Architecture Of The Soul. Image of the internal form
Architecture of the soul, that of the sensations dominating man more than functions, the architecture of the spirit where the harmony of idea and its undisputed symmetry, given by purity of meaning and use, find space; the architecture of the psyche, where the corporeal and spiritual mind negotiate a just and appropriate mediation that materializes in function but rises from the depths of thought, from the idea.

Nothing can be built out of nothing
A construction presupposes a previous destruction, even if this is simple empty space; the object, the "non-object" marked by the boundary, the consciousness of the object itself, in their "corporeal" union will give rise to the phenomenon of the transformation of form. The remains of the old temple will be used for the construction of the new temple; the same stone blocks will tell the eternity of form. Memories of the concept of transformation in various philosophies and sciences, where nothing is truly created or destroyed, but rather transformed from one state to another.

The introduction of the computer
in the architectural field not only expands the graphic boundaries, but also the poetic and perceptive ones. The possibility of translating the architectural project for the machine generates more complex relationships than the simple man-machine bond, widely discussed by experts and critics. In the case of the computer, which acts as a control of the machines themselves, there is a further opportunity to integrate different addresses and cultures into a single calculating element, ready to process data coming from multiple knowledge with the aim of creating a common language.

Petrification and identification
Architecture is born and develops in two phases parallel to the representation of the spiritual and physical being: petrification and identification. The first as a transcription of oneself and the world in sign and form, the second as an artifice connected to the nature of the universe and to the soul of man and things; in the latter lies the hidden geometry of the work as well as the concentration of the forces of nature.

The inner form of things
Drawing from the currents of history, the position taken by Plotinus proves particularly significant, standing in contrast to the mimetic doctrine of the Greeks and Romans, who believed that representation was the primary function of literary and visual arts. This evolution of form is considered a decisive step in the history of aesthetics: the transition from antiquity to the Middle Ages retraces the same paths left in ancient times, just as modern language relates to the neo currents of the late nineteenth century.
“The arts do not merely imitate what passes before our eyes, but rise suddenly to the ideal forms from which nature was born. And let us not forget that the arts create by themselves; indeed, where something is lacking in nature, the arts add it, for they carry beauty within themselves.” (Plotinus, Enneads).
The mediation between man and art, in Plotinus, refers to a broader concept: that of ideal forms. More than that, it transfers material form into spiritual form, connecting directly to the vastness of the soul’s world. Beauty is identified in the soul, not in form, color, or size. The key lies in the to en eidon, the “inner form” of things ... read more

From "Design of New Words" Trasmigration Of Form by Filippo Lo Presti 1989

On the Faculty to Produce Perceptions of Absent Sensible Things and on the Image of That Which Has Never Been Perceived by the Senses, Through Division and Composition of Images

The general sense, which encompasses and coordinates all other senses, perceives across multiple domains: physical entities, sensible phenomena, and ideas, whether present, absent, past, current, or future. All objects are, to some extent, sensible; at times merely visible, at others both visible and tangible, and so forth. When an idea migrates from its initial state to a form of external representation, passing, for example, from a mental image to written form, a shift in rhythm occurs, an alteration of its prior stillness. If this transition unfolds with creative intent, it materializes in various forms: painting, sculpture, architecture, among the most evident ... read more

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

Avant-garde: The Language of Transgression. The Eye of Knowledge

The vastness of the traditional photographic repertoire, understood as unaltered depiction, is considerable. Optical alteration, once perceived as a transgression against nature from the earliest uses of corrective lenses for the eye, has gradually been canonized, at least within the realm of art. Access to this altered world, the freedom to modify or perceive reality in a modified way, becomes aestheticized in out-of-focus figures, veiled by clouds of pure white or by undefined hues blended into the form itself. Through prolonged exposures and moving objects, different stages of a single action are fixed in one image, allowing the continuity of a gesture and the correlation between its parts to be perceived.
Photomontages, moreover, admit the coexistence of two or more distinct realities within the same space. Thus, a prehistoric man, mounted photographically alongside a modern man, may belong to a shared temporal reality, inhabiting the same space-time. The annulment of time allows two historical enemies to shake hands in a single photograph, despite the centuries that separate their lives ... read more

From "Design of New Words" The Eye of Knowledge by Filippo Lo Presti 1989

The expansion of the word is, in essence, the topic that most closely concerns architecture.

