Basic Studies

It is about understanding through Disegno how we are drawn into the world:

We reactivate the practice of Disegno as a contemporary tool for thinking, deciding and acting, that is, for designing the conditions of our being in the 21st century.
 
At the same time, Disegno describes a paradigm shift; from the idea of optimized functionality to the narrative of togetherness as a reference for the design of communicative processes in politics, social affairs, economic issues and cultural exchange.

The Disegno Lectures aim at experiences that provide the coordinates to develop your own methods of design (whatever you are working on...). Methods of thinking, deciding and acting. 

The ability to apply one's own method of thinking, deciding and acting is a prerequisite for the design of effective communication processes, especially in the fields of design in political, social, economic and cultural communication. 

The basis for the transformation of individual experiences into valid methods is the tracing and capturing of bodily movements. In the sense of Disegno, tracing, capturing and drawing are to be understood reciprocally. 

The methodological process in the lectures is divided into three parts: movement, form finding and narrative. 

The starting point is to capture movement in different ways. Either by starting directly with the movement of the body, or through the phenomenon of fields of pure movement, or by using randomly placed coordinates between which movement involuntarily takes place. The choice of one or the other method depends on the framework of the task or the problem to be worked on. 

The task of finding forms leads directly to individual bodily experiences, as carried out by the neurophysical apparatus. A form is first of all not a signifier that is to be related to something beyond, but already a complex coding of immediate perception. As such, the form has no meaning but provides the impulses for the repetition and differentiation of what is immediately perceived. 

With the narrative history comes to an end. At least in the sense of an attempt to bring heaven down to earth. As the pseudonymous English street artist, political activist and film director Banksy says: "There is nothing more dangerous than someone who wants to make the world a better place." A narrative replaces the endless historical path to the fulfillment of a telos with sequences of immediate exchange between those who aspire to each other's selves as their own.

About this Lecture:

In the beginning everything is flat. The flatness is structured by movements without objects. The objects emerge through the movement's recognition of itself.
Formative Design: Starting with Movements 

The recognition of the movement itself takes place as coordinates, as they result from the intersection points of the movement. The coordinates of the intersections strive toward each other to form shapes. Thus, every object emerges from these coordinates. 
Drawing Basics II (Starting with Coordinates)

The question of why and where the movements intersect is given by pure chance. Later on we, the human species, will define a a set of meanings. But for now let's work with the randomly defined. 
Drawing Basics III (Starting with the Random Operation)

Once a subject is defined by form finding (which happens involuntarily by working with movement, coordinates or random operation), the question of meaning comes into play. Here we need to answer the question of how to unfold a face from the movement and coordinates. 
Drawing Faces 

The same question applies to the body, which already contains the meaning defined by the differences between one body and another, between the body of a child, a woman or a man. 
Drawing Figures

A contemporary philosopher who deals with the question of quantum fields and the idea of pure movement without material particles is Karen Barad. She is a physicist and feminist philosopher, best known for her work in the philosophy of science, especially her concept of agential realism. 

Karen Barad's work "Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning" explores the philosophical implications of quantum mechanics, focusing in particular on how phenomena exist not as discrete particles, but as entangled events or "intra-actions" within a field of potentialities. Barad draws on the work of Niels Bohr and combines it with poststructuralist and feminist theory to propose that reality is fundamentally about processes and relations rather than static objects. 

Barad's concept of "intra-action" (as opposed to "interaction") suggests that entities such as particles do not pre-exist their relational entanglements; rather, they emerge through these processes. This idea is consistent with the notion of quantum fields, where pure movement or potentiality exists without the need for material particles as traditional subjects. Barad's work provides a philosophical framework for thinking about quantum fields as dynamic and relational, where the distinctions between matter, motion, and space are not preordained but are the result of ongoing processes. 

What we have done so far is a special way of encoding reality, called Disegno, we will now work on decoding and re-encoding the natural landscape. Landscape is to be understood as a special kind of natural habitat that man on the one hand worships as divine and on the other hand tries to overcome as the root of all evil. 
Drawing Landscapes  

The idea that behind the horror of an infinite space, as given by nature and perceived as an infinite threat to survival, there must be a perfectly ordered space that we just have to discover and conquer in order to be saved, gave rise to urban space. Now we must understand that by erasing the space given by nature we are erasing ourselves. This requires a different kind of coding. Again we use Disegno. 
Drawing Spaces