The notion of creativity has to do with the invention of something that was not there before (“creating” is, strictly speaking, drawing from nothing), so it cannot be a simple repetition of the usual norm but must constitute some deviation. Thanks to a wingbeat, so to speak, a certain amount of disorder is produced. Not that order is unnecessary for life, however, the emergence of disorder is equally necessary to ensure that one does not remain imprisoned in the asphyxiating circle of repeating the same, even if it is satisfied by an ambiguous serenity. Creative in a disruptive sense is precisely the vocation of modern art, which in this way connects to a demand for freedom, and consequently to a utopia of an anarchic type; anarchy as an expression of equality, of an equal measure of all components. Now, art can take up this utopia in its own way of doing, by approximation or as a anticipatory figure. Thus, for example, the different arts can converge and strengthen each other, actively participating, each in its own way, to stimulate the senses, or even producing polysenses and allegorical references.
The anarchic-creative principle, then, can manifest itself in overcoming both the constraints of the dramatic text and especially in the transition from a vertical structure to horizontal formal hypotheses where each “figure” is reworked and where direction becomes pure interrelation, while still (paradoxically) maintaining a conscious project of disorganization, disjunction, and heterogeneity of the parts; even more so if liberation from conventional and predetermined genres occurs, experimenting with new technologies, and ironically deconstructing excessively armored identities.
Among the various components put into play, it is not so much about multimedia, but “intermediality,” that is, a relationship not given from the start, but one to be fully explored, including possible interferences. The performance as a test. Indeed, the freedom of indeterminacy, besides eliciting unprecedented sensory reactions, prompts reflection and, thus – while relying on the momentary flair of the sudden – nevertheless, in its complex representation, requires recourse to intelligence and the reasoning of doubt.
The SPORES project reveals, defines, illustrates, and promotes the concept of intermedial experiences as a creative attempt. All experiments will be accessible both offline and online. To do this, SPORES designs a methodology that puts digital solutions and design thinking methods at the service of creativity, in order to explore unknown territories of digital humanities.
This implies the ability to invent new artistic formats, to rethink relationships with the audience (modes of interaction between artists and the audience), and open cooperation among practitioners of other professional cultures.
SPORES is based on the creation of an intermedial approach that gives rise to interaction between different arts and disciplines; its synesthetic journey has gradually intensified in the almost natural fusion between humanities and sciences; generating “unstable” languages that are continuously reworked.
Ranging from poetry to computer science, from theater to visual arts, from mathematics to music, from dance to cinema and its transformations, in a constant synergistic search that perceives Knowledge as the last form of resistance.
A project that continuously transforms itself by using and reworking new technologies; a convergence of different languages and creations that become a mirror of the ancestral transition from analog to digital, through an intermedial journey based on doubts and perplexities.
Humanizing new technologies, to experience the borderless space between the “real” and the “virtual” in a more natural way, no longer feeling like consumers but “users,” new people capable of communicating, producing, generating.
Time and Space open up to the foundations of quantum mechanics: in the various proposed experiments, from reception to performance, everything blends into an installation-space where it is no longer distinguishable who is the artist and who is the spectator (also because the spectator is no longer).
This two-year project takes shape from quantum mechanics studies by Carlo Rovelli. A hybridization between Art and Science, an attempt to make the concept of Indeterminacy tangible.

Reality is a luxuriant stratification: snowy mountains and forests, the gaze of friends, the roar of the subway on dirty winter mornings, our restless thirst, the tapping of fingers on the laptop keyboard, the taste of bread, the pain of the world, the night sky, the immensity of the stars, Venus shining lonely in the overseas blue sky of twilight… in this teeming kaleidoscope we thought we had found the underlying plot, the order hidden behind the disorderly veil of appearances. It was a time when the world seemed simple.

But the clarity of classical physics was shattered by quanta. It was a sudden awakening that brings us to the beating heart of scientific thought, which is not made of certainties; it is a thought in motion that has the ability to question everything. “Reality” is constantly being redrawn.

What is Quantum Theory? It does not describe how objects manifest to us, but it describes how any physical object manifests and acts on any other physical object. No object is isolated; on the contrary, they constantly act on each other. They live in a system of interactions, of influences. It’s a simple idea at its core: “reality” is a network of interactions in which objects are nodes. There are no properties outside of the interactions. This is the meaning of Heisenberg’s original intuition.

The quantum world is made only of interactions, events, discontinuous events, without permanence. Each interaction is an event, and it is these light and ephemeral events that construct “reality,” not the heavy objects loaded with absolute properties that our philosophy supported for these events. An electron’s life is not a line in space; it is a dotted manifestation of events, one here and one there, when it interacts with something else. Point-like, discontinuous, probabilistic, relative events. The solid continuity of the world to which we are accustomed in our daily life does not reflect the granularity of “reality”; it is the result of our macroscopic view. An object is one, none, a hundred thousand. The world shatters into a play of perspectives, which does not admit a single global view. It’s a world of perspectives, of manifestations, not of entities with defined properties or unique facts. Properties do not reside in the objects; they are bridges between objects. Objects are only such in a context, i.e., only in relation to other objects, they are nodes where bridges are tied. The world is a perspectival game, like mirrors that exist only in the reflection of one in another. The fine grain of things is this strange delicate world, where variables are relative, and the future is not determined by the present. [1]

This phantasmagorical quantum world is our world. And from this, we start; or rather, we restart to seek like SPORES new habitats, new languages, new ways to communicate. Space becomes a free zone that is not left to repetitions because if space changes, the performance will change with it.
If elaboration is already transformation, the concept of relativity begins to be a “tangible” suspension that comes to life from the blending of Aion, Kronos, and Kairos, where the latter reigns supreme; a set of moments, opportunities, propitious moments, captured and continuously reworked.
Each artist represents a moment of creation, regardless of the scenic duration, it is the intensity that propagates and makes the difference; in this metamorphic path described above, one element remains constant, always repositioning

itself in new sequences of meaning: Poetry.
Poetry represents that expressive possibility capable of branching out into the most diverse revelations. A “form” capable of changing, becoming something else without ever losing its essence, its Identity.
Poetry is the ideal expression for a critical yet open thought, capable of allowing the various variants to dialogue, to give meaning to hypotheses, to utopias, indispensable stimulants for human progress, necessary for a mutating, revolutionary thought, ready to overturn the schemes imposed by a power that has become ungraspable, immaterial, and difficult to contest; a power that transforms into an unreachable universal entity, a monstrous abnormality of which nothing is known, neither name nor face; capable of relegating modern man to a state of unprecedented global solitude, devoid of footholds and consolations.
This is what Restlessness serves for, to generate, to create continuously, to never settle for what one is, what one has; the relentless search is the precious gem of our instinct, born to always desire something else, with all the risks that follow.
And if the world is an irrepressible multitude, if man is a multitude, the only way to represent this infinity is through Interdisciplinarity, Intermediality. Many different thoughts and expressions that give rise to a project based mainly on chance.

[1] C.Rovelli “Helgoland”  Piccola Biblioteca Adelphi 2020