Videoinsight® Magazine

Videoinsight® Magazine 2016 | 7

Videoinsight® Magazine 2016 | 7

Artissima 2016 | Subliminal Sublimation. Maria José Arjona at Videoinsight® Center.

Videoinsight® Foundation www.fasv.it presents five videos and a series of photographs from Maria José Arjona performative production. On November 4th, during Artissima 2016, for a Solo Exhibition.

Below the threshold of learning and awareness, there are yet unknown mechanisms, elementary blocks of unexplored circuits, for future knowledge tools: labyrinthine to our senses and to reason, study subjects for hitherto and unimagined science, themes for undefined and infinite forms of art.

Promised lands and, at the same time, galaxies: here, the multidimensional resonance of each event echoes. Human area is more than a complex constellation, for other conception and other license. If, at a first step, we decide to repopulate it and attend it with authenticity, we will find the auroral light, written in a simple code.The concept of subliminal, when taken as a category informant, may take us to this critical step of our research. Not only: the conviction – opaque by nature and definition – that this model implies is the fulcrum to move the levers of perception, to question our acquisition of sensitive data in the universe. This is the attempt – a sort of temptation – Maria José Arjona: reporting separately the intuition that becomes substance, showing the act as topic. The action becomes metonymic backwards: a part for the whole and, at the same time, one in the part.

For Artissima 2016, the collector and patron Rebecca Russo dedicates to Maria José Arjona a Solo Exhibition at the Videoinsight® Center, in collaboration with Prometeo Gallery (Lucca, Milan). Artist born in Bogota in 1973, active in New York, the Colombian performer measures herself with her very presence: in place, movement, relationship and comparison. Placed within the Videoinsight® Method, his aesthetic practice translates into a meaningful symbolism both the gesture and the movement, providing a particular explication of every linguistic figure, a documentary sequence – both fragmentary nd free – of our communication activities. It is a process of analysis, identification and restitution – totalizing and interdisciplinary in the use of imaginary spatial temporal elements – through the unspoken, the said and submerged. This process leaves open the gates of interpretation, focusing and constantly shifting the points of view from the inside out, from subject to object.

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Maria Jose’Arjona ‘Agent / Encoding / Flow’ (2014) Courtesy Videoinsight® Collection

Agent / Encoding / Flow (2014) seems the realization of a poetic inspiration. The interaction is fourfold: Private, coordinated between agents, rhythmic-musical and “for support”. The medium is contaminated by displaying a kind of binary system, brought to light after the event, and by the appearance of a lot of key words – effectless and decontextualized slogans. The dance repeats steps from ancestral root, combined with new and plausible contemporary steps. Fractions are dilated, the work seems to confirm – on the recording – the interminable outcome of its own practice: verbalized pretext.

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Maria Jose’Arjona ‘All the others in me’ (2014) Courtesy the Artist

All the Others in Me (Milan, 2012): the clothing of Maria José Arjona reveals interiority, an intimate statement. Here the ritual investiture takes place from the bottom, where the consciousness of otherness is taken, gradually, and rediscovered as innate. Even the face “portrays itself” and vanish, slowly. The moments of abandon are sometimes neglected. They track the personal – then social, finally collective – discourse: a forgotten memory.

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Maria Jose’Arjona ‘Espiritu’ (2014) Courtesy Videoinsight® Collection

The video-performance Espiritu (Lucca, 2014) is more than a match: a whisper, an affection of the heart in a circle of spectators and visitors. The contact is altready effective in the distance, eternal and infinitely starting from the beginning, from the first emotional relationship.

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Maria Jose’Arjona ‘Right at the center, there is silence’ 2012 Courtesy Videoinsight® Collection

Right at the Center, There is Silence, performance from Active Voice cycle, is a immortalized situation, the immortal breath of a sudden pause. The danger is everywhere, beyond to the central equilibrium boundaries.

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Maria Jose’Arjona ‘Birdcage’ (2015) Courtesy the Artist

Birdcage (2015) is not the frozen moment that seems at initial impact, but the dissolved sense, freed after the art-composition. A solution – created and reproduced from the inside of the cage – by original escape in a bare light: absolute because released from the dichotomy of truth and illusion.

Magic of sublimation!

