DEDICATED TO ARTISTS

“The Art as an initiatory tool through which to access a higher level of knowledge.”

The act of creating an artistic work is an expression of love aimed at the creation itself and at the self that operates upon it, giving the best of oneself without expectations, so as to act in the world without being imprisoned by the results. For the artist, the highest value lies in the act itself and is intrinsic to the experience, as it allows learning from mistakes and evolving. Art thus becomes the privileged tool to experiment with existence, to face complexity, contradiction, and absurdity, not as obstacles but as sources of creative energy, finding freedom and meaning in every gesture, every day, and every experience. The sense of life is not perceived in the achievement of a result but in the journey, in experiences, and in the exploration to the extreme limits of imagination, in peace because of the awareness of one's limitations.

“The Source and the Void, a perpetual creative cycle of which man is an integral part.”

The sense of the world's groundlessness, perceived in the current existential dimension, and the noisy chatter that clutters the human mind in contemporary times translate into a chaotic experience and the inability to silence the persistent noise that torments the psyche. This condition inevitably leads to permanent states of anxiety and fear, moods that strongly limit the ability to see and listen beyond the chaos, to escape from the cage that imprisons the deepest and most authentic self, and prevents it from connecting with the vital energy that, in most cases, is consumed chasing cleverly suggested illusions or obsessive thoughts relentlessly chasing each other in the mind.

“If you want to be a devotee of truth, then investigate” Friedrich Nietzsche

Leaving behind the dynamics of reassuring social conformity to embrace the uncertainty and privilege of possessing oneself, accepting the confrontation with one's suffering, aware of the need to face isolation, sacrifices, and fears to develop the authentic inner strength essential to confront one's deepest desires and motivations. Sharpening a personal vision of the world, free from societal constraints, to contribute a unique perspective to creation, “an Art in harmony with one's nature,” finally contextualizing pain to discover beauty even in tragic events—a passion that not only provides moments of intense happiness but allows for a more authentic and meaningful life: an example of freedom, which becomes the seal of liberation. “If only one could muster the courage to pause and listen to silence,” then perhaps it would be possible to perceive the whispers of the heart, the authentic voice of that higher self to whom one entrusts the role of the guiding star in life's choices. In that conscious silence, the mind is calm, silent, and extraordinarily alert, “a pure center of consciousness,” where all that is (unconscious—DNA) resides. At various levels of awareness, one can tune in to that knowledge, focus on one's essence and uniqueness, transcending the limits of immanent reality (disharmony and conflicts resulting from unresolved dualities), finally reaching harmony and the balance of opposites, where consciousness and the unconscious merge, and “Artistic creation crystallizes, transcending the cultural layers of the artist.”

“Being of the world,” Heidegger’s Dasein places the conscious-being-projecting at the center in an open field of possibilities in the present and the future.
The physical reality that man lives is a reflection of his way of thinking: the mind feeds on what it focuses on, becomes permeated by the resulting experiences and emotions, activating hormones in the body and brain. These forge and shape the physical and mental, an energy that acts regardless of whether one is aware of it or not.
A reality that should, therefore, manifest itself in the focus of one’s consciousness, as the highest expression of one’s essence, a thought and a manifestation of vitality unbound by highly limiting social and cultural frameworks that can be so conditioning as to mold the entire experience in the earthly dimension.
It thus becomes necessary to give meaning and purpose to life’s experiences, in the presence of a conscious self, a deep and authentic self that diligently uses vital energy, directing events and knowledge, creating conditions for the transmutation of vital energy into mnemonic impressions. Every cell of the body is nourished by that knowledge, which can manifest in behavioral attitudes and self-governance.
A self finally detached from a mind so irremediably bound to abstract cultural identities, forms of collective sharing, and energetic-informational entities that regulate the choices of those who, in the best cases, have participated in enhancing them: 'thought forms, autonomous psychic energies so powerful as to materialize in the physical realm and effectively acquire characteristics of physical reality.'
These egregores condition and shape knowledge and understanding, inducing needs, desires, emotional states, and intentions, even influencing creative and artistic expressions.
One cannot conceive of any artistic work if it results only from a dialogue with a conditioned mind (the mind often disconnects us from feelings, which are our essence), nor can one dedicate oneself solely to the obsessive pursuit of emotions, as this translates into a sterile exercise of distraction, countering the dissatisfaction generated when one decides, almost always unconsciously, to accept the obscuration of our soul's part.
The approach to artistic creation unfolds in the dimension of feeling, openness to life and the Beauty that surrounds us, embracing the void: in that creative-conscious silence, a visceral sensation can ignite—a convinced knowing of being right without understanding why and without even being aware of the path.

