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Comment on "The instrument of Caravaggio"

Snapshots from the past
A small personal reasoning: "The instrument of Caravaggio", Professor Wise.

disturbing is the intuition of Longhi then analyzed and theorized by prof. Wise use of the darkroom by Caravaggio.
becoming aware helped me to realize how indispensable tool for an artist (and humans in general) without which the world is always equal to itself.
I finally understood his work, those mysterious contrasts of light and shadow that made it famous Michelangelo Merisi, and I was always troubled and fascinated by keeping enchanted for a long time before his paintings.
Sure enough I was wondering what he wanted to communicate with that game so strange lights.
I like to believe that he wanted to "sculpt" the canvas as a high relief by treating the flat bottom with darker colors and characters in relief with the intense light. This statement is still valid if we consider the result, but not any more if I think the instrument that the artist needed to make it work well to illuminate its models so that the images were projected onto the wall of the darkroom.
me now everything is clear, the answer I was looking for. For a moment, however, spontaneous arose the question if I could still be considered Caravaggio is a great artist. Now that I had been unveiled the "trick" I felt cheated. I had always thought that his paintings and his way almost unique to represent the reality was also a very personal way of seeing
... But now there seems to be half of that instrument. Such a powerful tool and did not want to compare eg the frame of perspective that I have always considered no more than a help because it is already the human eye sees in perspective. The dark room contrast, is more. It is combined with the third eye lens that captures a portion of the world deformed and return at will. One moment, this is nothing more than the photo! And if photography is a recognized art form, and therefore the photographer an artist, the more it is Caravaggio that this technique it was a precursor.
In addition, as Sage says: << Michelangelo sa che il tempo moderno che comincia forse proprio con lui è quello dell’attimo, dell’istante, del dramma e del bivio. Ogni momento può presentarsi come quello della scelta, della morte o della vita >>.
What is the best technique to use to freeze this moment? The photography! What has always defined instant.
So I venture to define the first Michelangelo "photographer" of the story!

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Remarks for the book "Introduction to the computer revolution in architecture" Prof. Wise

"Catalyst"

If I may I would like to express a negative critique of the future computer architecture which, perhaps, your book is ready.
Writing on "interactivity" She states that the architecture must strive to be continuously modified into [...] an environment that adapts to the changing desires of users, I would add, in the name of the "new subjectivity" rather than opens the "new objectivity" of the modern movement.
In my opinion, however, such an architecture might become a product of industrial, commercial, custom certainly, but comparable to a Smart!
would risk falling into the trap of promising marketing to users / customers more personalized environments and then filling them
electronic systems with which we architects do not have much to do ...
The industry could take over our world at least for residential use. For example, you could mass-produce housing type, with the help of electronics, adapt to the tastes of customers imagine and live in a personalized environment.
Now my question is: "What role will the future architect in the process of personalization architecture?
We still aesthetes? And if so, only on behalf of society and therefore in the public works?
Maybe that's why that the collective imagination, to conclude from the film, the architecture of the future is colorless, tasteless and cold!

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Response to "The reason for Caravaggio

"Suspended" = "in-between"

It is no coincidence, I think, is precisely as an architect prof. Wise, dedicated to the study of the influence of IT on contemporary architecture, to become aware of the discovery of Caravaggio's a new space. Essay defines a space that "in the balance" because neither inside nor outside the picture but << intermedio e nuovissimo che si pone tra la profondità negata dello spazio prospettico dentro il quadro e una nuova spazialità invocata fuori del quadro >>.
Wise says in addition to the artist destroys the very idea of \u200b\u200b"window - frame." Operation similar to what they will do with the lot from the architects Gropius onwards.
The lot like the window-frame, then, that defines and prospettivizza.
If I think now the space "outside" of the picture, easy for me to compare it to the city. Here then the analogy between space "in the balance" and in which Michelangelo Merisi places his characters and space "in between" in which Eisenman, architect of IT, places the volume of its architecture, eg, the Wexner Center on campus of Ohio.
In addition, both through space with "carriers" (as he calls them wise) for Caravaggio, eg the arm of Virgin, Eisenman corridors connecting enclosed by a wire mesh cage. These vectors are used in both cases, to unify the space (inside - outside) and to assist the observer in depth reading of the composition is in the first case, by encouraging them to follow up with the look in depth at the end feeling a sharer in the scene, while the second is persuaded to go into.