Ivan Fassio

Videoinsight® Magazine 2016|6

Videoinsight® Magazine 2016|6

Videoinsight® School Project
Education as Intuition, Care, Nourishment

The Project Videoinsight® School, curated by Tita Giunta and Lucia Centurelli, and supervised by Rebecca Russo, President of the Videoinsight® Art and Science Foundation, led contemporary art in Primary School for the first time: video art and performance were the basis for an innovative educational and instructional path. Today, Videoinsight® Magazine is presenting the first experience, closely linked to the video “Lux Mater”, documentation of an art performance by Beatriz Millar.

Learning, generally, appears suddenly, accompanied, in the subject, with a pleasant, and sometimes ecstatic, feeling to have finally achieved a genuine understanding. An acquisition of this kind can be taken internally as a real mode and can contribute, therefore, to transfer our consciousness towards new situations. Such a process is based, as well, on a kind of global insight: it’s like a foundational structure, the foundation of our evolution.

The memory tracks, in fact, are not isolated elements, but arranged agglomerates, blocks. They constitute full figures in continuous changing and in constant expansion: construction sites. Understanding of change and novelty is not an add of new signs to our store of knowledge, but a transformation to one form into another. Here is the original successful mutation, which can arise from experience or occur as a result of reflection, over time. In the case of artistic enjoyment, privileged sphere of the Videoinsight® Method created by Rebecca Russo, the latter two cases fit together.
The etymological root of the concept of education collects and mixes significantly the Latin versions of e-ducere (whose meaning is “get out”, “give birth”, “lead outside”) and edere (feed). education paradigm is the cure understood as help, guidance, orientation, design, support.

Not surprisingly, the first reference video for the Videoinsight® School Project curated by Lucia Centurelli and Tita Giunta, both Videoinsight® Method cuartors, was “Lux Mater” by Beatriz Millar. In this video, a documentation of an art performance, the artist mixes flour and ingredients, bakes cakes and bread. Reflecting on creative gestures and rituals, Beatriz Millar found in the preparation of bread, and through its gift as an elementary nourishment, the feminine power of creation. The artist questions, through this simple and atavistic gesture, about role-mutated, lost or acquired, in contemporary societies.

The Videoinsight® School Project has foreseen the Videoinsight® proposal and experience to pupils in elementary classes. The project was defined on the basis of psychological and individual needs, both individual and collective. After careful consideration on the specific needs of each group, realized through preliminary meeting with the reference teachers, the vision of Contemporary Art images of Videoinsight® High Impact has been proposed for the very first time to young students. Spontaneous narrative results and individual or collective interpretations from a first approach to contemporary art have been evaluated by the Videoinsight® experts and, later, conceptually and creatively reworked by children through bodily expression through theater-therapy settings.
In the case of this work based on Beatriz Millar’s videos – the first of three experiences of the Videoinsight® School Project – for the theater-setting prepared by Tita Giunta, the children were welcomed into a space, in front of a circle of dishes – each containing a loaf of clay. At the center, a rope creates a circular shape, with three large knots. Clay is a symbol of creation, intended as the mother earth. Before being used, it has been divided into many small pieces. With care and dedication, the students had to mix it with their oiled hands. It was proposed to mix the loaves of clay just like Beatriz Millar does in her video performance. The students had to create their own world: a ball with their favorite features: cracks, grooves, capes, holes. Then, it started an exchange: with the right hand, each participant has given his creation to his companion, with his left hand has received the gift of the companion; the worlds continued to circle until everyone got back his own world. Everyone explored carefully the world of the others, focusing on the diversities, specificities and uniqueness. Finally, the children were asked to place their own world on the rope. It was explained to them that the rope represented the class and that every child had to place his own world, by maintaining contacts with the rope: where was the position of every student in relationship with his own class and with the others?

Ivan Fassio

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Videoinsight® Magazine 2016|5

Videoinsight® Magazine 2016|5

The Videoinsight® Method: Culture of Vision and Learning Process

Art and creativity – through an innovative culture of vision and active processing sustained and developed by Rebecca Russo Videoinsight® Method – offer a significant theoretical support and a methodological powerful side to pedagogy and to education science, because the emotional and affective dimension is the root of all training and learning process.

The space of aesthetic is characterized by an inevitable relationship, founded both on the senses and on the recognition of the importance of logical or emotional component of every relationship with otherness. The perceptual knowledge mode will play a predominant role in our approach to an aesthetic practice: a connection that will be both intellectual and cultural, conceived as a rational knowledge. The perceptive mode refers to a physical concept, more empirical and hermeneutics. The second mode is more logic.