“The silence inherent in things, the unsaid they embody” Plotinus.

In that silence, which becomes void (a dimension of complete separation from the chaos of obsessive thoughts chasing each other in the mind), it becomes possible to perceive the whisper of the highest knowledge and the blossoming of dormant talents.

“The mind is not a vessel to be filled, but a fire to be kindled” Plutarch.

In conscious silence, the mind is calm and silent, extraordinarily alert, and capable of perceiving things as they are (Buddha's right vision). In this state, it becomes possible to perceive that individual consciousness is an indivisible part of that Consciousness coordinating the manifest, a unique Consciousness regulating every aspect of the universe, a cosmic energy and intelligence fragmented into infinite realities to feel, think, and act, gathering infinite experiences.
That artifact, which becomes a work of Art, manifests in the Self, in the unity and totality of personality, in the meeting of the soul's part with the unconscious component, in places where perception is primarily a “feeling of the heart, and knowledge an inner understanding,” a consciousness that becomes an elevation of awareness through elaboration and representation. A space of self-realization and expansion of awareness that unfolds in the fusion of conscious being with the unconscious dimension, a journey of exploration that begins in conflicts and disharmonies, natural consequences of the opposition of opposites, and concludes with a resolution materializing precisely in their fusion: “generating peace, harmony, and integration of one’s intimate nature with one’s needs and aspirations, manifesting both in one’s essence and authenticity and in the expression of talents,” the Magnum Opus, the full realization of oneself…

