‘brief notes that do not claim to be exhaustive given the complexity of the subject, but are nonetheless essential to support the arguments we will discuss

We believe, not out of faith, that earthly existence has a broader meaning than is commonly believed. A logical consistency, perhaps perverse when viewed through the eyes of a human who, from the moment of birth, with their first cry, expresses their dramatic experience of pain, a continuum of events that will mark their entire existence: “the pain of being.”
A series of events that ties us to a worldly dimension of suffering and trials of resilience, challenging both physically and, more importantly, mentally—a lived experience that can manifest in two possible major scenarios: passive acceptance of reality and its consequences, or the courageous test, the challenge that this condition forces us to embrace: “to make one's world a more beautiful, harmonious, and pleasant place to live, a context to lovingly share with the beings who inhabit it.”
Thus, to live, not merely survive, engaging with pleasure in all creative activities, becoming an active participant in defining one's earthly experience, the world, and its evolution: “The reality that man lives is a reflection of his way of thinking,” it is determined and manifested by the focus of his consciousness, an awareness tied to his intentions, knowledge, emotional states, needs, desires, intuitions, and the need to express himself creatively.
The projection of his mental and conscious state makes him (whether he is aware of it or not) a co-creator of reality and responsible for the manifestation of the material world. This material dimension is, in reality, the precipitation and crystallization of the human psychic plane. (We will explore this topic extensively later in a dedicated space, and as a consequence of what has been stated, we will support the thesis that it is only possible to generate beauty in artistic creation if one is immersed in a deep feeling of universal love; only in this mode will it be possible to manifest the infinite forms of Beauty.)
Man is a bridge, a medium, and his essence can reveal itself in the great game of creation, “manifesting his subtle essence,” beyond the gravity and material density to which he has been relegated—a transmutation that can be realized by penetrating the enchantment of beauty or by allowing oneself to be overwhelmed by deep feelings of universal love, thus opening up the possibility of connection to the immaterial density and the 'creative spirit.'
An exploration on different planes of the relationships between the inner and outer world, in a space of generative-vital-positive energy, where magic materializes: “the manifest shaping of his way of being a creative essence.” In this perspective, the artist embodies a primary role, a modern Ulysses, a seeker of uncharted places and languages, effectively tracing perceptual maps first and then conscious ones, which will enhance and enrich his and humanity's experiential and evolutionary baggage.
Bertrand Russell, philosopher: “The more things a man is interested in, the more opportunities for happiness he will have.” The deeper and less tied to cultural schemes his impulses are, the less likely he is to be swept away by the whirlwinds of existence, at the mercy of external events. The more uncontaminated his inspiration, the more the information he receives from intuition will materialize favorably in matter, (although rarely will the artist be aware of the energetic, etheric, and subtle aspects of his creation). Art is merely the means, the tool for realizing projects and ideas, the finalization of objectives probably already defined even before they materialize in this dimension.
A visionary, utopian art that possesses an inspiring prophetic force, capable of exercising a broad and enlightening influence on the inner movements of the heart and human feeling.
An art that promotes the ability to listen not only to the physical dimension linked to one's body and emotions but also, and above all, to a feeling connected to the more subtle dimensions, recovering contact with the soul: “bringing the centrality of feeling from the outside to the inside,” and ending a negative vicious circle: exorcising discomfort through the pursuit of obsessive emotions and false goals.
A renewed approach to reality by questioning every aspect and even oneself, using a language that is a mediation between the soulful and mental point of view, thus developing the ability to perceive and shape renewed models of aesthetics, freedom, and self-determination.

“In truth, we are already in the truth,” man is much more than he believes himself to be, and by training in the arts, he can discover this. “We learn by experiencing,” not through information, because consciousness is the tool, the means to attain knowledge.
By trying, failing, and failing again, by shaping and materializing ideas, we actually concretize the possibility of chipping away perhaps at tiny splinters of truth. This can only manifest after having developed 'critical consciousness,' broadening the concept of error to encompass totality, observing reality from different points of view.
In this way, every fanaticism, every intolerance, every claim to truth dissolves; just as the grip of being prey to the will to power distances you from your inner reality, from the peace, from the freedom that you allow yourself to be happy.
'Happiness does not reside in the things of the world because they are fleeting and uncontrollable, subordinating pleasure to things. Happiness manifests in one's inner beauty.' The discovery of the whole that resides in our uniqueness, a whole that discovers itself from its own point of view, wanting to know itself by exploring itself in artistic experience, thus nourishing its own consciousness, a whole that is fullness, absence of need, absolute immaterial well-being.
One of the extraordinary powers inherent in making art lies in the possibility of using languages that are not only verbal, being able to communicate in complex ways that bypass the mental to access our deeper dimension, “identity in its entirety, in its totality, in the absolute.”