The definition of Aesthetics always lives within this fascinating ambivalence: the dimension of knowledge is related to the senses and, at the same time, to the possibility of operating selections and judgments about the events. These choices are based on the subsequent reaction to the emotional perception.

This definition – formulated trying to retrieve the most authentic and original historic and etymological features of the term – helps us to clarify the dynamics. It is not only necessary to take a spontaneous intuitive criterion consisting in awaiting a kind of shock or appearance in front of something – the other-than-self dimension -. Rather, the visitore is called to get actively into the construction of representations and horizons, participating with awareness to the ongoing consolidation. His approach will be able to destroy and redefine all paradigms – including the ones referring to the category of beauty – through which the sensitivity becomes exchange, comment, discussion and, finally, culture.

From this point of view, art, through the contribution of Rebecca Russo Videoinsight® Method, provides a significant support, a theoretical and methodological powerful side to pedagogy and creativity, inasmuch as the emotional and affective dimension of training and learning processes is inevitably significant: the experiential need and the aesthetic dimension have always to build together and, at the same time, to help growth.

Ivan Fassio

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Videoinsight® Magazine 2016|4

Videoinsight® Magazine 2016|4

Videoinsight App® for Iphone and Ipad

Language Innovation, Scientific Publication and Free Enjoyment of Videoinsight® Method

The belief of Rebecca Russian in art as a possibility of cognitive, social and relational innovation flexibof the method Videoinsight®, designed by herself, within the dynamics of contemporary communication, have driven the Foundation to the development of new ways of disseminating information, related, from time to time, to education, therapy, prevention and exploration of the links between aesthetics and science, sports, professional education.
New Videoinsight® Application for Iphone and Ipad responds not only to the individual needs of testing therapeutic and preventive solution. It is, in fact, the structuring of a true network where purely aesthetic interests, permanent search of meaning, progressive investigations on the complex and deep – sometimes forgotten- affinity between art and life. For a gradual and growing foundation of a science of knowledge, who can linguistically reformulate the common source of various disciplines, it is inevitable to use all media and languages of contemporary technology.
The users of the hitherto unpublished video sharing process for art-therapeutic and preventive function can choose among various sections dedicated to psycho-physical wellness (Art for Care Videoinsight® Hospital), to art care and to emergency relief (Art for Care Videoinsight® Emergency) learning (Art for Care Videoinsight® School), the contribution to sport and competitiveness (Videoinsight® Art for Care Sport) and performance improvement in physical training (Videoinsight® Art for Care Training). The user will have the opportunity to choose the most appropriate video for your needs among a wide range of sub-categories .
The Videoinsight® method is verified and tested in clinical, psychological and medical fields to integrate culture and health in a holistic and interdisciplinary way. Its effectiveness has been demonstrated through objective medical studies and recognized by the international scientific community. The videos – chosen with competence, responsibility and professional ethics on the basis of the viewer’s psychological needs – are the results of many years of selection on the basis of a new specific competence, the Videoinsight® Method, validated by an innovative practice undertaken in the fields of psychotherapy, medicine and contemporary art.
The Videoinsight® App for mobile devices is an important step for the enjoyment of the method. It allows to donate aid, awareness and knowledge, making users independent. It is an ideal complement for all other Videoinsight® programs.
Starting today, Videoinsight® Magazine will focus on a series of video inserted in the innovative world of the App, attempting to advise users on the choices to be made for their needs.
In the Training cathegory, the user can run into an engaging work of video-artist Said Atabekov. Battle for the square (2009) is a video in which it is represented a Kokpar, a sort of equestrian battle of Kazakh atavistic matrix. Two teams of horsemen contend the carcass of a ram, facing a struggle marked by centripetal energies. Colliding freely and chaotically, participants relive a ritual tradition with strong mystical meanings. From the artistic point of view, the work can show, on a symbolic level, certain aspects of discomfort present in the contemporary civilization. From a spiritual point of view, the dead trophy could represent an abandonment of a self-centered concept and the ascension towards a gradual awareness of existence complexity. Rebecca Russo has chosen to include this work within the Videoinsight® system for its strong positive values in the field of psychotherapy and, from today, in App. for the Training section.
The confusion generated by the warriors effectively staged a situation of repetition compulsion. This unconscious process pushes the individual to choose painful or unsatisfaction situations, without realizing that these are actively determined. As repetitions on similar backgrounds, these decisions have a character of obsessive circularity. The work of Atabekov can awaken, on this way, a desire to escape from a series of choisces, that are voted inevitably to failure. This video is useful, therefore, to focus on the real capacity and physical potential of an individual, to comprehend the ideal, existential and professional objectives,.
Also in the Training section,The words and music of Black by Bonnie Prince Billy is a soundtrack for the video ‘Let love be eternal, while it lasts’ (2006). The video-artist Michael Fliri tries to climb a mountain, using adjustable stilts on the snow level, but he is obliged to give up because the stilts have reached the maximum extension. Love is the snow to protect: the protagonist tries to explore it without trample, until its duration will not be canceled in distance. To fill the time with space, in a sublimated nature, in the setting of a romantic landscape, the hero chases an outdated goal: knowledge as matter and form. This video, an authentic representation of the firm purpose of a goal achievement, can relieve the viewer from fears and channel emotions, energies and affections in the acceptance and respect for an activity and, consequently, for existence.

