The gradual passages of history
have taught that to attain the other or its inverse we must mediate among possible alternatives, even the most senseless, transforming theoretical frameworks into shared cultural heritage where all may find reflection and belief. Here, the aim lies not in new architecture or architectural language, but in a spasmodic demand for novelty rooted in the complete negation of the old.

Consumerist society has spawned human monsters; within art born of the age of reproducibility, we witness the anguish and conflicts of a civilization castrated of its creative imagination. Architecture endured a long slumber, feeding on art's ancient treasures or deifying a modernity counterfeit, distorted by progress's doubts and uncertainties. Should art conform to the standard of living imposed by industrial science, it must adapt its language, yet this is not to alter the essence of humanity.

That remains immutable: technical means will dictate methods of realization; matter will act upon form according to its own expectations. Processes of materialization may change, but not those of dematerialization. The architect's task, today and tomorrow, is to discern what belongs to humanity, submitting it each time to analysis and research: extracting the actual from the inactual, the new from the old, transmuting magic into science, words into concrete facts for the mind, not merely the body.

Adherence to rational rules constricts modernity; opening horizons to instinct-driven alternatives may forge a new starry firmament wherein all flights become possible, achieving unity among peoples, minds, cosmos, and soul. To deny a prior culture's poetic, ethical, and moral contributions is paradoxically to revalue them; it admits we remain within the very history we repudiate.

Ecstasy cannot bloom from such reductive premises. Rather than narrow cognitive inquiry, let us open minds within and beyond history, transcending the uncertain frontiers of science and art itself. Let us create art from everything and nothing; conceive creation as intrinsic to this body and mind that render us magicians, geniuses, gods, humans of the cosmic civilization.

From Design of New Words. Meaning of the Form by Filippo Lo Presti 1989

With the evolution of technological systems
representational techniques also undergo considerable changes. The limits of realization are raised, receptive frequencies expand and amplify, and other forms of expression find greater resonance in conversion to resolution systems more coherent with the requirements of the current era.
Things seen are represented, as are things imagined, and the vision of things tends to represent itself as a permanent sign in reality. Drawing translates the idea, the image of thought is externalized in the representation, the sign is.