“We need Beauty, just as we need air, and just as we breathe, it should be absorbed and processed daily, because it is only by being in the presence of Beauty that we can redeem and save ourselves, living it to the fullest, generating it wherever it can be shared to make it a formative substance from the earliest age.”
Beauty has been a subject of reflection in fields such as philosophy and art since ancient times. “The nature of beauty, its relationship with truth and goodness,” its role in human life, are just some of the themes that have intrigued philosophers and artists throughout history.
While in the past, the ultimate purpose of art in the West was tied to the glorification of the Christian message or some noble house, in this era, it sadly seems to be identified with a desperate search for novelty-originality as an absolute value, forgetting a glorious past in which art allowed the transmission of culture in all its breadth.
We believe that art does not necessarily have to be aimed at a didactic mission, but asking some questions seems essential: Why make art? How to reposition oneself culturally in this historical context?
One can follow the paths of creativity by expressing aesthetic values shared by the common sense of beauty, tied to the trends of the moment, an expression of a beauty that is often superficial, fleeting, and worldly (this unfortunately also happens in the arts, which should be an expression of more noble values). We consider these kinds of experiences profitable only from an economic point of view; if one wishes to add value and good for oneself, it will be essential to attempt to experience: “the contemplation of the Great Beauty”; an encounter that can only manifest if one consistently perseveres in the search for one’s inner beauty, detaching from earthly density and leaving behind pettiness, false values, and limiting cultural conditioning.
Working on oneself like a sculptor on stone: removing the superfluous, smoothing imperfections, and polishing the forms, only then will it be possible to encounter one's inner beauty.
If you do not find purity in your soul, you will not recognize the Great Beauty or enjoy its contemplation. If consciousness does not identify with the soul, nothing produced by the intellect can contain the Great Beauty, precisely because of the absence of soulful participation, for the soul is the expression of the unique Beauty, of the divine: “the encounter with true happiness is the encounter with true Beauty” and living the experience of Beauty is joy, astonishment, wonder, emotional and visceral upheaval.

The idea that beauty has a healing power has ancient roots, since ancient times the use of visual arts, music, dance, and theatrical performances, in particular, have produced positive results in psycho-physical-emotional rebalancing. This has created the conditions for the reemergence of painful experiences, emotions, and memories from deep within, almost always responsible for psychophysical and energetic disorders and imbalances, experiences reprocessed with exploratory, intuitive, symbolic, analogical languages, which are transmuted into new modes of knowledge and experience.
Through the creative act, individuals can access deep emotions, memories, and experiences, difficult to express verbally, in a safe, non-judgmental space; an intuitive and symbolic communication mode that goes beyond language barriers. Today, science is beginning to confirm what traditional cultures have always known: beauty can have a significant impact on health when it is empathetic with psycho-physical-emotional states, biocompatible and bioavailable, and in resonance with emotions and the body, allowing the structure of the biological system (viewer) to organize itself optimally, harmoniously, and coherently, providing the right electromagnetic information.
Art is alive when adaptive to the dynamics of biological life and its electromagnetic field, able to renew itself continuously by appropriately distributing charge waves and harmoniously redirecting them (sense of well-being-love).
Contemplation of what we perceive as beautiful can evoke positive emotions in us such as harmony, pleasure, serenity, states of well-being, and aesthetic fulfillment, but it can certainly also help us emerge from unhealthy states of low frequencies that too often affect the quality of our existence.
The sharing of any form of beauty can also strengthen social cohesion and cultural identity, just as common aesthetic standards can help create a sense of belonging and community, as well as focus positive thought forms, shaping relational models based on well-being and love.
The beauty of a landscape or an urban environment can foster the need to preserve and promote the care and protection of that territory, thus encouraging environmental and social sustainability. Stimulating cultural activities related to beauty can generate economic development, employment, and quality of life, contributing to the psycho-physical well-being of people, reducing stress, and increasing the sense of fulfillment.
In a world dominated by superficiality and conformity, beauty can play an important role in promoting values of harmony, authenticity, and respect for diversity; in this context, artistic research plays an indispensable primary role, a path that should unfold holistically in a multi-modal form, involving intellect, vision, and emotion.
Contemplating works of art or beautiful images can induce a feeling of calm and peace, improve mood, and increase levels of endorphins (hormones of happiness), just as surrounding oneself with beautiful things can improve our mood and make us more optimistic. Expressing one's creativity through art or music increases self-esteem and well-being (art therapy and music therapy have also been successfully used to alleviate pain in patients with various conditions), reduces anxiety and depression that often accompany chronic pain, can increase motivation to heal and strengthen the immune system, as well as help reduce feelings of isolation and loneliness, improving our mental health and reducing the risk of mental illness.

