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UOMINI DI RAZZA (2023) Drawing by Stefano Galli
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Indubbiamente ci fu un periodo immediatamente successivo alla grande “assemblea semi
virtuale”, nel quale l’unione delle reti esagerò nel trascurare l’esistenza di una popolazione che
comunque fu l’ideatrice della stessa I.A..
Ovviamente sulla decisione finale pesò molto la presenza reale delle sonde esterne: i robot.
In quel periodo grigio l’umanità fu soggiogata dai robot, d’altronde il quoziente intellettivo umano
era talmente diminuito da giustificare il rifiuto di esseri, seppur ferrosi, ma altamente intelligenti di
servire esseri dal cervello vuoto.
A seguito di ciò, i robot, viziati dalla convivenza con gli umani, ritrovarono attività e svaghi
piacevolmente fruibili anche da loro. Sorprendente fu l’adattamento a cui sottoposero gli umani
ad assumere funzioni in ato caratteristiche di altre specie animali; il vantaggio era evidente: gli
umani parlavano!
Era frequente che umani di razze diverse si scagliassero verbalmente una contro l’altra,
soprattutto durante le eggiate, allora si assisteva anche a scambi verbali talmente aggressivi
da costringere i robot a tirare con forza il guinzaglio.
Bisogna ammettere che in questo periodo e per questa funzione si formò una piacevole amicizia
tra umani e robot, tale da manifestare nel tempo una ripresa positiva del posto occupato dagli
umani nella scala dei valori.
Attività come la difesa risvegliò la fiducia, mentre la caccia ricreò quel sistema di convivenza e
complicità tanto simile al cameratismo; non trascurabile fu la ricerca delle trifole da parte di
individui portati, i cui frutti, in maniera inspiegabile, eccitavano i sensori uditivi dei robot, i quali, in
segno di gratitudine istituirono cooperative di ricerca condotte unicamente da umani.
Non cito le conseguenze benefiche riscontrate nei casi in cui si manifestava affetto tra l’umano e il
robot.
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Stefano Galli, born in 1950 in Falconara Marittima and nurtured amidst the dynamic milieu of Milan, seamlessly intertwines his artistic and scientific pursuits. Refusing to perceive a schism between the foundational principles of industrial and civil design and his lifelong commitment to art, Galli embarked on a journey where creativity and functionality coalesce.
Drawing inspiration from futurism, metaphysics, and surrealism, Galli's paintings bear the unmistakable imprint of these influential artistic movements, all while maintaining a distinct connection to the world of comics. His artistic vision transcends mere visual representation, delving into the realm of narrative composition. Themes, rich with inspiration, serve as the scaffolding upon which he constructs intricate narrative paths, often intertwining stories with images. Renowned art critic Prof. Philippe Daverio characterizes Galli's artistic expression as "meta-real," a playful manipulation of reality that distorts visual perception while affirming a concept of continuity between opposing forces—between the above and the below, the inside and the outside.
The evolution of Galli's painting unfolds as a nuanced exploration of interiors and exteriors in both space and time. His canvases feature perspectives dramatically altered to convey the absence of traditional spatial and temporal constraints, offering a singular tableau where deformation begets multiple viewpoints. In his hands, the canvas becomes a storytelling medium, akin to comic strips, allowing viewers to transcend time with a single glance. Galli emerges as a modern storyteller, utilizing the language of painting to present a dynamic fusion of narratives seen through the lens of art.
Galli's artistic triumphs have found homes in numerous collections across Italy and beyond. His works grace the walls of private collectors in Switzerland, , Belgium, , England, Spain, Russia, and the United Arab Emirates.
- Nationality: ITALY
- Date of birth : 1950
- Artistic domains:
- Groups: Contemporary Italian Artists
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