The Visionary Of Novelty

Redefine yourself in terms of the ability to explore your limits, reducing the contradictions between what you capture "on the fly" and what is lost "in waiting."

As I traveled throughout life, the image of the unknown, under the appearance of a detail from a whole of the all-inclusive order, followed me everywhere. Without my will, among so many amazing landscapes, my first thought went to it, because all that I was observing was only a reflection of what I couldn’t see. And a view of what is interpretable towards a holistic approach facilitates a variety of answers from which nothing can be understood.

Novelty is the theme of an artist looking for a way out of an incomprehensible reality; from this point of view I was at the limit between utopia and absolute truth. If I wanted to introduce everything I saw in a new form of knowledge, it wouldn’t have meant tying myself to a sort of deductive guidance, unshakable in the belief that something accessible needs to exist behind the difficulty to explain phenomena, highlighting the importance of my own change in agreement with a world that also changes on another level.

Novelty is created by the fact that your conception of life is positioned in the center of thinking that favors the part of the vision that is outside the central gaze, focusing not on what happens to you, but on the understanding of what makes up a happening. It is what characterizes an artist who shows the world not in the way it looks in a passing moment, but according to how the elements of knowledge of a reality beyond the immediately visible, which surpass any expectations, combine.

What is your stance on all the experiences of life in a reality undermined by illusion, if not even replaced by it, against the background of seeking inspiration to make sense of your representations of knowledge?

On a journey from one city to another, the train travels without stops, but even so, it takes the traveler little time to get the rules of an exception imposed by giving priority to discerning the secrets of a view based on modifying earlier perceptions.

My stance on experiences experienced at such a moment that has been rushed by mental logic was that of a spectator of a world in continuous disintegration. And this, because every phenomenon that we capture in the course of recording shows completely different variations of tendencies, often contradictory. The scenery was gloomy, debilitating, clouded by clouds, at times complex and interesting, but even under these circumstances it seemed quite sad as I lacked the ability to change something.

The view is erased along with the beginning of something new, not because it wasn’t immortalized, well imprinted on the retina of memory, where there is little reduction potential of contradictions and questions, but because it is always easier to start something than to finish it, just as it is easier to build a new building from the ground up than to restore an old one.

I was left only with waiting to have my thoughts reach as far as possible to obtain new views, no matter where or how, essential being only the curiosity of finding out as much as possible. But the fear of the sin of getting caught in the present made me forget everything I saw, everything I would discover on the journey. The only testimony that I didn’t capture only background things included the possibility of being a unique exemplar of a visionary of originality.

But the desire to see as much as possible ran faster than I thought, towards the platform of another station, and the strange curiosity of descending there always remained behind me. For this reason, probably, I felt haunted by a moving image in any static place. But I also rejected these once the train started moving.

Can you change the rules of an exception imposed by giving priority to unraveling the mysteries of views based on modifying earlier perceptions?

Everything I saw was in fact a sum of beliefs, our perceptions of reality. Exceptions are those cases in which we are unable to distinguish those glaring things, in turn, we see what we are not prepared to believe. Or we distinguish only what we can immortalize, what we do not know, but not necessarily what we are lacking or what doesn’t suit us.

In art, by exception, the absence of vision from which creation has its starting point is found. People who fail to assimilate a knowledge through revelation, following those personal experiences of capturing novelty, through combinations of images and passing moments, will never be able to understand leadership from the perspective of the ability of exploring their limits.

The priority to reveal the mysteries of views based on changing previous perceptions is to give importance to that “passing moment” that cannot be repeated and which must be appreciated now before it flies and disappears forever. In this regard, an analogy with a journey between different cities is welcome to prepare the next revelation: “Anything you hold dear is a thing you can give up on when faced with events you unexpectedly take part in.”

The knowledge of an artist has as a specific the power to change a reality that is revealed to him shortly in a passage from a set of vague, interpretable and non-transparent criteria to a set of clear, measurable, palpable criteria.

In the novel “The Name of the Rose” by Umberto Eco, is this fragment I often returned to because it provides me with some insight on the concept of priority:

“But then, I know well, I started to get attached to the sense of resemblance: anything could have mysterious analogies to anything. When I came back to Europe, I transformed this metaphysics into a mechanic, and that’s why I got into the trap where I find myself nowhere. Since then I’ve been spinning in a twilight where differences were canceled.”

Novelty is the beginning of something seemingly banal, but which continues towards something much more complex, as the contradictions between what you capture "on the fly" and what is lost "in waiting" intensify.

And a man who explores the approach of reality from the perspective of the ability of understanding his own personal experiences and his own journey should try to compare the distorted perceptions of distant or close images with the messages that can appear from those two contradictions.

The images you process "in your passing" through the world, sometimes forcing a sort of deductive guidance – a form of straying away from fixed points of view, are in fact absorptions of various details that can serve as a correction of evaluations of situations or as a deciphering if meanings of existence.

Leadership is the image you form about a reality in which you are constrained to accept only the extreme of a vision, and reject the other.

The Visionary Of Novelty is dependent on the curiosity of finding out as much as possible, steadfast in his belief that something accessible needs to exist behind the difficulty to explain phenomena.

If you want to get as far as possible with the efforts of extending your horizons and vision of existence, turning any journey into a sort of conclusion to the observation of peculiar phenomena, learn to tip the scales of identifying new images in favor of the predominance of an essentiality that will be the content of a logic in the way of constructing your own world.