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Caffè Scienza Human Brain Project: challenges and limits 25 February 2020 ​ Via degli Ausoni 1 00185, Roma ​Curated by FormaScienza In collaboration with Numero Cromatico Speakers: Cristina Marchetti, neuroscientist Pier Stanislao Paolucci, physicist The Human Brain Project is an important European international scientific research project with a budget of almost 500 million euros given over the course of 10 years that sees the participation of 120 institutions. The main goal is to gain a better comprehension of the human brain and an initial reproduction of its cognitive capacities through a computer simulation. But why is it so important to study the brain? Will this great investment help us understand, for example, the links between consciousness and artificial intelligence? What are the fallbacks and the future implications of this new infrastructure on human health? Can the aim of the project “knowing for curing” be accomplished? Press Release

Don't You Forget About Me A project by Numero Cromatico curated by Daniela Cotimbo in partnership with con Re:Humanism ​ July 5th - 15th, 2021 Opening July 5th 2021 - 6:00 pm Sala Santa Rita, Rome Press Kit Don't You Forget About Me is a project by Numero Cromatico for Sala Santa Rita curated by Daniela Cotimbo, in collaboration with Re:Humanism. ​ The exhibition stems from the collective's investigation into the mechanisms of perception and their stimulation through artistic devices. ​ To do so, Numero Cromatico uses artificial intelligence to create epitaphs. The texts generated are addressed to the audience, in an attempt to make them question their perceptions, memories and their role on Earth. ​ The installation is made up of three hand-sawn banners that recall the large altarpieces typically found in religious architecture, yet they renounce iconography in favour of colour and text. The installation features the voice of Italian philosopher “Bifo” reading out a selection of the (AI-generated) epitaphs, shrouding the viewers into an intense dimension while also strengthening the relationship with the artwork itself.

Network Poem Manuel Focareta Roma, 2016 Extract from Poembook (2014) ​ Digital printing: black and white Size: 10,5 x 14,8 cm Five Italian words have been selected with a software. These were sent via chat by the author through its personal Facebook profile to a selected number of people. ​ The answers given by the users to each word were used to produce poems free from the author’s personal content.

Fabio Mauri. Archivio di Memoria An edition by Numero Cromatico & Studio Fabio Mauri Associazione per l’Arte l’Esperimento del Mondo Roma, 2015. Curated by Dionigi Mattia Gagliardi A project by Nodes ISBN: 978-88-940734-0-9 Offset printing Size: 21 x 29,7 cm Pages: 176 ​ Buy Archivio di Memoria consists of a collection of memories linked to Fabio Mauri and his work. It gathers texts, drawings and images of people that have lived around him, who were influenced by him and other people of the Italian cultural scenario. Academics of various disciplines – art historians, scientists, artists, friends, relatives, people that shared with him memories and experience of life and death – turned memory into something tangible with the medium they reckoned the most appropriate: words, sentences, texts, images, photographs, drawings. The contributions are by: Dora Aceto, Adriana Asti, Francesca Alfano Miglietti, Arianna Antoniutti, Nanni Balestrini, Ivan Barlafante, Achille Bonito Oliva, Federica Boràgina, Maurizio Calvesi, Marcella Campitelli, Claudio Cantelmi, Cecilia Casorati, Laura Cherubini, Furio Colombo, Carolyn Christov-Bakargiev, Umberto Eco, Emilio Fantin, Sergio Lombardo, Giacomo Marramao, Flavia Mastrella e Antonio Rezza, Achille Mauri, Sebastiano Mauri, Sandro Mele, Miriam Mirolla, Augusta Monferini, Ugo Morelli, Hilary Mostert, Alberto Oliverio, Marina Patriarca, Luigi Presicce, Francesco Rocchi, Piero Sartogo, Domenico Scudero, Lea Vergine, Adachiara Zevi. Archivio di Memoria also contains Fabio Mauri’s unpublished images, drawings, preparatory drawings, texts and one of his latest interviews.

