Postnatural History Footage / FTG-M1SSA22, 2022

Postnatural History Footage is an ongoing series of video works generated using 3D animation and modeling software that simulates short scientific and naturalistic videos and films from the 1900s.

By adopting a 4:3 aspect ratio—once standard for documentary and educational productions, as well as avant-garde cinema and amateur films—this series employs targeted pre- and post-production treatments to the audiovisual material, aiming to convey a sense of circular, recombinant, and paradoxical temporality.

The synthetic redesign of organisms and ecosystems, a central focus of much of my artistic research (Quasi-Objects, Polymorphic Systems Studies, Environmental Monitoring System, Soft Bodies, On Growth and Form, etc.), addresses the need to explore the morphologies and dynamics of nature as a product of its interconnection with culture and technology.

In Postnatural History Footage, I aim to reaffirm the close synergy between the biosphere and the technosphere, where the audiovisual traces document virtual fragments of a ‘past to come.’ By historicizing the ‘present-future,’ the project serves as an algorithmic device that disarticulates the space-time perspective to reorient our connection with otherness.

The edition is limited to 5 + 2 AP. Each video is provided in two formats: SXGA+ (1400×1050 px) and HDTV (SXGA+ mounted on a 1920×1080 px canvas).

Year : 2022
Tech Specs : SXGA+/(Full-HD), 1:28 Mins, Color, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

Postnatural History Footage / FTG-M1ESA21, 2021

Postnatural History Footage is an ongoing series of video works generated using 3D animation and modeling software that simulates short scientific and naturalistic videos and films from the 1900s.

By adopting a 4:3 aspect ratio—once standard for documentary and educational productions, as well as avant-garde cinema and amateur films—this series employs targeted pre- and post-production treatments to the audiovisual material, aiming to convey a sense of circular, recombinant, and paradoxical temporality.

The synthetic redesign of organisms and ecosystems, a central focus of much of my artistic research (Quasi-Objects, Polymorphic Systems Studies, Environmental Monitoring System, Soft Bodies, On Growth and Form, etc.), addresses the need to explore the morphologies and dynamics of nature as a product of its interconnection with culture and technology.

In Postnatural History Footage, I aim to reaffirm the close synergy between the biosphere and the technosphere, where the audiovisual traces document virtual fragments of a ‘past to come.’ By historicizing the ‘present-future,’ the project serves as an algorithmic device that disarticulates the space-time perspective to reorient our connection with otherness.

The edition is limited to 5 + 2 AP. Each video is provided in two formats: SXGA+ (1400×1050 px) and HDTV (SXGA+ mounted on a 1920×1080 px canvas).

Year : 2021
Tech Specs : SXGA+/(Full-HD), 2:13 Mins, Color, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

Postnatural History Footage / FTG-C1ESA21, 2021

Postnatural History Footage is an ongoing series of video works generated using 3D animation and modeling software that simulates short scientific and naturalistic videos and films from the 1900s.

By adopting a 4:3 aspect ratio—once standard for documentary and educational productions, as well as avant-garde cinema and amateur films—this series employs targeted pre- and post-production treatments to the audiovisual material, aiming to convey a sense of circular, recombinant, and paradoxical temporality.

The synthetic redesign of organisms and ecosystems, a central focus of much of my artistic research (Quasi-Objects, Polymorphic Systems Studies, Environmental Monitoring System, Soft Bodies, On Growth and Form, etc.), addresses the need to explore the morphologies and dynamics of nature as a product of its interconnection with culture and technology.

In Postnatural History Footage, I aim to reaffirm the close synergy between the biosphere and the technosphere, where the audiovisual traces document virtual fragments of a ‘past to come.’ By historicizing the ‘present-future,’ the project serves as an algorithmic device that disarticulates the space-time perspective to reorient our connection with otherness.

The edition is limited to 5 + 2 AP. Each video is provided in two formats: SXGA+ (1400×1050 px) and HDTV (SXGA+ mounted on a 1920×1080 px canvas).

Year : 2021
Tech Specs : SXGA+/(Full-HD), 2:21 Mins, Color, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

O.s.C – Organes sans Corps is a biopolitical tribute to Artaud and Deleuze, reflecting on the transformations—displacement of boundaries, meanings, and potentialities—that the concept of the “biological body” is progressively undergoing: an “endoscopic exploration” of organs and apparatuses freed from all logic, function, and organic organization (synthetic, adaptable, programmable, interchangeable organs—without bodies).