The interpenetration of immobile and mobile bodies, the concept of out-of-scale, the tension between dynamic and static, the mania for grandeur: all these elements, observed through the eye of knowledge, interact in memory and correlation, within an intentional game that surpasses them.
The eye of knowledge - a magical expression of an awareness not yet reached, of an unknown but present knowledge - does not limit itself to being a critical tool, but becomes a perceptual-critical-creative device. In the context of experimentation, it proposes to compare and expand the listed elements, unifying meanings and relating them. The expansion of words amplifies the perceptual field, modulating the thickness with which images are perceived ... read more

From "Design of New Words"
The Expansion of the Word in Art and Architecture by Filippo Lo Presti 1989

In exploring the architecture of language
the eye of knowledge lingers on a hypothetical premise: the “before” of the word. We can imagine the word itself as a threshold, an ideal doorway. To cross it is to enter a realm where multifaceted meanings invite exploration. The door thus assumes a dual condition, both physical and symbolic, defined by the general sense the word embodies. The place that gathers all the doors of knowledge is an open courtyard, exposed to both sky and earth. Its floor, suspended in the void, offers a vision of the ground below, while the sky serves as its ceiling.
Each word corresponds to one of these ideal doors, which, at our command, open onto constellations of interconnected definitions. The matrix that generates them is unique, yet its essence modulates, transforming each term into an autonomous and meaningful entity. The expansion of a word’s meaning allows for amplification, drawing out the elements most akin to our search. This process invites us to investigate the qualities of the space preceding the word. Imagine communicating an idea without verbal language: gesture emerges as the first vehicle, an instinctive and immediate expression of intention ... read more

From "Design of New Words" Before the Word by Filippo Lo Presti 1989

Seeing remains an intrinsically subjective act
Gesture and word can be controlled, even censored. Writings remain; words, instead, fly — and with them soar the meanings one wishes to attribute to them.
The non-word, or rather the pause, is the receptacle of a silence that is only apparent. That void, an indeterminate space, dictates the rhythm of communication. The potential regressions within the interstices between words share an intuitive sense with the words themselves.
The precognition of a future event not only identifies its possibility but also intuits its physical characteristics, to the point of predicting them. Well-known, for example, are the capacities to influence atmospheric agents attributed to the Polynesian peoples, as is the ritual use of lament to soothe pain.
The power of mental action is immense, even in the definition of architectural structures. Of this space of the word, of what precedes it and what follows it, many have interpreted the general sense, but few have fully explored its possibilities ... read more

From "Design of New Words" Seeing is subjective by Filippo Lo Presti 1989

An imagined future
or the imagination of the future presupposes the fragility of the present, understood as the sum of past and future in a continuous becoming. The notion of time and space leads back to the theme of proportions and their dynamics, where every measure is a relation and every relation a transformation.
The singularity of the case allows for a perspectival vision of the world according to predetermined ‘points of view’, in which space-time alterations are governed by mathematical-geometric rules. From the Classical to the Modern, the ‘representative vision’ of reality, defined perspectivally, shifts toward a different reality, altered by the interrogative molecules of the new. The succession of representational models, in their temporal relations, disconnects the function of the eye from that of the mind, in individual moments of existence. Once renewed, the visual-mental representation overturns the previous one, probing the boundless undergrounds of sky and earth that dwell within us ... read more

From "Design of New Words"
Avant-garde: Architecture of Words by Filippo Lo Presti 1989

