[et_pb_section fb_built=”1″ custom_padding_last_edited=”off|desktop” admin_label=”Header” _builder_version=”3.24″ background_color_gradient_direction=”188deg” background_image=”https:\/\/sites.ego-gw.eu\/ilritmodellospazio\/wp-content\/uploads\/sites\/2\/2019\/10\/art-gallery-55.jpg” background_size=”initial” background_repeat=”repeat” width=”100%” custom_padding_tablet=”5vw||5vw||true” fb_built=”1″ _i=”0″ _address=”0″][et_pb_row custom_padding_last_edited=”off|phone” _builder_version=”3.25″ background_position=”bottom_center” custom_padding_tablet=”17vw||17vw||false” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” _i=”0″ _address=”0.0″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” _i=”0″ _address=”0.0.0″ custom_padding__hover=”|||”][et_pb_text _builder_version=”3.29.3″ text_font=”||||||||” header_font=”||||||||” header_2_font=”Verdana|500|||||||” header_2_text_align=”left” header_2_font_size=”56px” header_2_line_height=”1.3em” transform_translate_linked=”off” max_width=”100%” max_width_tablet=”70%” max_width_last_edited=”off|phone” hover_enabled=”0″ header_2_font_size_tablet=”40px” header_2_font_size_phone=”26px” header_2_font_size_last_edited=”on|desktop” _i=”0″ _address=”0.0.0.0″]<\/p>\n
Prof. Stavros Katsanevas<\/em><\/strong> [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ _i=”1″ _address=”0.1″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” _i=”0″ _address=”0.1.0″ custom_padding__hover=”|||”][et_pb_text content_tablet=”<\/p>\n %22Scientists and artists are the world\u2019s noticers. Their job is simply to notice what other people cannot.%22<\/em><\/span><\/p>\n Franck Oppenheimer<\/em><\/strong><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n The exhibition \u201cThe Rhythm of space\u201d is an exhibition at the crossroad of Art and Science and it is the product of the work of the group Universe 2.0 composed of renowed artists: G. Alda, P. B\u00fcchler, A. Csorgo, R. Dallaporta, R. Galle, B. Lamarche, L. Lijn, L. de Maigret, A. Ortiz, T. Saraceno and J. Thomson; scientists, architects and philosophers: M. Barsuglia, V. Boschi, A. Dubois, C. Fl\u00e9cheux, E. Krouska, M. Lachi\u00e8ze-Rey, A. Letailleur, P. Legrain, D. Marciak, R. Malina, V. Napolano, S. Katsanevas, C. Spiering, A. Tosi, Y. Winkin and H. Wismann. The project was initiated by Pierre Binetruy at the end of 2016, tragically departed in April 2017, and had to restart anew in June 2017. This exhibition is devoted to his dear memory.<\/p>\n The aim of the project is to initiate an exploration, through a cross-reflection between artists and scientists, of the field that began with the discovery of gravitational waves, urgently questioning again the nature and texture of space-time and matter, the notions of origin and horizon, the role of representation, information and transformational activity, artistic or scientific, the questions of individuality. More generally question again the nature of the human embedding in the cosmos; where the notion cosmos, denotes beyond the Universe also the earthly environment and human society.<\/p>\n The scientific occasion was the detection of the gravitational waves emanating from a fusion of two black holes in Septem-ber 2015, followed by the detection of a fusion of 2 neutron stars in August 2017, subsequently observed by nearly 100 observatories around the world. While the detections was a striking confirmation of Einstein\u2019s theory of general relativity, postulating that every violent phenomenon in the Universe produces vibrations in space-time, the fusion of the neutron stars ushered fundamental science in a new scientific era, rightly called the \u201cMulti-messenger era\u201d, where we probe the Universe with a variety of cosmic messengers beyond the traditional ones of the electromagnetic spectrum: gravitational waves but also neutrinos and cosmic rays The Nobel committee reacted swiftly and gave the Nobel prize of Physics of 2017 to the discovery of gravitational waves by the north American LIGO and European Virgo interferometers.<\/p>\n Since the gravitational waves were registered as modulations of a signal with frequencies spanning the human acoustic spectrum, the discovery supported anew the metaphor that we are imbedded in a cosmic space-time network, where space-time vibrations: the \u201crhythm\u201d or in some sense the \u201csound\u201d of space, is added to the millenary apprehension of the Universe as a sublime, but terrifying according to Pascal, silent visual image.<\/p>\n As all major scientific turning points this experimental discovery brings again at the forefront the rethinking of the basic concepts of Space, Time and Matter, the theoretical place where Science and Art but also Society meet. One needs to recall the intense scientific and artistic activity preceding and following the Galileo revolution, as well as the intense artistic and scientific activity preceding and following Einstein\u2019s Relativity, from Cubism and the other modernist artistic movements to abstraction. The question remains whether we are not in front of a third turning point of the same nature.