luvit

Biografia
 Impalpabilità
Percorsi
Microcosmo
Interattivi
Geometrismi
Archeofuturo
Digital Art 
 Gheoart
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Biography

 Porto Ercole in Tuscany 

Born in Rome in 1939 in his childhood he loved to draw and depict objects thus his first piece of work was realized in 1953. The first real interest in the world of painting developed between the 60's and the 70's years in which he worked at the art gallery "Galleria d'Arte 70" in Messina with Vincenzo Celi.The professional artistic career began around 80 years when he returned to Rome, his hometown. He attended training courses at the Academy of Fine Arts Private and perfected in the studio of the painter Ninni Verga in Rome.  Between 1980 and 1990 he dedicated himself with passion and commitment to drawing and painting and then to produce various paintings using classical methods, acrilic oil, watercolors, and paper. Since 1997 Lucio Vitale is better known as Luvit. His innovation in the name also reflects the innovation in the style and the use of methacrylic to which he is today completely devoted to. This matereal is perfect for Luvit's type of design and style since he abbandons any kind of traditional conception of painting in order to represent art in a virtual form. Luvit paints the back of plexiglass in order to create the sensation of looking at an impalpable material, he plays with the virtuality of images, he wants to foster fantasies and create a getaway towards immagination for a man who is loosing himself. Experts in the field have defined his art as something new, unique and contemporary althought at the same time full of artistic and intellectual content. Some of his works are enriched by phonosensible electrical circuits that make the spectator able to interact with the painting, some of them are full of lights that give the sensation of interaction and exeed the static of the work of art. At the beggining of the third millenium he proposed the archeologies of the future; a new series of art works that he calls "reperti" "archeological finds" that foretell the archeology of the virtual world. In the years beteen 2001 and 2003 Luvit lived in switzerland were his research on the "infinitly small" began. He exposed more than 100 pieces of work at Lausanne in an exposition called "Microcosmo". A Swiss art broker with international relations takes care of his work.
Particular interest has for the Digital Art which is dedicated with inexhaustible enthusiasm, and soon became one of the most prolific artists. After the first experience of computer graphics started since 1992 and research on multimedia, has more in-depth research gradually realizing digital works where contamination digital feeds the engine of creativity.
The preparation and contamination involving digital works mainly with traditional techniques rather than the images captured and processed digitally to the computer. The poetic  creative moves by osmosis connection with digital preservation, intact, the DNA.
Syncretism and chromatic sign between past and future becomes a reflection on the dynamism of the area that is projected in a never-ending expansion where our mind, and the generation mathematician, has been enhanced with poetry in which the finite and  infinite to alternate between rationality and mystery.

Its works have been exposed in U.S.A., England, Germany, France, Spain, Swiss and Italy.

In 2003 he founded the Gheoart, whose portal www.gheoart.org, motivated by the sensitivity of many other artists, screaming indifference to the issues of climate upheaval.

Lucio Vitale in art, for his works made in perspex Luvit
Telephon:    +39   338  4748635
e.mail: luvital@aliceposta.it   -   info@luvit-arte.com

 