Ivan Fassio

Videoinsight® Magazine 2016|3 | Georges H. Rabbath ‘The Better World’

Videoinsight® Magazine 2016|3 | Georges H. Rabbath ‘The Better World’

Georges H. Rabbath. The Better World
The Time of the Images: A Precise Position for Desire

Videoinsight® Garden, April 11, 2016

In the Videoinsight® Garden of Rebecca Russo, during the artistic-performative and interactive experience titled “The Better World”, the photographer Georges H. Rabbath has literally amplified the relationship with the subject of his own desire, formally and conceptually pentrating the content of the experiment. The result is a fascinating and poetic video series: tableaux vivants, action shots, images of true aspiration for new possibilities.

Creating images that expresse movement is the mode that the conventional representation has always adopted. Founded on the principle of contiguity between character, environment and narrative function instance, its nature links the whole construction to cause and effect chains. Editing will be inevitably hidden, invisible, functional to the story. Actions and gestures by characters will take place in a coherent manner and in accordance with the general set that makes and provides sense and total comprehension. This does not happen only for cinema, in the movies: we can find the same peculiarities in traditional creations: painting and sculpture, photography and theater.

The image, however, that can release time, can emancipate vision from any plot. While in the first case it was all functional to the narrative pretext, now every moment exude a new intuition, open to emptiness, expanded to unlimited space, to long waits, non-places, biological or existential suspended landscapes. The fluidity becomes protagonist, it gives up the composure to the polarities of signifiers: the characters are dispersed into the environment, placing himself in opposition to it, demonstrating their perpetual strangeness.
The creative power loose all linearity power: the narrative offers other utopian solutions. Hence the better world, perception of a way out: not only golden age, but clear and sharp variation and formulation of the future, premonition that self-fulfills.

Captured at the same time, the subject and his labor: the hints of all time spent and the mystery of the birth, the enigma of becoming. This is the aim of the portrait painter, the artist’s battle. The aesthetic practice makes constantly image, it outlines effigies and colors, it cuts through boundaries of universes: writing, music, visual arts, actor’s body or performing agents. This creation has nothing to do with imagination or memories clearly and definitively verbalized, with necessarily sensitive determinations. In contrast, the figure can be understood and perceived in the nakedness of a concept, on the wings of a prediction, in the purity of content, in the suggestion that remains etched within the encephalic depth, plowing into our unconsciousness. Photography, as a transcription of light, gives always to us an illusion of truth, asking for a suspension of disbelief. Although it can not be defined in terms of probability, cause each shot requires a choice and implies a point of view, it needs a prior approval. During the last century, paintings and video art have sucked lighting, assimilated the expressive capacity.

On April 11, 2016, within the Videoinsight® Garden Rebecca Russo, Georges H. Rabbath wandered with his camera lens. All we thought about a classic shooting session, enhanced by the author’s talent, always attentive to reports of improvisation between individuality and environmental, historical, relational circumstances. Participants would have wandered through the charming garden, thinking of their particular and unique idea of a better world in harmony with the requests and supporting structures of the Videoinsight® Method by Rebecca Russo. They should have found a vital equilibrium in a precise point between trees and shrubs and finally they should have let capture the attentive gaze of the artist. Georges himself, however, amplified his experience: he “improved” its relationship with the others, with the subjects of his own desire, penetrating formally and conceptually the content of the experiment. His works have been working on a spaceless time enriched by the movement: the place has become set design, an integral part of the journey in a universe all made by new energy. The fixity of the shot was prolonged into a sequence of few seconds tablaux vivants: Georges has filmed short videos, films that will become, perhaps, series of still images or prints. The result, for now, is the sharing of shorts without plot: the outline that binds them is the desire for a two-way possibility, the perfection of a dialogue made of silence, breath and pure existence.