'In the heart of every human being, there is a void that has the shape of God' Blaise Pascal. Within that void, the unknown, the space of doubt, only the divine that created it can enter and make it a participant in the consciousness of the whole, of that immanent reality that cannot be conveyed in words but can only be attempted to manifest through fragments (flashes of metaphorical aesthetic perception and symbolic mental images). This becomes the privileged space of Art's revelation, a space to be shared, channeling sacred and spiritual energy in a communicative mode that unfolds along pathways imperceptible to ordinary awareness.
For the artist, the creative experience is a projection of their own condition, an act that transmutes personal experiences into pieces of consciousness. Whether or not they are aware of it, this act makes them a co-creator of reality and responsible for shaping the manifest, for the material dimension is nothing more than the precipitation and crystallization of the human psychic plane. Creating art, therefore, becomes an act of responsibility towards oneself and the reality to which we are bound.
If indeed 'spirituality will save the world,' it becomes imperative for artists to focus on Beauty, for only by nourishing themselves with Beauty and thereby elevating their vibrations can they create more of it—'Beauty to share, enriching the consciousness of humanity as a whole, the planet that hosts us, and the entire universe.' Only in the presence of healthy awareness and the perception of the creative force inherent in the expression of love will it be possible to produce Art, giving form to that alchemy that connects to planes of consciousness (elevated neural frequencies where inspiration processed by the mind becomes genius). Here, the act becomes magic, transcending the many uglinesses produced by humanity, through the elaboration of visions that time and sharing can manifest in material reality.
The artistic journey, matured with due consideration for what has been described, inevitably leads to the 'space of the just,' an opening of the heart and an expansion of feeling that becomes 'compassion,' an unfolding of reality into visions and interpretations that belong to Art and give it meaning and value. It becomes essential to leave behind the ballast of the psychological ego, as we know it, mired in its limited points of view: a comfort zone built on false certainties and conditioning social patterns.
It is undeniable that for all humanity, the earthly dimension manifests in a generalized condition of suffering, more painful for some than for others. Yet, no one can truly consider themselves exempt, as this suffering is experienced from birth and must be endured throughout life—a pain that must be processed intelligently, using its energy as an impulse and motivation to act, driven by the necessity to improve one’s condition.
By creating, we align with creation, support it, and give meaning to our existence, finding profound satisfaction in doing so. Thus, we can finally organize life, alternating productive moments with states of pleasurable contemplative meditation of the Beauty that permeates the entire planet.
Nourishing oneself with such Beauty to create new Beauty for oneself and loved ones may indeed be the ultimate purpose of earthly existence. Art, in all its forms, can significantly contribute to giving it meaning and shape through its diverse expressions, ultimately helping to build a better place to live.
Humankind is a bridge, the medium, the act of creation that can manifest its creative essence in the grand game of creation, overcoming gravity, material density, suffering, and the fear that permeates every moment of existence. It is through these experiences that one gains awareness, becoming capable of giving meaning and value to their opposite: 'Love.' Only by traversing hell can we appreciate its contrary and the reasons that make it indispensable: 'falling in love with Love,' using its generative, vital, positive energy to create Beauty in everything around us.
In this perspective, the artist plays a primary role, a modern Ulysses, a seeker of unexplored places and languages, mapping perceptions that materialize in the dimension of Beauty and Love, enriching and enhancing the experiential and evolutionary baggage of all humanity.
The artist becomes the privileged intermediary between science and society. A visionary and builder capable of influencing society and thereby subverting existing cultural models, this faculty must be exercised responsibly and ethically, working to make this world a better place to live. A visionary and utopian art, a framework capable of sustaining a prophetic revelation, exerts a broad and illuminating influence on the inner movements of the heart—a positive inner feeling that reflects in the social fabric, shaping all reality.
An art that promotes the capacity to feel through the physical dimension tied to one’s body—sensations and emotions—but also through the subtle paths that lead to the immaterial essence, in a state of 'Awareness and Love.' Only by using these energetic drives can we hope to break the chain binding humanity to earthly density and its accompanying limitations.
In recent years, scientific and philosophical disciplines have initiated an epistemological revision process that art cannot avoid. In this context, the figure of the artist must be redesigned, remolding their approach: 'an active participant artist, constantly engaging with other professionals in a multidisciplinary context,' to rebuild a new cultural paradigm where art, science, technology, and spirituality contribute to shaping a new experiential reality. This reality would be based on a strongly identity-driven, sustainable aesthetic, respectful of the planet and ethically significant.
'Only a free person can build their model of well-being-beauty-love,' and this becomes possible by experiencing wonder and splendor from a young age, growing accustomed to spaces imbued with beauty, and cultivating awareness that well-being and love are indispensable moral and intellectual values. Only by doing so can the conditions for a joyful and serene existence be created.
Our holistic perspective (as opposed to the utilitarian concept that defines contemporary times) considers the diverse components that determine the qualitative aspects of life. We believe that among human activities, creative artistic experiences can significantly contribute to the overall well-being of individuals. This well-being and quality of life are expressed throughout the process, from conception to the materialization of a work (for the reasons already discussed). It will thus be fundamental to dedicate oneself to creating experiential spaces and places where humanity's attention can be directed toward lifestyles focused on self-care and care for the surrounding environment.

'Mens agitat molem'—the mind moves matter (Virgil's Aeneid).

A thought focused on an intention that engages the whole body at a sensory level generates emotions, and these confer a strong vibrational state upon the work, radiating color and form.
In shared artistic groups driven by common intentions and purposes, thought-energies spread contagiously, sum up, and exponentially multiply their effectiveness, effectively transforming into 'egregores'. These energies somehow coordinate and determine the realization of common intentions and goals, as described by Sheldrake regarding the morphogenetic field or Jung's collective unconscious.
The contemplation of what is perceived as beautiful can evoke positive emotions such as harmony, pleasure, and even altered states of consciousness, moments of profound self-exploration, and heightened awareness. As noted by contemporary transpersonal psychology, these states, often used for therapeutic purposes, can significantly contribute to resolving unhealthy low-frequency conditions that often decisively affect the quality of life.
Sharing any form of Beauty can strengthen social cohesion and cultural identity. Shared aesthetic canons can help create a sense of belonging and community and foster positive thought patterns, shaping relational models based on well-being and love.'Life breaks and crushes the soul, but art reminds you that you have one' (Stella Adler).

The art installation is the moment of representation that in unveiling illuminates the space of truth, of possibility, of universal beauty, in one of the infinite possible forms.

'Art is spiritual nature, it is principle' the act that in every moment promotes renewal, a need of the human spirit that embraces the conscious and unconscious worlds; but also a warning not to surrender to indifference, to the shadows that conceal truth and beauty, ultimately a sublime act of freedom.

Artists in the past through the use of images alone were able to evoke in humanity all the sacredness of the real in the important experiences of our lives and personal history, making us observe the world and ourselves with a more conscious and detached gaze.

