...Indra made the internal and external ocean communicate, the ocean of the heart, hrdyá samudrá, and the palpable ocean of the world. (Rg Veda) To approach this new cycle it is worth remembering, that, according to different interpretations, the Sanskrit term Veda (knowledge, consciousness etc.), relating to the homonymous collection of fundamental texts of the Indo-European culture, is the origin of the avestic correspondent Vaēdha, of the Greek ϝοἶδα ("woida"), as well as of the Latin word Video. In short, Video is not only a visual tale or a mere sequence of images, but is itself the recording of an experience, an emergence and an immersion from and into reality. The installation Abschiedselegien (Farewell Elegies) is therefore conceived as a synaesthetic set of personal clips and above all of archive footage (now available to anyone online), chosen as archetypal examples: The City, the Machine, The Speed, The Industrial Landscape, etc. The visual array of the contemporary world, which has now become an immense Atopy, as well as a Retropia (Z. Bauman,) perpetually crossed by disaster, which is implicit to every kind of technology. In addition and alternating to this industial scenery we find lyrical natural visions or imagery of classical statues, columns, spires and fountains of the large garden of Europe, often crossed by data flows: the technological flicker that nowadays overlaps any visual perception. There are even some incidental references to alchemical processes, especially to Nigredo (the present Kali Yuga, age of darkness and decay). Images are often (apparently) randomly overlaid, yet, the most incongruous combinations lead to connections of dense and poignant surrealist poetry, just like in the verses of Yvan Goll and Paul Celan, the most modern and most romantic poets of the past century. Any edifying intent or emphasis on the (now obviously) coming catastrophe have been avoided to focus on the spleen of the eyes and the heart facing the moving beauty of this agonizing world: skies and woods, as well as electric pylons, antennas (relentlessly contaminating the landscape), aircrafts among erratic clouds, airports, highways and chthonic rides inside the womb of the subways. A contemplation and a touching farewell that resembles the glance of romantic vertigo that Caspar Friedrich's Wanderer casted upon the world. The "digitalization of the Gestalt", due to the overwhelming power of the technological representations of reality, has now been indissolubly combined with the natural perception, indeed it has overcome it, extending the kaleidoscope of its infinite visual fragmentation out of all proportion. Although, being us analogical beings, it should not be forgotten that, as director Ferzan Ozpetek poetically writes, “Memory is not digital, it spins like an old film, it gets worn out. And over-loved images are burnt away.” For this reason, many of my clips, especially those referring to memory, are often “stained”, filtered, artificially scratched. In addition to visually referring to romantic painting, the title itself aims to remember the German Poetry of the same period (to which we owe the finest examples). Having also accidentally discovered the almost homonymous Carl Zuckmayer’ poem, which perfectly fits this work with its atmospheres and its reference to the Eternal Return, I decided to use its verses as keywords, visual and sound mantras that are repeated throughout the cycle. The videos are conceived as a layered structure, overlapping and combining visions and images, just like in the mental process of perception and reworking of reality. The cinematographic rules would require us to focus our attention on the center of the screen (as in Renaissance painting), but I prefer to work in an unorthodox way: reality is not only what we manage to focus on, often, on the contrary, the most relevant and interesting things happen at the corners of our peripheral sight and attention. It is up to the viewer to choose which point to focus on. The title of my entire Video-Art project, Neurotronik Tv is, in fact, not a mere slogan but more the synthesis of a conception of the visual work as a means of reproducting the processes of thought, in which the individual Stream of Consciousness coincides with the mise en scène of the contemporary world. A representation of the acceleration, the slow-motion moments, the accumulation of signs, reveries, nostalgias, intuitions, visual and literary quotes, hallucinations; in short: the synaesthetic overlapping of different and contemporary realities of past, present and future in which we live, so perfectly exemplified by the "layered" architecture of graphics and video editing softwares. A kind of simulation of the psychological and spiritual activity of (re)creation of the world as described by the Vedas above quoted and revived by today's quantum theories.