THE STRING project aims for a complementary approach to the pyramidal systems, withdrawing from the orbit of pre-existent behavior patterns. The relationship between the environment and the artist is assumed in a formula that reverses the poles and transcends the selection criteria. THE STRING emerges as a compulsory approach, a reconfiguration and a mutation in a matrix that proposes the configuration of a dynamic and open system.

 

The transformation of the social models in relation to the broadcasting power of the new technologies has come to produce over the last decades cultural mutations and major paradigm shifts. It is the first time that the act of creation is not anymore subsumed exclusively under a verifiable set of values and cultural niche models succeed in transcending both the benchmarks and the anti-benchmarks of the conventional systems. The media and particularly the influence of the new technologies contribute increasingly to the distillation of the influence of the organized systems. Contemporary man is more and more sensitive and reactive to the virtual space genetics in which the cognitive functions and the experiences convert into an informational Big Bang that overturns value systems. Thus, on the macro level we notice the occurrence of new cultural models that emerge from virtual to real, within a reverse process of assumption. The media and the social networks become able to impose more and more frequently their own cultural products forcing a dimensioning of the critical analysis. We could say that the most spectacular aspect of postmodernism is that we witness a time compression, a dissolution of chronology, a conversion of all times into simultaneity. At this moment, the cultural ages of humanity coexist in the network.

 

In this context, THE STRING emerges as a project that assumes a solid social stake aiming to restore a symbolic unity in a global society that faces a dramatic period. We are all in a key moment when we can decide on becoming a strong collective consciousness capable of transgressing whatever social, cultural or religious differences. Such a major recalibration might be the only answer to the future of humanity. THE STRING stands as a document witnessing this difficult time the entire humanity is facing, a parchment in a continuous process of being written, a work of an artist but at the same time a collective one that accumulates in a single work of art the informational load of present-day collective memory, a document with an artistic value and also with a well-defined socio-cultural function.

 

The essential stake of the project consists of an identity juxtaposition that stands, in allegorical meaning, for the interdependence between human subjects and the fact of having a common essence: forms of feeling and primordial experiences. The fundamental needs and aspirations are always mutual, no matter how strident the mismatches of values ​​and visions in the management of the critical thought may seem. It becomes an urge to refocus the core, to recuperate the main values ​​and ideas, to put an exclamation mark in front of the expansion of relativisms and to temper the deconstructionist fever that has blown up the idea of ​​common truth, but, more than anything, a call for solidarity and human cohesion.

The transformation of the life styles in the new social context attracts new expressive necessities that art captures and reshapes more than ever in the network. The signals emitted by the social mind are subject to multiple interpretations within the artistic act, being continuously resized and redefined. From the beginning of the previous century, artists were concerned with the issue of transposing the temporal element as a succession of moments in the opera. However, in post-modernity it became imperative that art encompass the plurality of cultural and existential spaces. The development of consciousness brought not only an increase of reflexivity, but also a multiplication of reality in a series of representations in tension with each other. As the existence gets rationalized, it also gets virtualized, fractured and multiple cracks begin to show when seen in the light of consciousness. Over the past decades, the movements from the art fields have molded to the body of this schizoid reality, perpetuating and advancing the fragmentation of the social and existential frames. Fractures are created on all fronts: between the fact of being and the feeling of being, between understanding and act, between movement and its meaning, between experience and interpretation, between the living and the conceptual body, between groups, people, identities. This fact requires, almost vitally, the emergence of an opposite artistic formula able to reproduce, on another scale and investigating an insufficiently explored territory – the borderline between the real and virtual - the origins of the artistic creative act in its genuine, primary form, an act meant to break the codes of the deviant rationalizations that produce these existential and social distortions and segmentations and that would lead to an ​​understanding in resonance with the intrinsic human nature. THE STRING investigates this borderline zone in an interactive work of art and having a social stake, an artistic act of reintegration into a supra-personal human cosmology that involves minimalist expressive means, an organic approach to the conception that art is, fundamentally, a fact of communication, where communication is understood in Aristotelian terms as progression from the speaker to the speech, to the environment / "occasion" of the speech, to the audience and to the effect it produces.