<\/p>\n More specifically, and in a necessarily schematic way, the works exposed elicit questions about the nature of space. As it was succinctly put by Einstein: is space and time a framework inside which objects move and things happen, or an emergent property of objects in relation? Space, can thus be seen as a deformable framework interdependent with the objects inside it, but it can also be seen as an \u201catmosphere\u201d of electromagnetic and sub-nuclear fields or an emergent property of matter in entanglement in a bold vision coming from quantum mechanics.<\/p>\n Then since after Relativity, citing Minkowski, \u201cspace by itself, and time by itself fade away into mere shadows, and only a kind of union of the two preserves an independent reality\u201d one needs to pose related questions on the nature of time. Is time as a fully deterministic framework where all change is projected from the past or a rhythmic process respecting the past but open to the future? One unavoidably also needs to question the nature of the laws of physics: probably the last ontological framework. Are these laws given for eternity (and by whom?) or do they also evolve with time at cosmological scales?<\/p>\n One further has to question also, the senses with which we apprehend the images of the cosmos. We need to move from the Thales\/Platonic\/Euclidean uniformity of space and metaphysics of light and shadow, a constitutive element of per-spective, to space as an atmosphere and\/or a deformable medium, using deformation geometries and\/or other modes of representation from the sound or \u201cacousmatic\u201d apprehension of rhythms and time to art as exploring paths \u201cinside\u201d the world, involving dance and performance.<\/p>\n Then, since matter is correlated with space-time it also has to be rethought. The individuation of objects in relation to the density of interaction has to be re-examined: from the world of quarks where there is the well known particle\/field duality to this of the Universe. One can ask: are fundamental particles, the ancient atoms, individuated objects or rhythms? More generally, can we identify individual objects before they enter into a relation, or are the objects themselves a form of crys-tallisation of the different relations? What is the \u201cscaffolding\u201d contribution of shadowy \u201ddark\u201d entities (e.g. dark matter) or violent phenomena to the formation of structure? What can we call origin and where is the horizon? These interrogations also question the texture, plasticity and resilience of objects. When does inflexibility transform an object into a measuring device or an elementary particle? When does plasticity transforms it into a representation medium (stone, plaster, engrav-ing, photography, digital media)?<\/p>\n The works of Alda, Csorgo, Dallaporta, Lamarche, Lijn, De Maigret, Saraceno and Ortiz as well as the \u201cscientific\u201d rooms proposing imbedded experiences in gravity, cosmic rays, neutrino interactions and multi-messenger environments give, among others, an artistic restitution of the problematic.<\/p>\n Furthermore, since with these instruments scientists are practicing the extremely difficult art of capturing a cosmic sig-nal by distinguishing it from the slightest possible deviation caused by terrestrial seismic movements, cloud passages, sea waves, or anthropogenic movements, the study of the Universe implies the proper understanding of the Earthly environ-ment. In other words, the event horizon at Virgo is not a calm one, there is always a \u201crumour\u201d from the earth and the atmosphere, or even society. Never a human instrument in history was so deeply coupled to the environmental daily and secular rhythms. And this applies also for many works of art from the \u201cGrand Verre\u201d of Duchamp to Land Art. This is the sense of the second embedding of the gravitational wave and other scientific instruments or art works in the notion of cosmos as earthly environment. It also proves that a proper thinking of our embedding in the cosmos cannot be done without a serious questioning of the concept of message, intervening medium and information content, as well as the definition of individuality in our closely inter-connected world. Paraphrasing McLuhan, the medium is not only the message it can also be the object. This naturally brings at the forefront the revolution initiated by Marconi and others in wireless communication and the way it shaped our world. A revolution, whose important stepping stone happened not very far from Virgo in the nearby radio station of Coltano (*).