Messinscèna Federika Fumarola 5 June 2019 ​ ​ From 7 pm to 12 am Via degli Ausoni 1, 00185, Roma “My research focuses on the intrinsic possibility of an image to express and determine new perceptive possibilities. In a perpetual exchange between objective/subjective, the sender (artist), the message (artwork) and the receiver (spectator) come in contact with the ludic dimension of the game, within the continuous research of the time between pictorial action and assimilation of industrial processes.” Messinscèna | Federika Fumarola Play Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied FEDERIKA FUMAROLA (Rome, 1981) She receives her artistic training from Cesare Tacchi. In 2013 she graduated from the Accademia di Belle Arti di Roma with a degree in Communication and Valorisation of Contemporary Artistic Heritage. Her cross-cutting interests led her to produce and exhibit artworks in different gallery settings and create links with various creative fields. Comunicato Stampa Federika Fumarola | Feedback Play Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied

Messinscèna Davide D'Elia 7 May 2020 ​ From 7 pm to 12 am Via degli Ausoni 1, 00185, Roma "My intention is that of questioning the contamination between languages, the interaction between the passing of time and the action of atmospheric agents on artefacts. In my artworks, the materials are destructured and reconstructed in order to become a vehicle of a universal thought. Thus, they go from matter to abstraction, from the consciousness of memory to its transmission." Davide D'ELia (Cava de' Tirreni, 1973) He lives and works in Rome. Initially fond of painting in the Art Informel tradition, from the second half of the 2000s D’Elia has experimented with the interaction between atmospheric agents and artifacts as a case study of natural phenomena, examining the concepts of memory, time and the flow of time in space. He participated in various solo and collective shows in Italy, England, Lebanon, Greece and Slovenia. His artworks have been exhibited at MAXXI and are part of its permanent collection. Comunicato Stampa Airborne Snapshot Performance by Davide D'Elia October 16th, 2020 Photographs: Numero Cromatico; Davide D'Elia.

Dove tutto inizia a project by Numero Cromatico Palazzo Brancaccio Via Merulana 248, 00184 Roma Opening 15 Ottore 2021 Press Release From 15 October 2021, Numero Cromatico will open the doors of a project room within the context of Contemporary Cluster, where the collective will periodically present artistic projects and experimental activities. In the project room, neuroscientific experiments on art will be conducted in collaboration with research groups and national and international universities, in which the public will be directly involved in the experimental and data collection phases. In addition to exhibitions and scientific research, Numero Cromatico will promote debates, seminars and moments of study throughout the year, in different areas of Palazzo Brancaccio. On the occasion of the opening on October 15, Numero Cromatico will present in the spaces of the project room "Dove tutto inizia", an installation of works from the Semper Vivi series (2021), Limonium Sinuatum flower mosaics that report texts generated by an artificial intelligence instructed by the collective and programmed in collaboration with the University of Verona. The exhibition is part of a collective investigation into the mechanisms of perception and how these can be manipulated and stimulated through artistic devices.

Eternal struggle of my desire Museo Civico Villa Colloredo Mels Via Gregorio XII – 62019 | Recanati (MC) from December 4, 2022 to April 10, 2023 Frontier of my love is a project from the series “Arazzi” consisting of seven pieces that make up a single artwork (50x490 cm) specifically designed for the room it is exhibited in, at Museo Civico Villa Colloredo Mels in Recanati (MC). The artwork speaks directly to the viewer and contains a poetic verse generated by I.L.Y. (acronym for I Love You), an artificial intelligence trained to write love poems.