The concept of  A R T E for Lucio Vitale

Art, says the dictionary, is the ability, broadly speaking, acting and producing, based on a particular complex system of rules and experience knowledge and techniques, and hence the set of rules and procedures to perform human activity in view of certain results. These are just four letters of our primer with which we are used to enclose the advent of literacy concepts more or less complex or rich interdisciplinary connections without clarifying its pure essence, which I understand will never be possible to teach literacy.
Art as human activity is often opposed to nature or to an alleged work of a God Even nature through a complex system of rules which then form the basis of various phenomena, has always been and will continue to represent the art.
Michelangelo Merisi da Caravaggio stated that "the craft of painting is a profession in which one generates life, raise vital impulses, it means ideas and concepts, the reality is revealed." After over 400 years this concept is still totally acceptable?
In appearance, it tends to give the term meaning art privileged to indicate a particular cultural product such as painting, sculpture, architecture, music, poetry, etc..
So the art is represented in all its varying forms. Any representation of human creativity, whether it obeys the complex system of rules and techniques available, it becomes art, but does not assume an absolute value as influenced by market benchmarks by which to barter then impose scales of values, never true, but still conditioned to the logic of supply and demand.
In France, the early nineteenth century, the term art was used, taken mostly by the poets of the school Parnassian to designate the principle that art must have no other purpose than itself, outside of any concern for moral or utilitarian. Thus we need to liberate the concept by the rules and trappings merchant to return to a pure value.
Every living being is made up of energy, or a swirl of electrons, perhaps timeless, moving around the nucleus of belonging, without posing the question whether by chance or by necessity, taking on shapes and colors in relation to the instruments to be connected prepared themselves for their own perception and other galaxies of electrons surrounding the source, without asking here whether these processes are actually infinite or nonexistent. Everything that surrounds us and which we sensory perception is due to the inexhaustible dance of electrons.
We limit ourselves and our imagination is no exception to this limit. Even the dream, he still knows very little, dress forms and colors endlessly repeating this enigma.
That said, how does the concept of art?
Graffitis from the expressions of the most reliable trends in contemporary art, the whole art world has gone through the representation within our limits, nobody has managed to pass them. Nobody ever managed to capture the pure essence of the concept.
The pure essence of art is sought only in the imagination beyond our ability to imagine, ever in its representation as the representation contains the imaginary limits of ourselves. According to the theory of indeterminacy of quantum mechanics, which overthrew the Newtonian theory was based on the concepts of mass and strength as well as on the absolute value of the determinations of space and time, claims the influence of measurement procedures on the values of the assumptions considered and uncertainty magnitudes connected with each preferring to rely on patterns of probabilistic nature.
Then the Imaginary, beyond our capacity for imagination, assumes that it is of probabilistic nature of purity.
The imaginary pure can never be represented, it can never be defined in the illusion of reality that surrounds us, the Imaginary is beyond our own capacity to perceive and represent the Imaginary can never be repeated, lives its own life starts and ends where our capacity to imagine and to represent the image.
Only then will the art and become sublimated essence pure, unassailable by the trappings and the ravings of the so-called "cultural workers".
Art historians are doing their job: the classification of becoming historical representations, the interaction with the spirit of the times of social development and all other cultural sites is certainly important to the narrative and the location and importance of influences historically become classified , but the pure essence is not writable as it is not represented ... and then?
We try to draw any representation, which is recognizable on a sheet of paper or any media: this representation is formed by numerous points, consequential or otherwise, of various colors and not, each of which can start up to a half-line exceed the limit of the sheet and invade the surrounding space that is infinite and proceed towards the unimaginable. Multiply at will the number of rays from all sources in the drawing by directing most if we want to project them into the infinite. This exercise will stop when we will have given a representation on the paper that we can develop, edit, paint at will but always within the limits of space defined by the support, leaving it to historians assessing mercantile and cultural representation.
The rays, which we launched in the infinite, they also could potentially be represented in the limit of their portion, would be sufficient to increase the size of the sheet of paper with our imaginations to the point from which you can no longer represent them as crossing our limits and the boundaries of the defined space. At the precise moment when the imagination is no longer represented, only when it exceeds the limit produces the pure essence, the sign placed on the paper source using the rays as highways on which to run the initial energy, leaving her free her from the representation live independently: Art takes on a life of its own, freed from the sign, then the necessity of representation, and interacting with other energies well beyond the concepts of time and space offers pristine poetry of the mystery of Chance powered by Chaos .
Art is not perceptible, it is only representation, even painting Orphic is represented as the white canvas that is itself the representation and the representation can never be universal, the Mona Lisa indifferent Australian Aborigines, the field of grain Van Gogh may never be experienced by those who have never crossed the morbid desire of suicide, the madonnas of Michelangelo Merisi da Caravaggio, who bear the faces of models, namely the prostitutes of the area surrounding the Square Navona, not to be relied in their true meaning if we do not rebel against the overbearing power of the powerful at that time represented by the church and its popes.
The universality is achieved outside the representation.
Only the pure essence is universal in its unknowability!
We try to describe the common concept of art for a blind person: he has a picture of the world around you configure only the perception that the report is received by the other sensory organs. Where the objects illustrated in full will be perceived by the sensory organs can also imagine active imagination of a blind projection close to the presumption of reality of the object in its values and dimensional form, never to chromatic scales in connection with the space and, above all, the ambient light. Can perceive the shape and size of the trunk of a tree through touch, but never his hair inaccessible to the other sensory organs. The same concept of space is proportional to the perceptual capacities of the blind.
It follows that the concept of art common among the blind and visually impaired people is very distant.
Now let us describe the common concept of art in the imagination of a blind person: all the values related to shapes, sizes and colors will live its own life, liberated from the comparisons shown and freed from the limitations imposed handicap. The same applies to the rays of the blind from the time when possibilities beyond the space defined by the source to live their lives in the imagination of the subject under consideration.
The distance between the concepts of art common between the two poles is reduced considerably, however, crediting that of the visually impaired greater spontaneity because it is less influenced by the representation.
Over the space granted to the imagination, the common concept of art is exhausted to give rise to the idea of art as pure energy that can never be different in relation to the perceptual capacity of each.
Art be universalized in its conceptual purity, so the universality is achieved outside the representation.
Only the pure essence, but in his world of probabilistic mechanics, we can consider the universal patrimony.