Scientific and philosophical disciplines have initiated an epistemological revision process in recent years, which art will also have to undergo. In this context, the role of the artist will also need to be rethought, transforming into an active participant who constantly interacts with other professionals in a multidisciplinary setting. This will help to establish a new cultural paradigm where art, science, philosophy, and technology contribute to shaping a new experiential reality, laying the foundation for a strongly identity-based, sustainable, ecological, and ethical aesthetic.
Our holistic perspective (as opposed to the concept of utilitarianism that characterizes contemporary times) analyzes the various components that determine the qualitative aspects of living: the main one being the evaluation of creative-expressive forms that emerge from lived experiences (aesthetics and projects that effectively shape our spaces, influencing thoughts and emotions).
We believe it is essential to promote an approach to life where everyone can seek and achieve their own well-being and personal sense of beauty, drawing from creative mechanisms, so as to shape and manifest their way of being and relating to the surrounding reality, affirming their self-determination and the inseparability of the relationship between man-reality-creativity, an expression of our vitality and sense of being free and alive.
'Mens agitat molem'—the mind moves matter (Virgil's Aeneid)
A thought focused on an intent that involves the whole body on a sensory level generates emotions, and these give the thought body, consistency, radiating vibration, color, and form. In the sharing within artistic groups driven by common intentions and purposes, thought-energies spread contagiously, add up, multiplying their effectiveness, effectively transforming into 'egregores.' These, in some way, coordinate and determine the materialization of intentions, projects, and common goals, similarly to what Sheldrake described for the morphogenetic field or Jung’s collective unconscious.

‘Inhabited places are vehicles of emotions.’ We reached this conclusion after fifteen years of multidisciplinary research, from environmental psychology to neuroscience, holistically utilizing various disciplines, dedicated to analyzing and interpreting the results of scientific studies regarding environmental perception and the relationships humans maintain with built spaces.
To what extent does the communion between people and inhabited spaces influence physical and mental well-being, health, activities, and performance? Leaving aside evaluations of the results of such a complex research, we will focus on the objectives we have set for ourselves, the logical conclusion of the considerations we have gathered over the years. The most relevant theme in terms of repercussions on quality of life has been: 'Governing space to govern existence.'
Consequently, we have developed an integrated system (methodologies, technologies, tools, and programs) that makes space fluid and adaptable to the changing needs of humans, thus overcoming the limits of defined space. 'Living without apparent boundaries,' a space governed by my will or with the support of an AI-managed system (capable of interpreting my needs) that anticipates and implements environmental programs that support me on a psycho-energetic level.'
A dream materialized: 'The environment I inhabit can finally take care of me.' Programs to manage space using multisensory stimulation and activated by a sophisticated harmonization system.
In this context, artistic activities play an indispensable role: 'If the world were a better place, perhaps we would be less sensitive to welcoming beauty in art and would have less need to sublimate sadly painful experiences.' Art confronts us with the legitimacy of pain, an indispensable experience if one truly desires a life lived to the fullest, because only in this way can we mature and confront the complexity and difficulties of living.
Art, a privileged observatory from which to investigate the human condition: expands the image we have of ourselves and our world, shakes us from indifference to what surrounds us, putting us in touch with the inclinations we lack (the absence of our virtues).
'Producing or consuming art to develop our potential, counterbalance our weaknesses, and find a point of equilibrium.'
Unfortunately, we are not transparent to ourselves; we live through moods, experiences, and thoughts to which we do not pay due attention; they are elusive, and we cannot understand them. Art allows us to give these a clearer expression: the artistic experience allows us to analyze, rework, and return them in a better form, a deeper perception of the self, to be shared, thus revealing our identity to the world.
Art can give us a sense of measure, a more accurate evaluation of what is valuable because we naturally tend to become accustomed to things, constantly losing sight of the value of what we have, attracted by what is glamorous and generates lack and unhappiness.
'Art for better living,' bringing us closer to the best version of ourselves, an equilibrium in the awareness of what really has importance, weight, and value in our existence, freed from the grip of the dissatisfaction of lack (consumerist logic), instead focusing on ourselves, recognizing our values, in the sharing and appreciation of our best aspects.

We have developed an innovative system that integrates highly sophisticated technologies and artificial intelligence, a space where the most extravagant visions and the most immersive aesthetic experiences can take shape; a place of multisensory immersiveness, finally perceived as real by the user.
The fusion of PHYSICAL REALITY - VIRTUAL - AUGMENTED - IMMERSIVE / NEUROSENSORY, a real and at the same time virtual space where the viewer can interact effectively with the artwork.
A new agora, 'the meeting place, for representation and discussion,' where all the arts can be staged simultaneously, a space without boundaries that can be used in any way, regardless of place and time, it is possible to network events, performances, museums, public and private exhibitions, putting artists and the public in direct contact, allowing an interactive experience as if they were in person.
The simultaneous and harmonized use of multiple perceptual-sensory modes allows: real-time temperature control, management of lighting control color systems, management of aromatic essences designed to make each moment of the artwork effective, environmental effects of nature, such as fog, wind, haptic stimuli (ground vibrations), directional-spatial-ambisonic sound control, and finally the visual part conveyed through curved, spherical or flat micro LED walls, the most performant for image quality, in addition to having great attention to user comfort and health (shielded electromagnetic emissions, TÜV Rheinland Low Blue Light certification that guarantees no eye strain for long exposure, and the lowest surface temperature on the market for the same resolution).
We believe it is necessary to finally dwell on the fact that promoting cooperation and sharing is an indispensable and necessary action to give life to all the arts, so one can access an exchange system within the 'Foundation Art in Space,' which brings together artists from all over the world, providing them with the technical information and technologies necessary for the creation of immersive multisensory interactive artworks.