1983, Portomaggiore (FE)
This photographic series wants to generate an investigation process on the relationship established between photography and culture, on the relation created between the photographic language and the perception of the society, triggering the mechanism of intellectual comparison through the relation between work of art and spectator, therefore catching up a further degree of knowledge generated by questions originated from the introspections that you find in this relation.
Analyzing what is already known, or you suppose to know, under another perspective, questioning everything, only in this way it is possible to get a knowledge not dissimilar from that handed down to us from the Greek myth, where the man is a curious experiment of free will constantly oppressed by universal forces.
From the etymology of the word metalogue itself, you deduce the concept of going further, beyond a limit, overstepping the contemporary way of schematizing the knowledge based on the linear custom of logic, and the more and more specific sectorization of topics, by extrapolating them from the wider relation that sets in the culture.
In the beginning of the volume Steps to an Ecology of Mind, the anthropologist and philosopher Gregory Bateson with the term Metalogues indicates a series of fictitious conversations, dealing with among the most peculiar topics, seemingly almost disconnected each other. The topic of which they speak is just one: in which form we think.
Through the Metalogues, Bateson delivers us a concrete example of what is the meaning of approaching to a topic with a cognitive attitude, rather than with proper methods of reasoning only for classify the knowledge in stylistically well worded theories. It is the structure itself, triggered by the comparison, that generates the logical sense of conversations topics; the dialogue always moves between intellect and emotions. We never conclude with certainties, leaving the possibility of others doubts, as if the answers generated in the conversation hadnít any other purpose than producing further questions.
So, what is knowledge?
Possibly to repeat what men want to hear ? Or is it not rather to face the terror of emptiness, the ability to sustain the view facing the blinding glare of the knowledge ? To go beyond the ordinary and schematics ways of cultural education, placing us in the condition of being outside of intellectual comfort zone to which we are socially accustomed.