
2013 w0rm$ at The Format contemprary culture gallery in Milan, December 2013 One to One Public Contemporary art
center Pavia. September 2014 solo show within collaboration of two museums in Brescia, october 2014 solo project in
Milan: Virtual Apraxia at THE FORMAT CONTEMPORARY gallery. October-November 2014 Sinopie, Raul Gabriel
meets Lucio Fontana, Lucio Fontana’s room MUDI Milan.
catalogo virtual apraxia.indd 39 25/11/14 16:20