Lucio Vitale 1981

                                     

The mystery remains the source of all art and all science.

 

"Painting is a mental projection" (Leonardo da Vinci)

The human mind, in other words, the billions of neurons that drive it and have further developed and structured to serve the species, is also an expression of creativity, imagination and imaginary projections that result in the visual arts, music, poetry , aesthetics in general.
The world around us is not as it appears, is not composed of energy quanta, atoms, molecules and other particles that we classify as dark or bright, warm or cold, red or blue, grinding or melodious, but of waves, vibrations and electromagnetic oscillations that we are able to capture only a small part: all that we can not perceive, because there is useful, it is as well not exist. Each species during its evolution has selected the surrounding habitat, even in its variations, those modes of perception that were most useful to give their phenotypes, the greater chance of reproducing and therefore infinite projection of their own species, unless the perceptual dynamics to be interrupted by traumatic changes in habitat, as happened to the dinosaurs.
Neuroscience and technologies in its service, it has been established that each brain structure was biologically specialized to perform one or more specific tasks, all derived from sensory stimuli peculiar to our species.
The aesthetic appreciation that has been the focus of curiosity of philosophers, from Plato to Kant to name the most involved, which is still thought of combining the core of critics and art historians, deserves a deeper investigation of the neuro-scientific knowledge of the engine of his activities as well as its existence. Understanding what happens in our brain when we are dealing with a work of art, understand the differences arising from the appreciation that leads us to further investigate into the mechanisms of perception, then the filter through which we perceive the sensory world around us.
Functional magnetic resonance imaging, we are faced with direct view of the brain during emotional states, thought in general and in particular the responses to various stimuli, in the topic in question, refer to those that the subject receives faced with a work of art: each produces answers, scientifically valuable but different. The memories and the individual capacity to feel pleasure, which is directly influenced by genetic components and cultural conditions at the base of the survey instrument responses. However, these studies tell us that many areas are activated in a similar manner in all human beings when they perceive the same emotions to understand the nature of aesthetic appreciation which also helps to better identify the mechanisms of perception and responses to stimuli, our brain produces coming from the surrounding environment.
Emotions in the broadest sense, stimulate the brain regions that trigger feelings of pleasure and then reward. In the art external socio-cultural factors may cause inhibition of the frontal lobes and make us less impartial in our aesthetic judgments do not achieve as good a work aesthetically, but placed in a context known to us as the author knows, the value reached in its prices or when it is placed in the universally recognized artistic heritage can be enjoyed and appreciated aesthetically.
The brain is characterized by brain areas separated from each other, allowing, through the senses, the perception of waves, vibrations and electromagnetic oscillations, which transform into colors, movements, lights and sounds.
Synesthesia is the fusion of sensory perceptions in a single sphere of distinct ways. Although the brain is characterized by brain areas separated from each other, each capable of receiving stimuli from different sensory receptors, making travel routes perceptual different, nevertheless, synesthetic interactions occur, for example, listening to sounds that cause a color perception without there being appropriate to the stimulus. These synaesthesia can influence the creativity of an artist overlapping objects actually present in the perception of color, light, sound, different shapes and emotions, affecting, thus, the aesthetic value of a work.
If we place ourselves outside of the space in which we exercise sensory perception, we enter the world of creative imagination, concepts, and then the imagination. The ideas produced by creative, far from sensory influences, transmitted through generations and shared among different civilizations, can play a strong value in cultural development.