Tre Scenari sulla Percezione del Tempo - Atto III: L'Attesa Via dei Volsci, 165, 00185, Roma Opening: May 8th, 2022 - from 6:30 p.m to 8:16 p.m. ​ The exhibition is open on Sundays by appointment, from May 8th to June 19th 2022. Press Kit The exhibition project is carried out within a wider project called “Art as Supernormal Stimulus: the work of art as supernormal stimulus in the era of the digitisation of intersubjective experiences”, supported by the Italian Council (10th edition, 2021) program - Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. «But even now it is manifest and clear that there are neither times future nor times past. Thus it is not properly said that there are three times, past, present, and future. Perhaps it might be said rightly that there are three times: a time present of things past; a time present of things present; and a time present of things future. For these three do coexist somehow in the soul, for otherwise I could not see them. The time present of things past is memory; the time present of things present is direct experience; the time present of things future is expectation». (Sant’Agostino, Confessions, 398) What are the past, the present and the future, if not mere products of our perception? Is there a single never-changing reality perceived as such by all human beings or are there multiple realities differing from person to person? Is vision limited to the sense of shape, colour and movement, or is it a multicomponential phenomenon that only marginally involves the eyes? Starting at 6.30 p.m. until sunset, on May 8th 2022, L’Attesa opens to the public in via dei Volsci 165, Rome, as the third and last act of Tre Scenari sulla Percezione del Tempo - Numero Cromatico’s exhibition lasting one solar year. The project was conceived as an ever-changing journey that proceeds in stages, where the artworks and the space are drastically transformed over time. In the third act, both the works of art and the environment itself are calling the public to question themselves about the future, or rather, each one of them about their own future. All the elements entering the scene, including the materials and contents of the artworks, were studied precisely to trigger an inward-looking, multisensory, aesthetic experience in the viewers. An unprecedented artificial intelligence was trained by the collective for the purpose of creating the artworks on show, which goes by the name of SONH, acronym for Statements Of a New Humanity. Numero Cromatico’s project space is the chosen venue, a rather peculiar place near the Cimitero Monumentale del Verano in Rome, in the historical area of the marble workers. The space does not function as a mere container, but rather turns itself into a tool enhancing the aesthetic experience of the viewers. Some of the core values the collective has been working out in recent years do surface through the exhibition, as to say, interdisciplinarity, interaction, the artist’s expressive abstinence, embodiment, minimality, sensoriality, and the study of emotions. It is through the exhibition that we dwell on the relationship between human beings and the environment, the natural and the artificial. Throughout the duration of the exhibition an experiment in neuroaesthetics will be carried out. Those interested in taking part in the experiment are kindly invited to book an appointment according to the guidelines posted on Numero Cromatico’s web pages.