In the Proustian vision, 'La Madelaine' is evocation of memories resonating in poetic form with one's own experience, and it is the same creative process manifested in any other form of artistic expression. The possibility of giving expression to all forms of art simultaneously by synergistically involving all the senses, have led us to imagine a space of manifestation that gives body to and goes beyond Wagner's intuition: 'the arts all together represent and communicate more and better than they can individually, ' the breaking of such boundaries, opens up dimensions and expressive and representational possibilities within the reach of all human beings, as far as they are and will be able to achieve.

A new agorá 'the place of representation, ' the simultaneous staging of all the arts, the involvement of all the senses, a multidimensional perception of the work never achieved before, a finally engaging and profound communication between artist and viewer, because now the artist's imagination can really merge with the imagination of the work's user. Immersed in a world of sensations, emotions and interactions with the space, the possibility of unique experiences, something that until recently was definitely unthinkable, 'A space without borders', a key to access all the arts in any mode, regardless of place and time, connects to events, performances, museums, public and private exhibitions, puts artists and audiences in direct contact, allowing experiences of interactivity and real feeling of presence even in connections between different continents.

A manifestation space designed for artists, an extraordinary experience for the audience, finally active and participating in the work itself, a piece of life emerging from imagination and becoming reality. 'Total art' that can finally accommodate in itself all the expressive potential that has always been the prerogative of theater: the representation of existential problems and feelings of the human soul to finally dig into the abysses of complexity, in search of the deepest meaning of existence, still being able to draw on the possibility of enjoying the flavor of reality, or imagine possible forms of happiness.

A space available to anyone who has a desire to confront his or her inner world, which is even more indispensable in these times where the media bombardment of images and sounds, in the various forms and modalities that we know well, seems programmed for the purpose of leaving no space for the inner world of the fantastic and the creative, obstructive to be able to tap into any imaginative-creative activity.

'The key that opens the doors of existence lies in what you put in, not what you feel; we are creators not just observers.'

It is therefore not surprising the psychological discomfort that characterizes our times, and the obvious need to get out of the dimension of crushing that follows, to regain contact with one's interiority, using precisely the imaginary, in the artistic form that is its sublime instrument. 'Art to know and develop one's talents' but above all to give form, color and matter to what we feel; a journey into the unknown among dreams , desires and existential projections buried in the unconscious; during the creative activity we evoke them, translate them into space and contextually open ourselves to emotions and the inner change that follows, because 'everything that is really indispensable to reshape one's existence is already within oneself.'

The use of 'SENSE the space where imagination becomes reality, ' the result of years of scientific research and sophisticated technological applications, allows the artist to give body, (through the use of different and sometimes opposing grammars, involving emotions and reason) to meaning, thus placing the work of art on the highest rung of human experience. The possibility of shaping all expressions of art in the same space and contextually, actually produces a controllable and measurable parallel reality, a space where one can manifest the life one desires and one's extraordinary own unrecognized potentialities.

For psychoanalyst James Hillman, 'The psyche is imaginary, ' and artistic expression becomes a therapeutic approach: the use of SENSE for this purpose becomes indispensable, so space is shaped into infinite modes of expression, sensoriality and emotionality move the unconscious and imagination, opening up listening to the reactions of one's body and the changes that take place, and all this becomes possible because of a characteristic of the mind recognized scientifically: the psyche perceives no difference between objective and imaginative reality, the evocation then becomes a reality not distinguishable from the real world. By creating the right evocations in the mind, it is therefore possible through the use of SENSE to enter into communication with one's unconscious, which from Freud, down to energy psychology is recognized as the most conditioning and in some ways limiting engine of existence: 'SENSE is the magic that creates around us the reality in which we would like to live, ' not as passive spectators, but from within, immersed in the density of the 5 senses to explore the beyond, immersed in a dense space of perceptions for sight, hearing, smell, touch and taste. The possibility of being mirrored in such engaging experiences touching the deepest chords of the soul, a journey that can turn into a tortuous and tortured path, as well as can lead us to possible moments of exhilarating suspension, a kind of mystical estrangement from the body: 'the perception of beauty in all its strength and power, ' because art involves and explores our primordial neurological structures and can make us excited to experience potentials and talents on ourselves.

'A person's mental state is his environment.'