<\/p>\n The electromagnetic network defines the societal space, time and matter in which we live, and its impact on our rhythms of life, or its ways of creation of societal value remaining yet to be understood. We need to rethink information in a context of large density of interaction. Noise and signal are our common environment. Freeman Dyson once said \u201cthe preservation of life is not a matter of energy, but of this of signal over background\u201d. Here again, one can ask: is space-time a framework or an emergent property of the communication network? Finally, we need to examine our insertion as humans in this network. We need to reexamine our digital insertion versus the millenary activity of artisan manufacturing, what is called \u201chand intelligence\u201d. Should we use the whole hand or only one digit? Is there the possibility of a non-ideological cognitive, emotional and \u201chands-on\u201d insertion of us humans in the Cosmos?<\/p>\n The works of B\u00fcchler, Dubois, Galle, Lamarche, Ortiz, Saraceno and Thomson, as well as the exhibits of the Marconi Museum, and the Galena stone belonging to the Adalberto Giazotto collection, address these issues, while also addressing in parallel the questions of space-time and matter. And conversely the works of the artists, cited before, addressing more directly the space-time issues also address the issues of environment and society.<\/p>\n Closing, I would like to thank the foundation Carasso, supporting this endeavor, since 3 years now, the Museo dela Grafica (City and University of Pisa) and the Museo Marconi for their hospitality and their pro-active contributions, Lidia Gi-azotto, with of Adalberto Giazotto one of the two forefathers of Virgo, for providing the Galena stone, and of course the funding institutions of EGO: the CNRS celebrating its 80th anniversary and the Instituto Nationale di Fisica Nucleare, as well as my former laboratory of Astroparticle Physics and Cosmology of the University Paris Diderot and the Foundation RFPU, where it all started.<\/p>\n <\/em><\/p>\n (*) It was through the Coltano station that, from his office in Rome, Marconi turned on the lights of the gigantic Christ statue in Rio de Janeiro, 12 October 1931, on the occasion of the celebrations for the 439 years of the discovery of America.<\/em><\/p>\n ” content_phone=”<\/p>\n %22Scientists and artists are the world\u2019s noticers. Their job is simply to notice what other people cannot.%22<\/em><\/span><\/p>\n Franck Oppenheimer<\/em><\/strong><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n The exhibition \u201cThe Rhythm of space\u201d is an exhibition at the crossroad of Art and Science and it is the product of the work of the group Universe 2.0 composed of renowed artists: G. Alda, P. B\u00fcchler, A. Csorgo, R. Dallaporta, R. Galle, B. Lamarche, L. Lijn, L. de Maigret, A. Ortiz, T. Saraceno and J. Thomson; scientists, architects and philosophers: M. Barsuglia, V. Boschi, A. Dubois, C. Fl\u00e9cheux, E. Krouska, M. Lachi\u00e8ze-Rey, A. Letailleur, P. Legrain, D. Marciak, R. Malina, V. Napolano, S. Katsanevas, C. Spiering, A. Tosi, Y. Winkin and H. Wismann. The project was initiated by Pierre Binetruy at the end of 2016, tragically departed in April 2017, and had to restart anew in June 2017. This exhibition is devoted to his dear memory.<\/p>\n The aim of the project is to initiate an exploration, through a cross-reflection between artists and scientists, of the field that began with the discovery of gravitational waves, urgently questioning again the nature and texture of space-time and matter, the notions of origin and horizon, the role of representation, information and transformational activity, artistic or scientific, the questions of individuality. More generally question again the nature of the human embedding in the cosmos; where the notion cosmos, denotes beyond the Universe also the earthly environment and human society.<\/p>\n The scientific occasion was the detection of the gravitational waves emanating from a fusion of two black holes in Septem-ber 2015, followed by the detection of a fusion of 2 neutron stars in August 2017, subsequently observed by nearly 100 observatories around the world. While the detections was a striking confirmation of Einstein\u2019s theory of general relativity, postulating that every violent phenomenon in the Universe produces vibrations in space-time, the fusion of the neutron stars ushered fundamental science in a new scientific era, rightly called the \u201cMulti-messenger era\u201d, where we probe the Universe with a variety of cosmic messengers beyond the traditional ones of the electromagnetic spectrum: gravitational waves but also neutrinos and cosmic rays The Nobel committee reacted swiftly and gave the Nobel prize of Physics of 2017 to the discovery of gravitational waves by the north American LIGO and European Virgo interferometers.