Painting, Perspective, and the Cyclical Nature of the Gaze
It is a well-established practice to relate the phenomena of sight and representation to the evolutionary movements of history. The way objects are depicted functions as a kind of “instant photograph,” a thermometer capable of measuring the cultural, ethical, and social contents of a given era.
Perspective, understood as a technique for engaging with reality, fulfilled the clarifying needs of a specific historical moment, one in which the observer’s central viewpoint aligned with a worldview that elevated the uniqueness and centrality of the human being to canonical status, in contrast to the multiplicity of the surrounding universe.
The artistic avant-gardes introduced a decisive shift in the visual and representational field, dismantling the principles of central unity and introducing multiple optical “angles,” each corresponding to perceptual situations radically different from those that preceded them ... read more

From "Design of New Words"
Frames of the VisibleFrames of the Visible by Filippo Lo Presti 1989

The Dome Between Divine and Human
It is well known that the theme of the dome is intimately linked to that of the eye: vision and the ability to frame a portion of space through the visual organ concern not only the artists of the Quattrocento and Cinquecento, but also the historical avant-gardes, ready to symbolically transform a culture oriented toward gravitational stasis.
Cubism challenges the frontal perspective conception, exploring the collateral spaces of inside-outside, high-low, above-below, and producing a series of mirrorings, dissolutions, and superimpositions of the primary perspective image. The multiplication of viewpoints coincides with the impossibility, or the will, to control space, a distinctive trait of a culture in full technological evolution. The new compositional canon, which influences architecture in its most organic forms, translates what pictorial experimentalism achieves in completed form. The decomposition of the plastic planes of architectural space leads the architect to formulate a masterful question, which still today finds no definitive answer: if architecture, as a three-dimensional system, can satisfy the need to evaluate the possible ‘faces’ of a building, it must also succeed in expressing, in a single ‘facade,’ the intent of perspectival superimposition of all the constituent elements of the architectural organism ... read more

From "Design of New Words" The Stone Eye by Filippo Lo Presti 1989

The ultimate metaphor of this process, a continuous rotation of perception and creation, where art and thought spiral into one another, endlessly renewing their orbit.

It changes the conception of the work of art: from being representational it becomes a creator of objects, whose nature, departing from the canonical, allows the realization—within realistic terms—of forms autonomous in both structure and function. Severini’s Dynamic Hieroglyph of the Bar Tabarin (1912) has yet to find its architectural counterpart; its mental dynamism, like that of Michelangelo, floods the space of architecture, assuming the guise of an ideal dynamic.
The material texture of Gaudí’s works, impetuous and vibrant, anticipates the “sculptural” achievement of architecture: forms shaped by undulating flows that annihilate the straight line and advance toward the ultimate threshold of meanings that past art could still offer. Architectural Cubism unfolds within the first material superimpositions, from which all other movements allow their future micro-explosions to seep through. Once the Cubist concept is assimilated, uncontrolled abstractions find their development ... read more

From "Design of New Words" The Sphere and its Motion by Filippo Lo Presti 1989

Reincarnation of the Material Spirit

The fragment rises as a fundamental theme of the indivisible, of expressive continuity in relation to the eternity of Matter. Traversing the distance between the perceived universe and the conceived universe, through the mathematical concept of the limit, one arrives at the formulation of the Whole: the primal and indivisible elements are the geometric magnitudes themselves. The intuition of the two realms, perception and thought, is laid bare by calculation. The science of precise measurement makes its entrance into modernity. The telescope, in its discovery, "discovers" a constellation of re-found objects, to be inserted not as new objects into common optics, but as new realities. The perpetual transformation of the real condition reminds the eye of knowledge of the elliptical trajectory of the planets and the apotheosis of the spherical work, the essence of the circle. Art, made into a "magnifying lens" for the re-found objects, ceases to be chronicle and becomes a tool of knowledge, once again expanding the horizons of sensitive optics. This very instrument compresses distances: between spaces of perception and between the space-times of an eternal becoming ... read more

From "Design of New Words" Metempsychosis of Architecture by Filippo Lo Presti 1989