Associate creativity with synesthesia, signaling interconnection between the physical structure of the brain and creativity, and recognize relationships between specific brain areas and particular connections that determine the ability to identify new relationships, implies the presence of functional cells to join perceptions and concepts, even remote, predominantly present in some people more creative. Susceptibility to creativity takes tremendous value to artists and, in general, for any thinking being. Ultimately, the creation and use artistic arise in the broader context of neo-Darwinism returning, so, in the broader context of evolutionary biology.
The respected scholar of developmental psychobiology, Ellen Dissanayake, said that "the arts are propensities of human nature, the result of biological evolution: the characteristics that distinguish the artistic expression have helped our prehistoric ancestors to adapt to their environment and then to reproduce successful generation after generation. " This concept is reinforced by the British neurobiologist Christopher Smith when he says that "according to evolutionary psychologists, most of human history was experienced by hunter-gatherers of the Paleolithic period. Consequently, the men of today, if polled, show a clear preference for savanna-like environments than others, and that areas where the water abound, the big trees, semi-open spaces, the undulating landscape, the views of the horizons and moderate complexity. [...] Other landscape features that prove attractive in all cultures are those that include elements of 'mystery' ... perhaps because they fuel our ancestral 'thirst for knowledge' .... " And psychobiologists Eckart Voland and Karl Grammar, in their book, Evolutionary aesthetics, added: "orthodox evolutionists identify the aesthetic with the adaptive value and interpret terms such as 'beautiful' or 'good' as indicative only, choices and judgments that in ancestral environments tend to provide a greater reproductive success. "
"They had, in fact, more likely to survive and reproduce those of our ancestors whose genes associated, through the intermediary of neuro-hormonal system, feelings of well-being, happiness and pleasure to the perception of images, sounds, colors and landscapes in which they were entered, and, even more, associated with the image of their peers, which in fact had developed a tendency, which is also advantageous, to share feelings, emotions and feelings. "
There remains, however, be interpreted in a key to understanding evolutionary biological characteristic of the art to amplify the emotions and feelings that aims to convey.
Edward Wilson, the father of sociobiology, says: "The arts are not only creating a bizarre genius, whatever its historical context and his own experience. The roots of artistic inspiration lead far, in more remote to the genetic origins of the human mind, and are permanent. [...] The exclusive role of the arts is the transmission of the intricate details of human experience through the artifice to intensify the aesthetic and emotional response. Works of art communicate the feelings directly from mind to mind, with no intention to explain why this impact occurs. "
This imagine the extreme emotions and feelings was also honored by the selection. The secret of the fact, would be just that: knowing how to evoke and at the same time, through a mastery of technique, communicate to share universal feelings and emotions. The artist in short, is the author able to resonate with other human beings themselves tapping those keys that are sensed by leveraging the most sensitive, albeit unconsciously, deeply hidden, and on that foundation common to all men, that foundation, evolutionarily speaking, is the a priori for the individual but the a posteriori for the species.
We need also seen as a perfect mastery of technology since the end of the twentieth century, the pioneering computer science applied to art, predicted a quick alternative to traditional techniques with computer technology, then, from the beginning of the twenty-first century is proving more and more experience, improved and the prerogative of many artists allowing them to release more of their creativity and take, backward, evolutionarily speaking, those areas established by universal emotions and feelings but with the expressive potential, only a few years ago, unimaginable. The major technological innovations in art, have always determined to be a part of a watershed that has relegated to history because until then won but on the other drew those new paths, both immediately and in the near future, represent a new dawn of artistic expression in general.
The artist's hand, an extension of his creativity, is leaving the brush bristles and replace it with the mouse.