This research is based on the formal and analogy between the graphics models used by the barcode system.
Traceability, control and critical evaluation of the data are correlated to the reactions they produce on human thought, the so-called noosphere. The industrial systems, included in what we nowadays define “market”; the industrial landscape, to be intended as urban architecture, and the exchange of knowledge sum up in the ‘demand and supply’metaphor and are reduced to their own use. The mixing of genres is thus translated into a sociographic approach, influenced by the superstructures created by the overlap between thought and image. A mirroring that is nothing but the phenomenological sum of content and container. This contemporary imaginary is comparable to the constant remodeling between demand and supply and by the deeply-rooted automatisms of the system we live in, thus producing a faster and more dynamic data flow. Like a liquid, the thought becomes more and more shared and unitary, still responding to the logic of a present almost impossible to stop and bring into focus. The images, so-called Barcodes, are hence to be intended as the reflection of this sensory and perceptual alteration’s process advanced through the combination of optical manipulation, literature, and simulated reality.
The author addresses from an aesthetic-technical point of view the transition process which essentially turns the mimesis from “iconodule”, that is generative and venerable, to “iconoclastic”. There is thus a shift to a conceptual level by focusing on the thought of an image more than on the subjects tout court. The process starts by filtering the idea of an objective reality through a purely optical manipulation, thus allowing the fleeting present to test itself in metamemory. The reproduction of information is spread in the reality and appears in patterns. The original drawing or landscape thus turns into luminous structures. It is an “iconoclastic” operation, in the very etymological sense of the term that is “destroying images” which could remind of a mosaic. The implemented process could be defined “pure documentary uchronia”, as it produces a hypothetical subject, simulated on the basis of realistic data. These kinetic appearances obtained in just one and precise shot, exquisitely without the aid of either post-production photo manipulation, or multiple exposures, are the outcome of an analysis which brings to light that optical unconscious which many theorists, such as Rosalind Krauss, Walter Benjamin, and Franco Vaccari refer to. This research consciously compares the photographic language by verifying it in the range of the features pertinent to photography. The addressed genres are, in no particular order: documentary, landscape, urbanism, and nude. The research also includes other factors, such as the movement of luminous objects in the space. The study of the metalanguage results in a new direct visual experience
BARCODES still in progress.