The mind therefore interprets the environment, if I control the environment, if I conduct my thoughts and perceptions through it I will have the ability to conduct my existence on the tracks that are most congenial to me, I will then change the signals that reach the cells and regulate their functions. 'Invigorating thoughts produce invigorating chemicals, toxic thoughts produce toxic chemicals' Lipton. As also demonstrated in the wave genome theory in which the genetic apparatus is considered a quantum bio-computer, which uses the verbal structures of DNA, RNA and proteins, to manage the entire organism, affirming the primacy of energy-informational activity, over biochemistry. Peter Piotr Gariaev discoverer of the so-called 'DNA ghost effect' has shown that the living substance of DNA in living tissue, reacts to laser beams modulated by language, but also by radio waves, this also explains why affirmations, (especially when participated in a context of strong emotional involvement, or in hypnotic states or other similar activities) can have such a powerful effect on human beings, SENSE thus becomes an indispensable tool for shaping space and making possible deepest personal transformations, as well as one's own personal evolution and beyond, because through the sharing between artist and viewer that emotional trans can be generated whereby the two entities perceive that they are not so distinct after all and instead tend to connect on common goals and intentions.

'The beautiful is the splendor of the true' Plato.

Truth as the ultimate, secret and unknowable value, which is identified with the divine. 'Quest for beauty and truth is a quest for the sacred.' The work of art or, more simply, the shaping of the divine spark that dwells in us humans, unique as all existence should be, 'a pure creative path governed by the desire to shape reality with the sole expression of will, ' standing in opposition to social and cultural patterns and conditioning, a revolutionary act that is the very essence of art. To seek one's own uniqueness, assuming the role of architect of one's own destiny and pursuit of happiness, opening oneself in fact to the possibility of positively infecting one's own epoch and the entire universe. The artist could or rather should tap into that hyperuranium described by Plato as 'the world of ideas' reachable only by the intellect, activating a true contact with transcendence. The idea for Plato is a universal reality, moving thought, then becoming form, and so who more than art itself should assume the role and moral responsibility of expressing ideas by transmuting them into form.

'The universe is a thought of God' Einstein.

Creation therefore is a thought of the creator.' And God created man in his own image. In the image of God created he him' Genesis. I think therefore I create, thought therefore shapes and molds physical matter into forms. Everything begins with a thought or rather from the eidos, that is, from an idea that is form, a creation that continually springs from our thoughts, and it is for this reason that art can and must rise to the role of propeller of cultural, scientific and technological innovation, to be an active participant in the evolution of humanity. A man genetically programmed to grasp and project forms, who precisely in artistic expression experiences the search for himself and the interpretation of the world around him.

Since time immemorial, man has sought to leave his own imprint and uniqueness in the creation of artistic works, the attempt to represent an alternative reality to which he entrusts a precise purpose: a 'telos, ' an ultimate goal, that pushes minds toward a high and hidden truth, perhaps unattainable, but somehow a goal to be pursued. 'The creative act is a kind of alchemy, ' a sublime gesture that fuses matter and spirit, because it is only in the temporal experience of material existence that it is possible to imagine, try, experiment, modify, analyze, try again and finally through emotions order the forces in matter. A long process in which aligning, focusing, connecting, and tuning are verbs and actions that arrange entities into attractive or receptive poles in the magical game of energy manipulation.

And in all this, what role does beauty play? A possible answer in the words of Prince Miskin in Dostoevsky's The Idiot 'beauty will save the world, ' an expression that should not, however, be understood as a possible cure to quell restless and aching spirits, but rather as a pathless path to a deeper level of awareness, attainable only by actually elevating one's spirit into an ideal dimension, out of the whirlpools of an agitated and noisy mind, engaged in disentangling the paradoxes of current human existence, because to represent beauty is to represent in some way 'An ideal world aligned with universal rules.' Observing from this privileged vantage point it remains truly difficult to confront today's human condition and much of today's artistic expressions, heirs to a philosophical vision imbued with pessimism that expresses itself in artistic productions steeped in mannerist nihilism, what has been described above combined with an asserted desire for the cultural denial of death as a topical moment of existence cannot but produce in all humanity an experience of meaninglessness and widespread unhappiness that in fact defines the need to seek by all means stultification or flashes of consumerist joy that are pulverized the very moment they materialize. Art in the contemporary world in fact only reflects this reality, stuck almost always in the themes of this tormented present, a sounding board of dramas, anxieties, destructive passions and disharmonies, in the spheres of the social, political, and environmental.

