theory

MODELS

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focused on developing its first productions from reality, for reality. What is the role of art in a world that is real, tangible, already crafted and constantly rolling?

As a striving for meaning and imparting knowledge, MODELS is an introduction to ’s reply to this question, and to the compositional theory inspired by this reply.

The (free) role of art is the world that is being realised.
Artworks are the creations — selective and definitional — to be real, tangible and in constant evolution.


In principle an artwork is a definition of reality, presented in and through art, and is intrinsically aimed at developing and enhancing. Our ἔργα don’t replicate, analyse, or reference reality — they define it further. Then — afterwards — they can resonate in those ways. Art is pure human ability, pure production, of which fine art is the end of the spectrum. 


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Essentially definition bears the seed of realising, of ultimating reality (always been this way, and always will be. Today it has become increasingly more evident, given that our manipulatory/creative tools are incomparable to what they used to be even just sixty years ago).
Art realises by giving reality the image, the structure, the likeness of its themes. In this sense, different ÆSTHETICS correspond to different (merely stylistic) solutions to the relationship between the composition of an artwork and its theme.

The elements of an artwork — its characters, its spaces, its eventualities … — always define the artwork’s theme: they provide definitions of the thing the work is about — e.g. definitions of solitude, of family, of possession. The way in which these various definitions relate to each other in providing a final definition of the theme is the way in which the theme of the artwork is realised. An ÆSTHETICS of CLIMAX corresponds to a compositional and experiential style shared by a group of works that have one common grounding feature: the relationship existing within the works between their elements and the works’ themes is realised climactically.

For an aesthetics of climax:

• The piece’s climax must be the trigger to the realisation of its theme.

• The role of climax in a piece is determined by the pace of its theme’s sequential definitions as provided within the piece. If this pace is both a) constant and b) irregular — meaning that a) there is constant increase across the definitions of the theme of piece and b) that this increase is suddenly revealed to be ultimate — then the piece is realised climactically.

• [This implies that] There must be some climax present throughout the whole piece, for it to be achieved in its later sections, marking them as final. This means tension, dynamism, definitions of the theme rolling from the start; and a clear eventual surge, when the tension and dynamism is revealed as an ultimate definition of the theme of the piece (everything else is lost, everything gets numbed in the surge, when the climax eventually hits).

• Experientially, this is translated as an exponential (/dimensional) growth. An architectural piece of set design doesn’t just have to multiply its surfaces: it has to expand on its relationship to the characters in doing so, what more does it allow them, what comes after comfort or caging for them, etc.
Intensity must make its way as the climax’ peak is reached,
Its traits be more and more marked,
The space has to be magnified,
The sound world has to build moods out of its tonality
The characters don’t simply have to change, they have to grow,
etc etc
etc

• There must never be another irregularity in the piece that rivals the climactic surge.

• The work must end abruptly.

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Why an ÆSTHETICS of CLIMAX? 

All aesthetics are likely to be equivalent, since they are just relationships — yet one has to start, and climactic composition is particularly convenient for first works:
The evident intensification reached in climax allows the work to hyper-develop during the surge, uncontrolled to a certain extent yet gaining in impact, authority and clarity (/independent) — the fresh statement of the FIRST travels along these two channels.
And selection is key, and climax helped us in selecting our media: for some art forms, this aesthetics is little more than a dream.

And it becomes a hymmmn : works of art are real, and whether they are images, objects, sounds or events, they are meant to define reality in the likeness of their themes. 

This is humanity.

We chose for this to happen climactically. Our first works were chosen to be MODEL works in this direction.

Here a film is a mock, a cell, a projection of what a climactic reality can be. Film is just advertising — its climax is stressed and somehow caricatured, exaggerated, like BigMacs on tv. In this way, its features are clearer, bolder; the essential elements to this ÆSTHETICS surface across the work, supported by the usual tools of film.
OMPHALOS isn’t reality, but something — a sequence of audible images — that points at it, that evokes it; an evidence, a projection of a reality. This reality in OMPHALOS is sacred and realised climactically.

MODEL ONE

Beyond this curating, its CLIMAX is just a tool, an age.

Opera is an intrinsically real art form as such — and among the most modern historically speaking, if you think about it. We’re using it to try and drive daily life into climax. INTERLUDE is an experiment: can a work composed in a climactic way be placed in a public, non-scripted space, without being lost in it? Can it achieve in this way a wider climactic dimension, exploiting tense silences, recurrence, influence? We’re attempting to use the character of Salomè as a singleton, as a theme herself — to try whether themes could also be persons, events and similar. Salomè will sing her thoughts, her desire and passion — which are all so unique to her and which we refrained from generalising.

MODEL TWO

Beyond this curation, its CLIMAX is just a tool, an age.

A totally multidisciplinary performative event is simply real. POSSESS is a reality in the image of possession, a work that has been described here, and its CLIMAX is just a tool, an age.

MODEL THREE

Recollect!
Respect the work beyond the words
because this is vain, hasn’t got much importance

“We think that things are fixed, that we receive the phenomena of the world and that we’re not part of creating that which we behold. But we are definitely part of creating that which we behold”, and this whole thing is kind of a gentle climb to make you realise that.

Fill your minds with everything that is true, everything that is noble, everything that is good and pure, everything that we love and honour, and everything that can be thought virtuous or worthy of praise.