RESEARCH Numero Cromatico produces artworks, installations, and projects with a structured scientific approach. Most of the collective's projects involve the realisation of scientific experiments on the perception and pleasantness of the artwork, in which the public is an active part of the experimentation. Numero Cromatico’s projects are therefore always the result of an in-depth interdisciplinary study of human cognitive mechanisms and arise from the confrontation and encounter with groups of researchers and academics. To date, the group's main lines of research are two: one investigates how top-down cognitive processes influence aesthetic fruition; the other investigates the influence of bottom-up processes in the perception of artworks. Experiments How the exhibition context changes our perception of AI Neuroaesthetic experiment at Crypta Balbi | Museo Nazionale Romano during the exhibition “Eternal struggle of my desire” 2022/2023 With the scientific collaboration of BrainSigns How the exhibition context changes our perception of AI Neuroaesthetic experiment at Crypta Balbi | Museo Nazionale Romano during the exhibition “Eternal struggle of my desire” 2022/2023 With the scientific collaboration of BrainSigns > Go to the project > Go to the project Art as Supernormal Stimulus: the artwork as a superstimulus in the age of the digitisation of intersubjective experiences 2022 MAXXI - Museo nazionale delle Arti del XXI secolo With the scientific collaboration of BrainSigns Analisi dell'uso del colore, della scelta della forma e della disposizione spaziale degli elementi in una creazione artistica 2021 > Go to the project > Go to the project Do we prefer a painting made by a human being or one made by artificial intelligence? 2019 ArtVerona - Verona (IT) With the scientific collaboration of BrainSigns > Go to the project > Research results Publications​ ​ Chiarella, S. G., Torromino, G., Gagliardi, D. M., Rossi, D., Babiloni, F., Cartocci, G. (2022). Investigating the negative bias towards artificial intelligence: Effects of prior assignment of AI-authorship on the aesthetic appreciation of abstract paintings , Computers in Human Behaviour , Volume 137, December, https://doi.org/10.1016/j.chb.2022.107406 ​ Gagliardi, D. M., Torromino, G., Focareta, M., Cuono, S. (2021). Il ruolo dell’autorialità nell’esperienza estetica , Rivista di Psicologia dell'Arte, Jartrakor Roma, anno XLII, n. 32. ​ Chiarella, S. G., Gagliardi, D. M., Torromino, G., Rossi, D., Babiloni, F., & Cartocci, G. (2021, September). Aesthetic appreciation in art context. Human versus Artificial Intelligence authorship , Cognitive Processing , Vol. 22, No. SUPPL 1, pp. 61-61, TIERGARTENSTRASSE 17, D-69121 HEIDELBERG, GERMANY: SPRINGER HEIDELBERG. https://doi.org/10.1007/s10339-021-01058-x ​ Chiarella, S.G., Gagliardi, D.M., Torromino, G., Rossi, D., Babiloni, F., Cartocci, G. (2021). The role of authorship in aesthetic appreciation: A comparison between human-made and AI-made artworks . Poster presentation. IAEA 2021 - XXVI Conference of the International Association of Empirical Aesthetics . City University of London – Goldsmith University of London. 1st - 3rd September ​ ​Chiarella, S. G., Gagliardi, D. M., Torromino, G., Rossi, D., Babiloni, F., & Cartocci, G. (2020). Come l’autorialità influenza l’apprezzamento estetico. Uno studio sul confronto tra umano e intelligenza artificial , Nodes 15-16 , Anno IX, Roma. ​ 2020 Esistono le emozioni estetiche? Un dibattito sull’originalità dell’esperienza estetica , Nodes Editorial Staff, Nodes 15-16, Numero Cromatico Editore, p. 37. Come l'autorialità influenza l'apprezzamento estetico: uno studio sul confronto tra Umano e Intelligenza Artificiale; di Chiarella S. G., Gagliardi D. M., Rossi D., Torromino G., Babiloni F., Cartocci G., Nodes 15-16, Numero Cromatico Editore, pp. 18-21. 2018 Azione, percezione e movimento all’inizio del Novecento: alcuni studi cruciali; Gagliardi D. M., Nodes 11-12, Numero Cromatico Editore, pp. 24-31. 2016 Sulla ricerca scientifica in ambito artistico. I temi dell’opposizione e le prospettive comuni tra arte e scienza , Gagliardi D.M., Nodes 7-8, Numero Cromatico Editore, pp. 6-16. Poesia, tecnologia e scienza , Focareta M., Nodes 7-8, Numero Cromatico Editore, pp. 17-25 ​2015 L’opera d’arte come stimolo ambiguo , Gagliardi D. M., Nodes 5-6, Numero Cromatico Editore, pp. 9-18. Ritratti Atipici: un’ipotesi sperimentale , Marini M., Nodes 5-6, Numero Cromatico Editore, pp. 40-47. Poesie e ricerca: i limiti della poesia italiana contemporanea , Focareta M., Nodes 5-6, Numero Cromatico Editore, pp. 48-54. Verso una commistione tra discipline scientifiche e umanistiche, Torromino G., Nodes 5-6, Numero Cromatico Editore, pp. 55-62.

Poesie Manuel Focareta June 13 - 29, 2019 Via Carlo Caneva, 60, 00159, Roma Opening 13 June 2018, 7:30 pm Press Release Limited Edition Print Manuel Focareta’s first solo show, Poesie , opens in Numero Cromatico’s studio in Rome. In the last years Focareta’s research has focused on two fundamental topics: the potential use of social media in literary production and the involvement of the public in poetic research. The exhibition includes some artworks from Poembook (2014) and Pinder (2017), projects realised with contents produced by network users. Moreover, the exhibition will include the first phase of a current research project constituted by a series of short texts written by non-poets on the theme of love. These will later be studied and compared with poems that became viral in the past years on the Internet. The project is part of a broader research on the artist’s non-expressive approach to poetry and the analysis of some contemporary literary phenomena. Focareta does so by using scientific methods, taking the distance from the artist’s subjective interpretation and literary critic. Catalogue

CIECA Marco Marini Exhibition Catalogue Numero Cromatico, Rome , 2019 ​ Risograph printing BW 18 x 27 cm 16 pp Table of Contents: ​ Le meticolose ossessioni di Marco Marini Dionigi Mattia Gagliardi ​ Imprevisto, sintesi e ribaltamento dell'opera d'arte Annalisa Ferraro ​ ​ Cieca Marco Marini ​ ​ Il disegnatore senza controllo Salvatore Gaetano Chiarella ​ ​ Disorientarsi nelle opere di Marco Marini Manuel Focareta Buy