By Ivan Fassio

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Artist Residence | Videoinsight® Prize | 2016

Videoinsight® Magazine 2016|2
Artist Residence | Videoinsight® Prize | 2016| Eduardo Duaia

Videoinsight® Foundation – created by Rebecca Russo, collector, philanthropist and patron of the Arts – promotes and supports Contemporary Art.
Videoinsight® Foundation activates since 2016 the ‘Artist’s Residence’ Program. The artists, carefully selected, will be invited to create works inspired by Videoinsight® Concept. The exchange, the aesthetic experimentation in a different cultural environment, the encounter with other Artists and professionals and the inevitable and innovative inspiring thrust represent creative and growth opportunities for the chosen Artists and the Foundation itself.
The Videoinsight® Foundation has focused its attention on Latin America for a long time: Mexico, Guatemala, Brazil, Venezuela, Panama, Colombia, Argentina, Peru, Chile, Cuba. Through the attentive gaze and the insights of Rebecca Russo, the Foundation has already supported emerging and famous artists: Ivan Argote, Regina José Galindo, Jhafis Quintero, Maria José Arjona, Naufus Ramírez-Figueroa, Alejandro Valenzuela.

Eduardo Duaia, Brazilian artist living in Rio de Janeiro, has been awarded with the ARTIST RESIDENCE 2016 Prize. The Artist will work in Italy in May. The Foundation will dedicate to Eduardo Duaia a solo Exhibition in 2016 entitled ‘Renascence’.

The aesthetic practice of Eduardo Duaia begins with a heartfelt reflection on the idea of rebirth. The images captured by the artist, strictly produced without the use of digital tricks, stand out in an intermediate space, conceptually equidistant from the realistic representation, from symbolism of dream matrixes and metaphysics. Their language is perceptual: a logic of feeling that seems to communicate through a delicate and suffused plastic style. Forms are light and airy. However, they are still preserving a monumental aura, a sign of willpower which they can contain or collect. Here, we can glimpse backlit buildings of the past, collapsed for a new creation of the universe

The work ‘Renascence’ – photo and video selected by Rebecca Russo for Videoinsight® Collection – paradoxically represents a horizon in the foreground: a hovering and candid egg on a soft cloud. Reality or staging, it doesn’t matter: a real construction of meaning by the artist arranged to communicate a sweet premonition, all to be performed.

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Eduardo Duaia Renascence 2016 Videoinsight® Collection

The negative and distressing aspects of daily existence find expression through a recovered equilibrium of the composition. This is the case of ‘Fear’, which significantly indicates the experience of anguish about the future, exorcises any panic showing a crumpled blank page: it’ a releasing sculpture because of its tautological . Our fear is enclosed in what we haven’t written or that we trashed, just because of our insecurity in the relationship with the Other.

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Eduardo Duaia Fear 2016 Videoinsight® Collection

The beauty, as all truth, is enclosed in a corolla. This flower reveals a fruit, crystal-clear and without filters: true power of nature. In “Beauty”, we can find a floral mystery and an unexpected biological miracle of anthropomorphic kind.

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Eduardo Duaia Beauty 2015 Videoinsight® Collection

In ‘Resistance’, what remains of the world building is an ideation and insight of human manufactures. Demolished beams are still supporting our dreams, resisting in our imagination in order to support the structure of the our next impulse: the wing for an ever-possible flight.

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Eduardo Duaia Resistance 2015 Videoinsight® Collection

In ‘Smoke gets in your eyes’, ‘I belong to you’ and in the series ‘Body’, the author himself becomes an actor-performer and, at the same time, the subject of his creations. Subjected to the image, the photographer has thrown them away, choosing to be imprisoned. Intended as vice or passion, as captivity or freedom of his own action, the body is explored in all its linguistic limitations, so that the artist can define a discipline: proper self-expression in the acquiree are comfortable with their gestures and postures.