Thus art actually departs from classical canons, creating an irremediable separation between art and beauty. Aesthetic expression actually becomes the result of a tormented interiority, a mirror of feelings and thoughts in the cultural, moral, social and ethical spheres, a reflection and sounding board of an age of deep contradictions. And why not rethink Art as well as in Helena Blavatsky's statement 'the antidote beauty to the evil in the world expressed by the evil one, who by getting in the way becomes an obstacle to the creation of the world as it should have been.'

A topic of reflection of extreme interest in this historical moment in particular, just as in the words of Stendhal 'Beauty is nothing but a promise of happiness, ' art can once again become a representation of beauty, an expression of a dimension that transcends the everyday, and opens up to new visions of the self and the world around us. Beauty regenerative engine and universal language, because in front of something beautiful the brain activates recognition mechanisms, as well as the new discoveries in the field of neuroaesthetics have made clear, Helaine Scarry teacher of aesthetics at Harvard argues that the habit of contemplation of beauty induces us to a more open attitude socially, more equitable, a greater symmetry between the self and others; linking cognitive perceptive and ethical arguments.

It could also be argued that beauty is not to be trusted, its natural connection to utopias from Plato to Marx, in short multiple promises of happiness unfulfilled by history, the more enticing, noble, beautiful the end is, the more one will be driven to think that any means is adequate to achieve it. Dramatic events, tragedies, and conflicts delivered to us by history refute this thesis to some extent, although the poor execution of a work itself is certainly not evidence of a bad idea. How then to consider the complex relationships that unite Beauty to Happiness, expression of 'having or being, individual need, or collective desire, and when pandering to the possibility of personal growth seems to contradict the demands of public happiness, and again when a collective desire linked to dominant cultural models amplified by the influence from those media that in turn are subject to economic powers not even so obscure that intervene to condition and actually limit personal possibilities and choices.

'Only a happy man can change the economy' from the European School of economics, there is indeed a very close correlation between hormones (chemical messengers circulating in the blood) and behavior, mood, thoughts, and even opinions: serotonin, the feel-good hormone, stimulates melatonin synthesis and thus good rest promotes well-being and joy; oxytocin, the hormone of tenderness linked to anxiety control, loosens the grip of tensions and worries, increasing empathy and trust in others; dopamine, on the other hand, the pleasure hormone, is activated by performing pleasurable and gratifying activities, that is, by setting goals and achieving them.And it is therefore legitimate to consider the income-happiness juxtaposition obsolete, not only because neuroscience has amply demonstrated how powerful the addictive effect is, but above all because in this way, one enters a comfort-zone that induces consumerist passivity, rather than a more active role in the search for one's own happiness and the necessary confrontation with the social context and cultural-institutional conditions, so as not to let oneself be overwhelmed and negatively conditioned by them.

Neuroscience has shown again that leaving space for imaginative thoughts and activities fosters, for example, creative richness, greater cognitive flexibility and great ability to solve problems, considering then that in the current industrial system manual functions that have always been undisputed prerogative of man, are already carried out by robotic machinery and the trend is growing strongly ; conversely, super computers governed by artificial intelligence are replacing humans even in intellectual activities, so today even more than in other eras approaching the arts becomes a necessity, anything that will help generate good ideas can only be recognized as the highest of values by the entire social organization. Neuroscience suggests that practicing artistic activities is indispensable for the processing of images in the mind and that this is done by abductive, deductive, inductive reasoning or more rarely by absurd reasoning in order to evaluate then and make concrete only the most interesting ideas. The ability to connect the default mode network and the executive control network is the real added value of an artist, as demonstrated by the most recent neuroscientific discoveries, through the analysis of brain mapping with neuroimaging techniques and brain scans made with the most innovative resonance equipment. Ultimately, artistic-creative activity is nothing more than the relationship between vision-perception, memory-knowledge, culture-logic, interconnections between the physical plane and the astral plane seat of thought forms in a continuous process of energetic osmosis, an exchange that in essence is aimed at the fulfillment of certain events.

In everyday life most thought-forms are born and die in a short time, due to their vagueness and insubstantiality, but an intense thought that involves the whole body at the sensory level is a generator of emotions and these give it body, consistency, radiating vibration, color and form. In sharing in artistic groups animated by common intentions and purposes, the energies-thoughts are rampant by contagion add up, multiplying their efficacy by becoming de facto 'egregors' and these, in some way, coordinate and determine their realization, analogous to what Sheldrake described for the morphogenetic field or Jung's collective unconscious.

