About a hundred interactive sound sculptures, mini-modules from both “old” and “low” technologies to be installed in one of the most beautiful and famous gardens of the planet.
Small and almost invisible, these sculptures are fed by tiny solar panels which are capable of emitting feeble sounds which change with the presence or movement of people. They are also able to accumulate energy and illuminate night just like glow-worms, as well as small and continuous movements like grass blowing in the wind. The choice of a natural location opposed to a gallery/museum environment, is to investigate and emphasize the complexity of experience both man and vegetable.
In our cultural, biological and technological practise, we want to experiment new ideas of our daily life for example, syncretic training of the natural world, animal world and the world of technology and information. Putting emphasis on possible new acoustic, technical and artistic ecologies, means enhancing the environment not only in its natural and social characteristic, but also symbolic and metaphoric. From the East to the West and from the North to the South, many people have used sound as a basis of everything. A garden full of natural or synthetic sounds, which are full of synthetic and organic objects, full of people, men, women, boys and girls willing to think back for a few moments about the beginning of the world and the co-evolution of human, vegetable, technology and culture.
The Neolithic agricultural revolution and the cultivating technique have made man a hunter, a producer of food, transforming him from a nomad to sedentary. Between man, vegetable and the function of survival, a mystic solidarity has been added as the most important consequence. Man recognises his affinity and the existence of plants, taking from it the metaphor of its essential drama that identifies with the “mystery “ of the regeneration vegetable, the birth and rebirth mystery. From the vegetation rhythm, one can then define the idea of “Circular time” from the periodic renewal of the world. Slowly man has specialized his techniques to survive and take advantage of the growth. In a parallel way, assimilated by vegetables their mental constructions, their myths, beliefs and symbols.
Joining together, in an art work, vegetable and new technology, means pointing these two basic components of the history of man, thus revaluating the contribution, it means joining in an aesthetic way that allows us to understand the quality, which is not always being evident and to appreciate it. It means to focus back on the awareness that we can’t do without new technology, the importance of vegetables and their unreplaceable contribution. The project of installing a series of small interactive electronic sculptures in some of the most important gardens of the planet, known all over the world for their beauty, is to establish new relationships and reflections with these two worlds. To bring exalt centrality, different opinions of daily approach and general knowledge.
Vegetables are generally regarded as inert organs, insensitive, uncapable of suffering because they don’t have our motor system and because they remain closed in a silence that confirms their inexpressibility. Thus the project wants to rediscover vegetables as living things, putting them with slides capable of exalting the vitality which so differs from that of animals or humans, and for this far more fascinating to do. It also means discovering technology like “ human beings”. In these installations, even technology takes on new values, taking on an identity which is more integrated in the natural dimension, they separate from visible objects used as utensils used by man at a professional and productive level. Instead they show their peculiar laws of recipient working, which allow them to play with them.
Technology which strikes the eco-sustainability that assume the way vegetables work with light. Mans simple extensions are no longer used, in their place complex instruments, these also have self-reliant behavior, which are very similar to organisms. Objects like the fourth kingdom of the living, next to the mineral, animal and vegetable world.
The installation, but above all, its position in the natural environment, brings us to consider the opera of art as a meeting between three different forms of “living” things: the recipient, human being, the plant, vegetables; technical object and info-being. The garden defines and forces essential interaction, guaranteeing the success of the opera, which inspires new ethical and aesthetical awareness; to be connected with the world, not only in internet, but every day, even in the most natural places. To be connected with all beings: alive in a live world.