<\/p>\n Since the gravitational waves were registered as modulations of a signal with frequencies spanning the human acoustic spectrum, the discovery supported anew the metaphor that we are imbedded in a cosmic space-time network, where space-time vibrations: the \u201crhythm\u201d or in some sense the \u201csound\u201d of space, is added to the millenary apprehension of the Universe as a sublime, but terrifying according to Pascal, silent visual image.<\/p>\n As all major scientific turning points this experimental discovery brings again at the forefront the rethinking of the basic concepts of Space, Time and Matter, the theoretical place where Science and Art but also Society meet. One needs to recall the intense scientific and artistic activity preceding and following the Galileo revolution, as well as the intense artistic and scientific activity preceding and following Einstein\u2019s Relativity, from Cubism and the other modernist artistic movements to abstraction. The question remains whether we are not in front of a third turning point of the same nature.<\/p>\n More specifically, and in a necessarily schematic way, the works exposed elicit questions about the nature of space. As it was succinctly put by Einstein: is space and time a framework inside which objects move and things happen, or an emergent property of objects in relation? Space, can thus be seen as a deformable framework interdependent with the objects inside it, but it can also be seen as an \u201catmosphere\u201d of electromagnetic and sub-nuclear fields or an emergent property of matter in entanglement in a bold vision coming from quantum mechanics.<\/p>\n Then since after Relativity, citing Minkowski, \u201cspace by itself, and time by itself fade away into mere shadows, and only a kind of union of the two preserves an independent reality\u201d one needs to pose related questions on the nature of time. Is time as a fully deterministic framework where all change is projected from the past or a rhythmic process respecting the past but open to the future? One unavoidably also needs to question the nature of the laws of physics: probably the last ontological framework. Are these laws given for eternity (and by whom?) or do they also evolve with time at cosmological scales?<\/p>\n One further has to question also, the senses with which we apprehend the images of the cosmos. We need to move from the Thales\/Platonic\/Euclidean uniformity of space and metaphysics of light and shadow, a constitutive element of per-spective, to space as an atmosphere and\/or a deformable medium, using deformation geometries and\/or other modes of representation from the sound or \u201cacousmatic\u201d apprehension of rhythms and time to art as exploring paths \u201cinside\u201d the world, involving dance and performance.<\/p>\n Then, since matter is correlated with space-time it also has to be rethought. The individuation of objects in relation to the density of interaction has to be re-examined: from the world of quarks where there is the well known particle\/field duality to this of the Universe. One can ask: are fundamental particles, the ancient atoms, individuated objects or rhythms? More generally, can we identify individual objects before they enter into a relation, or are the objects themselves a form of crys-tallisation of the different relations? What is the \u201cscaffolding\u201d contribution of shadowy \u201ddark\u201d entities (e.g. dark matter) or violent phenomena to the formation of structure? What can we call origin and where is the horizon? These interrogations also question the texture, plasticity and resilience of objects. When does inflexibility transform an object into a measuring device or an elementary particle? When does plasticity transforms it into a representation medium (stone, plaster, engrav-ing, photography, digital media)?<\/p>\n The works of Alda, Csorgo, Dallaporta, Lamarche, Lijn, De Maigret, Saraceno and Ortiz as well as the \u201cscientific\u201d rooms proposing imbedded experiences in gravity, cosmic rays, neutrino interactions and multi-messenger environments give, among others, an artistic restitution of the problematic.<\/p>\n Furthermore, since with these instruments scientists are practicing the extremely difficult art of capturing a cosmic sig-nal by distinguishing it from the slightest possible deviation caused by terrestrial seismic movements, cloud passages, sea waves, or anthropogenic movements, the study of the Universe implies the proper understanding of the Earthly environ-ment. In other words, the event horizon at Virgo is not a calm one, there is always a \u201crumour\u201d from the earth and the atmosphere, or even society. Never a human instrument in history was so deeply coupled to the environmental daily and secular rhythms. And this applies also for many works of art from the \u201cGrand Verre\u201d of Duchamp to Land Art. This is the sense of the second embedding of the gravitational wave and other scientific instruments or art works in the notion of cosmos as earthly environment. It also proves that a proper thinking of our embedding in the cosmos cannot be done without a serious questioning of the concept of message, intervening medium and information content, as well as the definition of individuality in our closely inter-connected world. Paraphrasing McLuhan, the medium is not only the message it can also be the object. This naturally brings at the forefront the revolution initiated by Marconi and others in wireless communication and the way it shaped our world. A revolution, whose important stepping stone happened not very far from Virgo in the nearby radio station of Coltano (*).