Shared then the thought form will be more and more powerful, capable of conditioning entire communities, peoples, or even the whole of humanity, 'Mens agitat molem' the mind moves matter, just as in Virgil's Aeneid. Who more than art and today more than ever with SENSE can stand up to become a propeller of innovation, traversing beauty, love, solidarity, understanding, visions of places and spaces of brotherhood and sharing supporting thought forms generating joy and happiness for themselves and all humanity, because as also demonstrated by eminent Russian scientists, human emotions also interfere with the electromagnetic fields of the earth, and even have a direct influence on the activity of the sun.

Negative charges such as fear or hatred have an immediate impact on the state of the planet, and consequently the sick earth reacts violently to such negative thoughts, generating frequencies that affect climate patterns even more than pollution from industrial and anthropogenic residues; everything is interconnected and negative charges consequently spill over powerfully onto human beings. Therefore, it becomes indispensable to make the artistic experience with a constructive and joyful approach in order to inject into the intellectual processes ideas, metaphors, symbolic repertoires charged with positive and purposeful energy because ' art is a vehicular language par excellence, ' a playful formative resource, a motivational drive to learn, experiment and consequently develop skills for harmonious psychophysical growth. Educating to art, especially in the youngest, is equivalent to educating to Beauty, a mediator of universal communication, drawing on the enormous resources within oneself and actually building an experiential awareness capable of also promoting the expansion of consciousness. Technological tools of expression and communication such as SENSO, become indispensable today not only because of the extraordinary potential of neurosensory immersiveness, interactivity and AI integration, but especially to promote emotional evocations, which in fact always produce new affective-relational, cognitive and psychomotor skills.

For the ancient Vedas each one is defined by one's deepest desires, (desire leads to thoughts, thoughts to words and actions, actions to the satisfaction of desire), a path without paths to desire, to a deeper level of awareness, which will lead to the attainment of the defined goal. 'We are what we wish to experience' we offer to the world what we are willing to feel, receive and accept of ourselves, through listening and seeing we can build 'the art of living.' An exploration within oneself, because what one desires does not always coincide with what one really needs, the consequence: frustration and dissatisfaction; that is why there is a need for the encounter with art, as John Dewey suggested, to be above all experiential, in the search for one's own harmony, also attainable by governing one's will and existence: by being present, lucid and focused, consistent with oneself and one's possibilities. If one entrusts oneself to the guidance of the higher self, there is no conflict between matter and awareness, and these are the conditions for living fully one's nature and the dimensions of all existence, using one's potential in balance, free from cultural and social conditioning.

This is ultimately the active role that rightfully belongs to the arts, which become a support and propeller of the sciences, technologies, cultural and philosophical themes and reflections. Kant in the 'Critique of Pure Reason' represents thought and the world as the two faces of the same coin, activating the philosophical season that from Schopenhauer to Gentile, up to postmodern philosophers such as Julia Kristeva, Deleuze, and others has strongly associated thought with construction and creation, I think therefore I create, thought shapes in concrete forms the cosmic ether generating physical matter (spirit becomes matter), as amply demonstrated in countless scientific experiments by the Japanese scientist Masaru Emoto, studying water, the most widespread element in nature, and in the human body, the vehicle through which life force energy is transmitted ( thoughts, words, symbols, vibration and frequency) he was able to demonstrate how water can record this information and communicate it: 'our intent modifies matter.'

Similarly, quantum physics, which studies matter at the subatomic level, has come to explain how the observer conditions reality and concretely defines the relationship between consciousness and reality.Sensory involvement also generates emotional waves, which especially when shared by groups with common intentions and purposes become extraordinary tools for intervening in material reality. Behavior modifies attitude, an imitative movement that materializes in the brain, (thanks to mirror neurons).Such behavior is determined by memory and is shaped by embodying emotions, without emotions the neurons deactivate and die, if there is no relationship there is no motion energy and therefore life. And it is precisely through art that one can touch the deepest chords of the self, one mirrors oneself in dialogue with oneself, one explores the mind by dividing it, just as one explores life by mirroring oneself within a relationship, or by living contextually as an active and an observer.

Art needs the sharing, cooperation and constructive confrontation to generate and develop in oneself awareness of one's abilities, character confidence and courage to put oneself on the line.

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