The alibi of artificial intelligence

Word to the wise. The alibi of artificial intelligence.

We consider it not easy to decide how to legitimize aesthetic appreciation; roughly speaking, we trace two modes of reading: the first addresses the author, the other direct enjoyment of the work. The ensuing question is whether it is appropriate to admire the poet’s work a priori, an appreciation usually directed at a well-known author (“Ah… but it’s Picasso’s”), or, to be able to gratify oneself with the direct reading of a poem (which up to that point may not even be known). We mean that between the chicken and the egg, the chicken is to be favored. Proceeding in this “avian” solution, it is declared that meaningful works for humanity are the result of a creative process, and for this we intend to identify substantial signs that demonstrate the becoming of awareness. There arises the understanding that beyond prejudice we are incapable of truly evaluating a work-which in itself already contains all the problematic keys, including anomalous (a-nomos, uncatalogued) ones.
In fact, it would be detrimental to attribute value/preventative value to a work by an artist who has already been catalogued, it would mean that the work belongs (only) to it; but to find oneself seduced with interest by the discovery of the completeness of a work, regardless of wanting to know who the author is, certifies that, instead, the work belongs to all humanity. This line of reading leads us easily to the work of Manuel Grillo. For
fully understood, it would be necessary-about the process-to put the succession Event-Invent-Become in proper sequence; but it would be more appropriate to indicate it by the terms ex-wind (coming toward us), in-wind (going toward what emerges), and then “di-wind” (becoming).
In the genesis of Grillo’s production we find confirmation that in his oeuvre (although over time it would seem heterogeneous to some, but that is precisely what demonstrates his available sensibility) there is the demonstration, I would say almost scientific, of the possession of the indispensable sensors proper to his acute sensibility: curiosity, insatiability and, last but not least, his indispensable and continuous fervid dialectic.
We do not think it is disproportionate to assert in regard to Picasso-catalogued also through his well-known creative periods (pink periods, blue periods, etc.-something similar in regard to Grillo’s inexhaustible artistic production; it is this mode that convinces us even more.

Manuel Grillo’s Becoming Process.
Faced with the manifestations of the emerging phenomena (events), our author does not want to bury his head in the sand, he naturally feels involved as long as he can trace the mysterious unseen values. To keep his irrepressible process alive, he feels it necessary to know in depth what urgencies can tell in their relentless presence of strong signs; in short, Manuel, not backing down, accepts to listen to the intriguing melodies sung by the perilous Sirens; though untied he goes toward them: from the ex-wind he goes toward the in-wind, thus interacting: invention.
It is here that the creative (who arranges the concrete-not abstract-existing in yet another position not considered, in a new mode of com-position) offers so many other solutions that the sensitivity of his sensors can invent, and so he becomes, continually providing works that are the result of his sensitive work-always becoming.
No one can define art-otherwise it would not be-but becoming an artist requires inventing new approaches, seamlessly, in a constant becoming. Manuel: he can state in a throaty manner ” every time I become an adequate artist” (just to mention J. Piaget’s famous concepts of assimilation and adaptation).

Carlo Bozzo – twenty-twenty


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