<\/p>\n The electromagnetic network defines the societal space, time and matter in which we live, and its impact on our rhythms of life, or its ways of creation of societal value remaining yet to be understood. We need to rethink information in a context of large density of interaction. Noise and signal are our common environment. Freeman Dyson once said \u201cthe preservation of life is not a matter of energy, but of this of signal over background\u201d. Here again, one can ask: is space-time a framework or an emergent property of the communication network? Finally, we need to examine our insertion as humans in this network. We need to reexamine our digital insertion versus the millenary activity of artisan manufacturing, what is called \u201chand intelligence\u201d. Should we use the whole hand or only one digit? Is there the possibility of a non-ideological cognitive, emotional and \u201chands-on\u201d insertion of us humans in the Cosmos?<\/p>\n The works of B\u00fcchler, Dubois, Galle, Lamarche, Ortiz, Saraceno and Thomson, as well as the exhibits of the Marconi Museum, and the Galena stone belonging to the Adalberto Giazotto collection, address these issues, while also addressing in parallel the questions of space-time and matter. And conversely the works of the artists, cited before, addressing more directly the space-time issues also address the issues of environment and society.<\/p>\n Closing, I would like to thank the foundation Carasso, supporting this endeavor, since 3 years now, the Museo dela Grafica (City and University of Pisa) and the Museo Marconi for their hospitality and their pro-active contributions, Lidia Gi-azotto, with of Adalberto Giazotto one of the two forefathers of Virgo, for providing the Galena stone, and of course the funding institutions of EGO: the CNRS celebrating its 80th anniversary and the Instituto Nationale di Fisica Nucleare, as well as my former laboratory of Astroparticle Physics and Cosmology of the University Paris Diderot and the Foundation RFPU, where it all started.<\/p>\n <\/em><\/p>\n (*) It was through the Coltano station that, from his office in Rome, Marconi turned on the lights of the gigantic Christ statue in Rio de Janeiro, 12 October 1931, on the occasion of the celebrations for the 439 years of the discovery of America.<\/em>” content_last_edited=”on|desktop” _builder_version=”3.29.3″ text_text_color=”#000000″ hover_enabled=”0″ _i=”0″ _address=”0.1.0.0″]<\/p>\n The recent discovery of gravitational waves provided another clear proof, that space-time is deformable and that it is not a fixed eternal framework, an indifferent and\/or immobile spectator of objects inside it. As Einstein predicted, space-time possesses plasticity reacting to the presence or movement of mass and energy.\u00a0 Current bold speculations would go one step further and make space-time an \u201cemergent\u201d property of quantum objects in entanglement. \u00a0One could further ask, what is the role of singular points and borders (centre, origin, singularities\/black holes, horizon) in the constitution of the space-time fabric?\u00a0 In this view, matter itself is also taken into the cosmic dance. Are matter-constituents individuated objects or rhythms of fields pervading space-time, forming its \u201catmosphere\u201d? What is the \u201cscaffolding\u201d contribution of \u201ddark\u201d entities (e.g. dark matter and energy) to the formation of structure? The theoretical and practical concepts of Space, Time and Matter, central themes of art and science but also society can oscillate now between invariance and variability, individuation and emergence. The works of Liliane Lijn\u2019s \u201cGravity\u2019s dance<\/em>\u201d, Tomas Saraceno\u2019s \u201cHow to entangle the Universe in a spider web<\/em> and Cosmic levitation<\/em>\u201d, Attila Csorgo\u2019s \u201cUrsuppe , Platonic Love and Squaring the circle<\/em>\u201d, \u00a0Bertrand Lamarche\u2019s \u201cReplique (Baphom\u00e8tre)\u201d, <\/em>Letizia de Maigret\u2019s \u201cWhat\u2019s nest <\/em>and Oeil Horizon\u201d <\/em>\u00a0as well as the INFN immersive installation \u201cBending \u201cSpace-Time<\/em>\u201d give a poetical as well as reflective restitution of\u00a0 these issues.