The wall deception repeatedly proposed by Theo van Doesburg

does not constitute an original contribution of Neoplasticism. One need only recall the optical-illusionistic prophecies of celebrated mural frescoes, where illusion served as a threshold between imagination and perceptual reality. If the walls of the past were adorned with perspectival visions and trompe-l’œil effects, then the only plausible motivation in favor of Neoplasticism might be ornament itself.
Surfaces that “ask to be animated” articulate a specific and quantifiable demand. The architectural need for ornament divides façades into two broad categories: ornament of architecture and ornament for architecture. A third position emerges when architecture becomes ornament in itself, a dilation of the architectural concept that presupposes the will to unify the two terms. Historically, there have been moments when architecture and ornament coincided, their definitional boundaries conditioned by mutual conceptual interplay. In such cases, the distinction between the two dissolves, and unity manifests in one of its guises—spontaneous, unlimited, and indivisible ... read more

From "Design of New Words" The Aesthetics of Ornament by Filippo Lo Presti 1989

The artificial ornament: Las Vegas
R. Venturi defines his aesthetics of ornamentation as follows: “The casinos and lobbies of Las Vegas are ornamental and monumental, open to the strolling public. With the exception of a few old banks and train stations, they are unique in the American urban landscape.” The temple transformed into a gaming hall: these are Venturi’s ornaments. “America relates to the Strip as Rome relates to the Piazza.”
Las Vegas remains, nonetheless, the most intensely artificially illuminated point on Earth, populated by true neon colossi. Entire buildings, hotels, casinos, shopping centers, become ornament through their architecture, in a continuous overlap between structure and decorative apparatus.
In the realm of artificial illumination, the architecture of Las Vegas is a daily manifestation of luminous power. The competition among the various owners of the gambling-cathedrals transforms the building façades into graphics of attraction and power over the public. At night, the frenetic play of light makes the building blocks swell upwards, downwards, left and right, creating a labyrinthine kingdom in pursuit of wealth ... read more

From "Design of New Words"
The Unity of Architecture and the Ornament of Las Vegas by Filippo Lo Presti 1989

What for Michael Graves is a mimetic ornament, in Aldo Rossi becomes a conceptual ornament.

Even within contemporary architecture, the two values can be clearly distinguished: in Graves, the planimetric vision projects an architectural ornament most evident when perceived from above, as if one could imagine a script legible from the sky; in Rossi, by contrast, the “planimetric” conceptual ornament emphasizes the rational classicism of the sign.
Ornament, through the use of material, even in ephemeral contexts, proposes a scientific understanding of that material. It defines the juxtaposition of materials and their spatial limits within clear boundaries. In the work of Aldo Rossi, the ornament of an opening (like a window) is simply its trace on the wall. Its identity as a window is conveyed not by a traditional arch or pediment, but by its essential, point-like presence. This act of certifying the window's existence in the real world negates the need for additional material juxtapositions of ornament. Thus, the architecture is adorned by its own essential elements ... read more

From "Design of New Words" The Nature of Ornament by Filippo Lo Presti 1989

The artistic avant-gardes of the early 20th century,
together with their explorations of the interchange between the three spatial dimensions and time, conceived by Einstein's theory as a fourth dimension, established a profound link between scientific discovery and artistic vision. Constant allusions to space-time concepts permeated both architectural and pictorial works, forging a dialogue in which art and science collided, converged, and diverged. These encounters found connective resonance in the Neoplastic poetics of De Stijl, as well as in the Futurists' radical rejection of science's presumed objectivity and impartiality.

Futurist antipathy toward science was driven by its refusal to grant a fantastical, liberating precognition of future events, and by their recognition of a dissonant parallelism between scientific rationality and creative inventiveness. In practice, this stance amounted to a paradoxical embrace: an acceptance of scientific theories coupled with their simultaneous rejection. This contradiction is all the more striking given that the Futurists themselves were deeply engaged with studies on the energetic qualities of light and the analysis of motion—the very foundations that underpinned their own kinetic-dynamic theories and informed the optical-volumetric decompositions of space-time in both painting and sculpture ... read more

From "Design of New Words" Super Realistic Abstraction by Filippo Lo Presti 1989

Analyzing the architectural object
within the framework of the two principal currents of thought allows us to delineate the temporal thicknesses of architectural matter. At first glance, it is essential to emphasize the absolute priority of the formal argumentation that developed in relation to the theme of abstraction; in both cases, the architectural object remains a physically determined construct, defined by its spatial coordinates. Yet the expanded vision introduced by Einstein’s theory of relativity adds the temporal parameter to these “classical” coordinates.

