"The Kinetic-Plastic Art Works"

In October 2003 Gabriele Righetto, an architect and philosopher at Padua University, theorized “the kinetic-plastic thought”:
“Since both cinema and radio were officially invented in 1895, the mankind has lived in contact with perceptive artificial motion for over a hundred years. When an event occurs continuously during more than three generations (beyond the oral transmission), or rather it grows stronger thanks to further means such as television technology and electronic animation, that event stops and becomes an additional natural element, that is an element which would make reality very lacking and structurally poor if it ceased. Perceptive artificial motion creates a much more powerful illusory effect, because what appears is treated like a normal event. It is therefore correct to consider it as a normal condition because it stops being an exceptional event and it is part of our daily life and of the structural elements which concern the organized reality. The illusory effect points out the correlation “real = normal”, even if it is an artificial product which simulates reality.
As far as “the kinetic-plastic thought as an active experience” is concerned: When an event gets “normal” and widespread, the active or passive link with a constructed phenomenon becomes a problem and that event becomes language, with the double outlook “to communicate and to be communicated / to speak and to be spoken”. The condition changes if there is a real production of the communicative product. The problem is solved not only by means of perceptive motion, but also by putting the kinetik thought into action. The kinetic thought is an elaborate form of the plastic thought, that is the capacity to elaborate at least tridimensionally, or at the best chronospatially. It thinks, organizes, interprets, values and changes space motion, in a space which is perceptively lived as potential motion and where time and space are strictly linked.
The elementary forms of the plastic thought concern operations such as: external exploration of an object (exoplastic thought), internal exploration of an object (endoplastic thought), exploration of the territorial space in order to search technological sites and networks (territorial plastic thought), exploration of the territorial structure by making technology and ecotechnology sustainable (ecoplastic thought).
The kinetic thought is mainly expressed by: motion along the way, spatial displacements, slides, elevations, dislocations, decompositions, rotations, approaches, interpenetrations, etc.
It can be a good instrument to produce icons of space relations which have the characteristic to run through spatial time”. 

In my latest artistical production of “kinetic-plastic works”, the strong link with science and new technology enabled me to investigate/realize hypotheses which seemed to be utopian in the 90s,
when I elaborated my first computer-art and animation works. The possibility of being in contact with this new plastic, which I can manipulate, let me discover unknown dimensions and enabled me to open a “space-time” way on a “bidimensional” surface. This way through this
new “parallel dimension” can be not only visually inspected, but also modified by the onlooker who interacts. For the present this “way” represents the starting-point which enables us to enter the deepest spheres that concern the “new reality” of plastic.

Giosuč Marongiu
Mracalagonis (CA) 8 aprile 2009

"Manifesto of the space Lucio Fontana Milano 1951

... Design the synthesis with a sum of physical elements: color, sound, movement, space, an integral ideal and material. Color, the element of space, sound, the element of time and the movement that develops in time and space. Are the core of the new forms which contains the four dimensions of ... "