Year : 2019
Tech Specs : Full-HD, 4:12 min, BW, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

Environmental Monitoring System (E.M.S.) is a 4-channel AV installation conceived as a simulation of a multi-camera monitoring system designed to document the real-time dynamics of four complex ecosystems.

The project—which revisits and re-elaborates the path I have undertaken regarding the relativization of life forms and the concept of life itself as a notable consequence of technobiological evolution—is intended as a further reflection on the nature of synthetic imagery, opening up broad questions about the relationships between sensory orders, levels of rationality, figures of subjectivity, and cosmologies.

My invitation is to reconsider the weight and implications of a scenario in which the ‘informatic image’ can be seen as an unstable intermediary area between convergent systems. Not only as immaterial abstractions of increasing complexity and plausibility, which find their theoretical development limit in technology, but also as liquid interfaces of connection/conversion between domains of (co)existence, between ‘realities’ whose distance (difference) progressively dissolves, contributing to reveal the impracticability and inadequacy of our anthropocentric perspectives.

Produced with 3D modeling/animation software and synthetic sound generation tools, E.M.S. is also available (for screenings/projection) in a single-channel version (post-produced, four-way split view).

Year : 2016
Tech Specs : Full-HD 1920×1080 px, 16:9, 6:24 Mins, Color, Stereo, Ed. of 4 + 1 AP
Copy & Credits : Lorenzo Oggiano. Cover image: “Montecristo Project”, Sardinia, Mediterranean Sea, Italy, 2017 (installation view) – Courtesy Enrico Piras & Alessandro Sau

Quasi-Objects / Cinematic Environment #2, 2013

Produced in Full-HD format like the previous video, Quasi-Objects / Cinematic Environment #2 is the final work in the Quasi-Objects cycle, which includes ten videos, video installations, and over one hundred prints and preparatory studies, all created using 3D modeling and animation software.

The title of the cycle, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2013
Tech Specs : Full-HD 1920×1080 px, 16:9, 3:41 Mins, Color, Stereo, 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / Cinematic Environment #8, 2012

Quasi-Objects / Cinematic Environment #8  is the first video in the Quasi-Objects cycle that I produced in Full-HD format, 1920×1080 px resolution.

Completed in 2013, the Quasi-Objects cycle includes ten videos, video installations, and over one hundred prints and preparatory studies, generated through 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2012
Tech Specs : Full-HD 1920×1080 px, 16:9, 4:32 Mins, Color, Stereo, 5 + 2 AP
Copy & Credits : Lorenzo Oggiano

KhDo., 2011

KhDo. investigates the incremental evolution of a shape-structure in space-time.
The work is an otherworldly tribute to Zbigniew Rybczynski’s The Fourth Dimension.

Original soundtrack composed and produced by Nuse Eda.
“.nEsdh a xikiuE ef nes | Usvf ec lAhti ir xDesf-.”

The edition is limited to 5 + 2 AP.

Year : 2011
Tech Specs : HDV, 4:32 Mins, BW, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Concept & Visuals: Lorenzo Oggiano – Sound: Nuse Eda

Display Data Variations, 2009

The Display Data Variations is a series of four commissioned visuals created for a DJ live set in Milan (Festa della Musica 2009, Spazio Mil / Carroponte, S. S. Giovanni).
Drawing inspiration from op art, geometric abstraction, and minimalism, the project continues the exploration of “pure dynamic abstraction” that began in 2007 with Sound Generated Video Modules for Single Channel Output (see the related page for more information).

Please note: A series of prints featuring 128 enhanced video stills, based on the video Display Data Variations / Var #03, has been created in 2020 (see the DDV03evS page for more information).

Year : 2009
Tech Specs : DV, Color, No Sound, Ed. of 5 + 2 AP (Various Lenght)
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / Cinematic Environment #7, 2008

Quasi-Objects / Cinematic Environment #7 (eighth video of the Quasi-Objects cycle) was produced in anamorphic DV format, 1024×576 px resolution. This format uses a stretched image that is later desqueezed to achieve a wider aspect ratio (16:9), offering a more cinematic look.

Completed in 2013, the Quasi-Objects cycle includes ten videos, video installations, and over one hundred prints and preparatory studies, generated through 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2008
Tech Specs : Anamorphic DV 1024×576 px, 16:9, 4:31 min, BW, Stereo, Ed. of 5 + 2 AP
Copy & Credits : Lorenzo Oggiano. Cover image: “Tecnobiologie”, Installation View / Traffic Gallery Contemporary Art, Bergamo, Italy, 2009 – Courtesy “Traffic Gallery” – Photo: Paola Verde