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"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

"The function of the diagrammatic arche-fossil is that of a probe that does not describe objects, preparing conditions that solicit the emergence of allure. The execution of the graphic procedure detaches sensible qualities from their unity and produces a perceptual gap. In that gap the withdrawn surplus of the object is signaled. The scribble does not speak with the object, but rather sets up the scene - the infrastructure - in which the object language can announce itself obliquely"

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.

Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.

-Sylvia Plath, Mirror

Under the Gaze, a project realised for the Studio Module of @designandcomputation with the amazing @lilli_of_the_city and @senaa.dogann

Under the Gaze explores the interrelationship between power, self-perception, and narrative. Our project investigates how gaze shapes identity, influenced by cultural memory, fiction, and aesthetics—understood here as sensory perception.
To transpose this idea into an experience, we created a sensory device that allows participants to engage in a dialogue about the gaze. Through a series of interviews, we collected narratives on self-perception, the body, others, and the mirror itself, building an evolving archive. Methodologically, we connect this to cinema’s gaze theory, drawing parallels between narrative fiction and the way gaze constructs reality.

Currently exhibited at My Computational Romance, the end of semester exhibition of the MA Design & Computation at @new__practice Studio.

"1024px-Sus_scrofa_domestica.mp4"

DJ betoniera - Video made from the second mutation of the interactive installation of Iperromantico, a year-long mutable book-exhibition curated by my collective-puddinga @palazzobronzo , in the spaces of @platea_palazzogaleano .

The images in the video are the result of a dreamlike vision, a collective game in which the free associations of the group members are translated into visual diagrams.

On the occasion of the opening of @mrzb__________________________ in the showcase spaces of Platea, @palazzobronzo inaugurated its second installation, in which, among other things, these images were printed and fed to a cement mixer, in the generation of a new paper and imaginative pudding.

Nur die Straßen Roms führen noch in die Ferne, und nur die ältesten Spuren führen am weitesten - Der Himmel über Berlin, 1:07:00

track id: Saapato - West Glacier Trail

1. Same diagram but non-textual;
2.Jean-Luc Moulène, Study for More or Less Bone (Formal Topological Optimization), 2019.

1. Same diagram but non-textual;
2.Jean-Luc Moulène, Study for More or Less Bone (Formal Topological Optimization), 2019.

1. Ex negativo diagram of scribbles, based on the text Über Kritzeln by Driesen, Köppel, Meyer-Krahmer, & Wittrock (2012), by me;
2. Rhoda Kellogg's sketch of the Radials category, from her essay Analyzing Children's Art (1969/2015).

1. Ex negativo diagram of scribbles, based on the text Über Kritzeln by Driesen, Köppel, Meyer-Krahmer, & Wittrock (2012), by me;
2. Rhoda Kellogg's sketch of the Radials category, from her essay Analyzing Children's Art (1969/2015).

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

Training computer vision on children drawings

1. Gjirokastër, 2023
2. Berlin, 2024
3. Gent, 2024
4. Napoli, 2025
5. Berlin, 2023

1. Gjirokastër, 2023
2. Berlin, 2024
3. Gent, 2024
4. Napoli, 2025
5. Berlin, 2023

1. Gjirokastër, 2023
2. Berlin, 2024
3. Gent, 2024
4. Napoli, 2025
5. Berlin, 2023

1. Gjirokastër, 2023
2. Berlin, 2024
3. Gent, 2024
4. Napoli, 2025
5. Berlin, 2023

1. Gjirokastër, 2023
2. Berlin, 2024
3. Gent, 2024
4. Napoli, 2025
5. Berlin, 2023

Berlino-Genova, 2022

Berlino-Genova, 2022

Berlino-Genova, 2022

1, 2. Carrara, 2021
3. Genova, 2024
4. Berlino, 2023
5. Lukovë, Albania, 2022

1, 2. Carrara, 2021
3. Genova, 2024
4. Berlino, 2023
5. Lukovë, Albania, 2022

1, 2. Carrara, 2021
3. Genova, 2024
4. Berlino, 2023
5. Lukovë, Albania, 2022

1, 2. Carrara, 2021
3. Genova, 2024
4. Berlino, 2023
5. Lukovë, Albania, 2022

1, 2. Carrara, 2021
3. Genova, 2024
4. Berlino, 2023
5. Lukovë, Albania, 2022

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Napoli 2025

Genova

Genova

Genova

Genova

Genova

Genova

Genova

Genova

Genova

Genova