\u00a0<\/p>\n These same discoveries, have notoriously added space-time vibrations, the \u201crhythm\u201d or in some sense the \u201csound\u201d of space, to the millenary apprehension of the Universe as a sublime but silent visual image. The newly acquired multimodality of apprehension of the Universe takes the issues of representation beyond the metaphysics of light and shadow towards the possibility of \u201cacoustic\u201d apprehension of the rhythms of formation and evolution of structure, from quarks to the Cosmos.\u00a0 The works of Gorka-Alda\/Aitor-Ortiz\u00a0 \u201cLink<\/em>\u201d, Raphael Dallaporta \u201cGW181124<\/em>\u201d, and the immersive CNRS installation \u201cCosmic Sofa<\/em>\u201d, sonified with the help of the blind astronomer Wanda Diaz-Merced question the ways we apprehend, through our senses, the world around us. Rhythm, the order of movement according to Plato, keeping the measure of the past but open to improvisation in the future, becomes again a metaphor of\u00a0 action.<\/p>\n Then, the tight coupling and need of protection of the gravitational wave antennas from the environmental noise produced by daily and secular rhythms becomes another exemplification of the fragile insertion of humanity in its earthly environment. The embedding of our infrastructures, from industry to observatories and works of art in the environment, as well \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0as the ways of creation of myth, value and profit in contact with this environment, is another question touched by this exhibition. An embedding that needs to go beyond adaptation or dominance and take into account the mutual interdependence. These interrogations also question the texture, plasticity and resilience of matter, as object of our industrial, scientific, artistic or artisan activity. When does inflexibility transform an object into a measuring device? When does plasticity transforms it into a representation medium (stone, plaster, engraving, photography, digital media)? The works of Tomas Saraceno\u2019s \u201cAerocene 1.3<\/em>\u201d, Raymond Galle\u2019s \u201cRing of Salt<\/em>\u201d, Jol Thomson\u2019s \u201c A Borderline Conception Lying at the Extreme Edge of the World of Appearances<\/em>\u201d, the galena stone of the collection Giazotto, the photos of\u00a0 the garden \u201cLittle Sparta<\/em>\u201d of Michael Jacobs, \u00a0the studies of \u201cGlass \u00a0Works 2.0<\/em>\u201d by Arnaud Dubois and the video \u201c Cosmic Amphitheatre<\/em>\u201d by Ersi Krouska, filming\u00a0 \u00a0a potter constructing a \u201cblack hole\u201d vase, touch upon these issues among many others.<\/p>\n Last but not least, the \u201cmulti-messenger\u201d<\/em> nature of the discovery prompts a questioning of the concepts of message and communication, from Marconi to today. Communication and messages \u00a0form the societal space, time and matter in which we live, affecting individuality and impacting our rhythms of life. We need to rethink information in a context of large density of interaction. Noise and signal have become our common environment.\u00a0 As Freeman Dyson once said \u201cthe preservation of life is not a matter of energy, but of this of signal over background\u201d. Furthermore, closing the circle and coming back to the questions of the beginning, one could even ponder whether, as some theorists say, space-time is an emergent property of an underlying, \u201cspider\u201d web of information.\u00a0 The work of Pavel Buchler \u201cDialogo Sopra I Due Massimi Sistemi del Mondo\u201d ,the Marconi Coltano station exhibits, and the immersive Multi-messenger room of EGO, touch these issues and many more.<\/p>\n Closing, if one searched for a metaphor pervading all the works of art and immersive science of the exhibition \u201cThe Rhythm of Space\u201d, the closest would be, as remarked by Heinz Wismann in the exhibition catalogue, the Deleuzian metaphor of inter-expressivity of the swimmer and the sea. The swimmer by swimming forms the water of the sea around her but also water of the sea obliges the swimmer to follow a certain path and thus forms her in return.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Footer” _builder_version=”3.24″ background_size=”initial” background_repeat=”repeat-y” custom_padding=”0px|||||” global_module=”919″ saved_tabs=”all” locked=”off” fb_built=”1″ _i=”0″ _address=”1″][et_pb_row column_structure=”1_3,1_3,1_3″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”3.25″ border_width_top=”2px” _i=”0″ _address=”1.0″][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” _i=”0″ _address=”1.0.0″ custom_padding__hover=”|||”][et_pb_text _builder_version=”3.29.3″ text_font=”||||||||” text_font_size=”12px” text_line_height=”2em” link_font=”||||on||||” link_text_color=”#666666″ header_font=”||||||||” header_text_align=”left” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”1.8em” max_width_tablet=”70%” max_width_last_edited=”off|phone” header_3_font_size_last_edited=”on|desktop” locked=”off” _i=”0″ _address=”1.0.0.0″]<\/p>\n
Director of the European Gravitational Observatory<\/em><\/p>\n\n\n
\n \n \n\n
\n \n MUSEO DELLA GRAFICA<\/h3>\n