getulio alviani: specular interrelation: concave = convex “Transito” (specular interrelation: concave = convex) consists of a number of rotatable semicylinders of specular aluminium suspended on a horizontal axe crossing the space. The dimension of the work is determined by the dimension of the surrounding space. The semicylinders, alternating concave and convex shape, not only absorb the colours of the space, but register as well the movements due to the viewer’s moving among them, a continual mutation of reflected images that can be used at the state of primary and global psychological relationship. Alviani’s geometrical structure not only questions light and the vibration it produces in a space occupied by unusually receptive surfaces, but he goes on to probe the sound corresponding to light.
Since 1967 he put side by side to this plastic work Pietro Grossi’s algorithmic music* which he considered congenial to his visual researches.
The viewer is confronted with a sonic experience constantly on the boundaries of what is determinable. The infinite constituents of sound annul themselves in incessant mutual refraction.
* CAAC (computer-aided algorithmic composition) consists in formal proceedings to make music without human intervention by composers using indeterminate (stochastic) modalities.
Pietro Grossi, 1917, Venice, Italy , died in 2002. From 1942 to 1985 he was Professor at the Conservatory of Florence where he taught electronic and computer music. In 1969, he set up the ‘Vita Musicale Contemporanea Association’ and in 1963 the ‘Studio Fonologico Musicale di Firenze’. A few years later he became head of CNUCE in Pisa carrying out researches on computational musicology, automated composition, design of sound-synthesis systems and musical telematics. He coined the term of Homeart consisting of completely automated visual processes, based on simple computer programs, giving space to randomness in the context of a single composer’s idea, developed into many different graphic variations.“HOMEART is: mental relaxation but, paradoxically, a commitment to the creation of one’s own place of rest/work/study with sound, sign, colour” P.G.