The qualitative shift, in fact, does not produce substantial modifications in the conceptualization of the architectural project, but it intervenes formally within the decompositional language of Neoplasticism, understood as a linguistic model that enacts a true and proper destruction of the object. In the subsequent formal recomposition of the work, only a few strokes are added to the object’s ideal morphology. The outcome, methodologically coherent, nonetheless bears the mark of the ... read more

From "Design of New Words" The Architectural Object Between Space and Time
by Filippo Lo Presti 1989

To see within architecture
to grasp its most hidden secrets, is the task of the architect, not merely the one who builds houses, but the one who knows how to uncover what lies concealed within them. To discern the salient connections in a discourse composed of seemingly unrelated elements, such as stone and iron, though both generated by a common matrix, or between objects of altered dimensions, is one of the architect’s deepest aims.

The tree-man, having become a column, expands, narrows, wedges itself between corners; then it disguises itself with bricks, dresses anew, changing its garment into cement and iron. Eventually, the cement melts away, leaving behind a skeletal body—bony, naked, earthy. At that point, it takes flight, migrates from one place to another in space, becomes absent, turns invisible: it is there, but cannot be seen. It can be felt and touched, yet its effect is inconsistent from afar; up close, however, one can sense its purity, see its brightness.

It is a column whose soul shines through the glass of its body. The invisible man finds shelter within it, wishing to appear invisible to himself and to the column. Absences and presences alternate, generating the games of the world, calculating the unforeseen and making it appear as chance.

By revealing their form, ideas reach us, just as the multiplicity of messages arriving from outside ourselves. To understand through the attentiveness of the senses, to compose the variety of worlds at our disposal, as well as to hear, to write, or to draw, these are methods for learning our essence, models of intuition in approaching the “inside” of things, the sensibility emanating from the multiplicity of materials and forces that surround us.

From "Design of New Words" To see within Architecture by Filippo Lo Presti 1989

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

Theatre of the world
People on the same planet grasp the inconsistency of matter in abstractly different theoretical formulations. With the abstraction of the geometrized form, the ecstasy of the body is not achieved, but the definitive cancellation of the object. Nomination, gestualization, body language, manifestation, theater and music, as well as architecture itself, remain isolated in the mysterious and still unknown universal system. The editing of abstractions, motivated by external arguments, is affected by the incompleteness of the limit; theaters of the total, of the politician, of the mechanic, translated into educational theaters, stage the city of tomorrow too often theorized in ideal visions that stagger between the neoplatonic and the fantastic.
The Futurist surprise and the Hollywood musical dress the corporeal city with a degree of authenticity that only the point-like sets of flying machines can know, waiting to transpose the theatrical newspaper into the uncontrolled metropolitan abstract. Tomorrow's puppets alternate between the symbolist masks, proposing the estrangement of being, but not reaching the unexpected austerity of bodily transposition into more evolved degrees of the spirit.
Theatrer

Architecture is a composition
of geometric signs, physical, mental, and spiritual. It is no coincidence that, in certain historical eras, geometry assumes the same importance as the theme of representative perspective. Mirror surfaces begin to fracture long before Italian Futurism, in works of art often forgotten by critics and obscured by the dominant ‘costume’ of architecture.
Techniques of architectural invention suffer from this neglect, parallel to the disregard once shown toward the grammars of painting and photography. Before shaping geometry, the architect might first observe the compositional methods of artists in music, painting, and other disciplines, in order to grasp the unity of art as a whole.
Architecture, for too long, has continued primarily through the construction of houses, urban reorganizations, extensions, leading many to mistakenly believe that architecture is only this. Yet the true path forward lies in discovering the other side of the discourse.
Architecture must embrace themes of historical inquiry, whether directly architectural or not, so that it may finally fuse the art of form with the art of thought. It cannot rest content with the rise of art; it must evolve into its essence.

