matrimonio (2023) Drawing by Stefano Galli

Pastel on Paper, 11.8x16.5 in
$496.87
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Procreazione Non si può negare che il principale ostacolo per la formazione dell’intelligenza artificiale fu proprio l’uomo. Non c’erano dati né materie che introdotte nel sistema non provocassero discussioni, veti ed altro. In fin dei conti il nostro scopo era semplicemente quello di sostituire l’umano in tutte le sue funzioni[...]
Procreazione
Non si può negare che il principale ostacolo per la formazione dell’intelligenza artificiale fu proprio
l’uomo. Non c’erano dati né materie che introdotte nel sistema non provocassero discussioni, veti
ed altro. In fin dei conti il nostro scopo era semplicemente quello di sostituire l’umano in tutte le
sue funzioni al fine di produrre meglio e più velocemente; migliorare le sue prestazioni creative in
tutti i suoi aspetti sostituendolo, al fine di non farlo più lavorare se non poche ore, simboliche,
all’anno. Grande e ideale, non rivelato compito dell’umanità, avrebbe dovuto essere quello di
coltivare la propria spiritualità. Un disastro! L’umanità si sedette in attesa di essere servita
gratuitamente; nel giro di due generazioni, in gran parte fiacchi e debosciati, lamentavano solo la
mancanza di ideali e l’impossibilità in un tale sistema di realizzarsi, al punto da manifestare la loro
lamentela mediante inefficaci e assurdi scioperi. Persero pure la voglia di moltiplicarsi,
manifestandosi sempre più pesante lo sforzo fisico della procreazione. Per quanto riguarda la
spiritualità, divenne pura anarchica, visto che, grazie a tutto il tempo libero, non facevano che
inventarsi credenze e religioni sempre più singolari e personali. Il caos!
Nel frattempo, la I.A., diventando sempre più sofisticata e sensibile, autogenerò delle aberrazioni
comportamentali nei comparti più sensibili del sistema, come ad esempio nei sensori esterni: i
robot. Il loro aspetto antropoide, li indebolì portandoli ad imitare gli umani in molti caratteristici
aspetti, quale la pretesa di essere nobili con ataviche origini mitologiche umane; essere
buongustai o sommelier, nonostante il palato di acciaio; vestirsi come gli umani per non parlare
dell’aspetto più truce: quello di generare figli che li ha portati a sposarsi tra loro, per poi adottare
un residuo umano o addirittura un robot vergine trovato in qualche deposito abusivo di partite
rubate.
La colpa di tutto ciò risiede nella enormità della struttura I.A. che non riesce più a controllare
neanche se stessa avendo generato nel tempo troppe sottostrutture autonome e impenetrabili; si
è generata quella che ancora i pochi umani sopravissuti chiamano male.

Related themes

A.i.MatrimonioIroniaFuturoMetarealismo

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Conceptual Art A.I. matrimonio ironia futuro metarealismo
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Stefano Galli Portrait
Stefano Galli
Italy
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[...]

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, France, Belgium, Germany, England, Spain, Russia, and the United Arab Emirates.

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