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Eduardo Duaia Smoke get in your eyes 2016 Videoinsight® Collection

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Eduardo Duaia Body I 2016 Videoinsight® Collection

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Eduardo Duaia Body II 2016 Videoinsight® Collection

Which is the path that can lead us to the exploration of our senses?
It uphill climbs on the side of a steep hill. The staircase was built centuries ago by the giants who preceded us. We need to pull a chain to hold on. It’s still a discovery, as in ‘Conquest’: the sincere admission and the consequent liberation from slavery in front of our customs.
Eduardo Duaia walks on this path, it retraces ritually, tramples shadows, ancient steps of millennia. At times, filming their own photographs with a fixed camera to create short insightful videos. In addition to continually emancipate their eye and himself, the artist want to give the same opportunity to images so that they find the escape route that their creator was able to enjoy and explore!

Ivan Fassio

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Eduardo Duaia Conquest 2016 Videoinsight® Collection

Videoinsight® Magazine April 2016 N.1

Videoinsight® Magazine April 2016 N.1

Videoinsight® Magazine.
The weekly appointment with the Revolutionary Videoinsight Art World:
Aesthetics, Culture, Therapy, Innovation.

As from today, April the 5th 2016, on Tuesdays, Videoinsight® Magazine will be available. This Magazine will be the dedicated Videoinsight® in-depth news page: from the Collection theoretical and aesthetic analysis to information on innovative projects. The articles will be linked to the progress and to the evolutionary and integrative stages of Research on the Method conceived by Rebecca Russo, both at individual and societal level.

The weekly column Videoinsight® Magazine starts as an in-depth publication about theoretical and critical studies on Videoinsight® Foundation, Collection and Method. The goal of each article is the creation of an incitement for a reflection on scientific aesthetic fields, for the disclosure of a thematic topic, for the discovery of the style and work by an Artist of the Collection, the identification of the close relationship between the aims of the Foundation and the contemporary social needs. Our task will be the gradual and final explanation of the Videoinsight® Method characteristics and peculiarities. We will introduce a series of interviews to Rebecca Russo, to the Foundation’s collaborators and to the protagonists of Exhibitions, Events, Projects and Meetings. As much relevance as possible will be devoted to reporting and reviewing Videoinsight® Publications, and to art publishing and scientific Research which are dealing with the method with books, essays, discussions and articles.

Created by collector and psychotherapist Rebecca Russo, the Videoinsight® Foundation is working hard to divulge worldwide the Videoinsight® Method, the Videoinsight® Art for Care Concept and Videoinsight Collection® as new therapeutic solutions to improve quality of life and the global promotion of Well-being. The integration of the Method at all levels of society – without distinction of gender and based on interest in cases of vulnerability (crises, illness, discomfort) and emergency (migration, conflict areas, poverty, natural disasters) – remains the milestones of this mission. Through the program Videoinsight® Art for Care, a variation of Videoinsight® evolutionary practices already applied in all fields of social relations (education, work, sports, health), the method has so far reached the Primary and Secondary Schools, Hospitals (23 Videoinsight® Rooms have already been activated in Health Institutes), the leading centers for Training, Sport and Workout. The selected works for so many site-specific interventions of help, therapy, promotion, and training must respond to a series of essential criteria: ideal Contemporary Art has strong therapeutic connotations, already tested in Medical Research with recognized objective results, certified by the International Scientific Society. For this reason, the works of the Videoinsight® Collection can relax, increase mood, activate healthy resources, treat disease, support the pain, reduce fears, trigger courage for changement and increase confidence and willpower: they can consequently offer new equilibrium and awareness.

The Videoinsight® Foundation is active in the fields of Psychological and Medical Research, too. Following the intentions of the founder, creative practice and aesthetic fruition are processed with the radical recovery of their original value. Art, understood as an objectified personal testimony strictly linked to its own expressive language, can present horizons for investigations in the fields of prevention, diagnostic, curative and rehabilitative areas. As perceptive and linguistic simulation of life, contemporary art comes along a cathartic and evolutionary path, getting through process and transformation dynamics. Similarly, in tight connection with Aesthetics and Medicine peculiarity, Videoinsight® Method is deeply rooted in the original – individual and collective – insights and in the same innovations that support artistic and scientific experiments.

The revolutionary system conceived by Rebecca Russo pursues the aim of the creation of a knowledge science: a rich and meaningful mix of existential experience, biological and artistic creation. This objective which will lay new foundations in order to test innovative interdisciplinary fields for the devewlopments of humanities and sciences.

Ivan Fassio

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