With the Symbolists
we are witnessing the spiritualization of science, in an attempt to achieve knowledge of the regions of mystery and the unknowable. The questions about the origin of the cosmos and the human species were answered with psychology, which, having become metapsychic, credited mediumistic experiments and research on spiritualism. Through the symbol, the Idea is transformed into an image and acquires an ineffable and unlimited activity.
The oscillation of the philosophical pendulum leads to the definition of two poles, the material world and the spiritual world. The first is associated with the "body" of the object, the second with the spirit identified in the Idea. These two realities have been working together tirelessly since the beginning, maintaining that sort of "visual" detachment between one term and the other. The mixed character of our composition does not imply a choice of one of the two conditions; in this way it is possible to see the object and at the same time feel its presence even in the absence of the object itself.
In architecture, the symbol embodies the two conditions, creates the object and provides its spiritual perception, underlining the superhuman and infrahuman content of man. In this view of vision, one cannot correctly speak of symbolism in architecture if at the same time they are not considered typical parameters of form.
With the symbol we witness the transfiguration of things, in which nature is increasingly abstracted until it is connected with the spirit; the bridge between the body of the object and the idea of this is the same place between nature and spirit. All dogmatic systems have reduced the symbol to insignificance and poetic activity to literary games, just as architecture has been presented as the construction of houses, churches, tombs, leaving aside the spiritual power of this and the symbol it evokes.

Intuition model
By showing their form, ideas come to us, as well as the multiplicity of messages that come from outside our bodies; understanding, in the attention of the senses, and composing the variety of worlds at our disposal, as well as hearing, writing or drawing, are methods of learning our essence and models of intuition in the approach to the "inside" of things, with the sensitive emanating from the multiplicity of subjects and forces that surround us.

Through intuition we come to knowledge, going beyond the field of concepts and laws we discover the becoming of reality.

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.

The arc of human imagination
Reveries often produce events as real as those in the novels of Wells or Verne; both authors wrote of lunar voyages that have proved more realistic and achievable than they themselves thought. The fantastic game manifesting in humans from their earliest infantile characteristics is a primary element of creativity. A particular type of game, in adult life, confirms the saying of many scientists: new ideas are born by "playing" with old ones. What one generation may deem "fantasy" may be reality for the next.

Ionone's short videos
across platforms like Facebook, Vimeo, and YouTube offer a visually engaging experience, often blending abstract imagery with thought-provoking themes. The videos tend to have a minimalist yet artistic approach, using striking visuals and subtle storytelling to evoke emotions.

The boundaries of the object
The boundaries of the object marked by the apparent outline the object itself and the space surrounding it. This is the place where the object ceases to exist as itself and becomes part of the surrounding space, transforming into another object. The transmigration of the object from one state of matter to another establishes the principle of eternity through constant evolution and redefinition.
From Design of new words and Revelation Fourth Movement by Ionone Music.
Facebook. Vimeo.

Transformation
Nothing can be built out of nothing. A construction presupposes a previous destruction, even if this is simple empty space; the object, the "non-object" marked by the boundary, the consciousness of the object itself, in their "corporeal" union will give rise to the phenomenon of the transformation of form. The remains of the old temple will be used for the construction of the new temple; the same stone blocks will tell the eternity of form. Memories of the concept of transformation in various philosophies and sciences, where nothing is truly created or destroyed, but rather transformed from one state to another.
From Design of new words and Revelation Fourth Movement by Ionone Music.
Vimeo.

On YouTube, the short videos showcase a mix of experimental cinematography and symbolic narratives, creating a unique viewing experience. The Vimeo content follows a similar pattern, often featuring atmospheric sequences that complement the artistic vision.

short videos