Over a period of half a century, the obsession of a solitary Italian man, born in Florence in 1932, was to document forms of consciousness as otherworldly dimensions. And so he did, on canvas. This artist was born in Florence in the same house where Leonardo da Vinci worked. He never claimed to be his channel, however, he always maintained that he is his spiritual heir. This painter traveled all his life between many dimensions.
His name is Ruffo Caselli and he is the father of Cybernetic Existentialism. According to leading ufologists, he describes his own experience as a contactee and abductee. This art form has been known since the eighties as Cybernetic Existentialism and was presented by the Center for the Multidisciplinary Study of Cybernetic Existentialism of New York in cultural centers, art galleries, literary circles and museums, curated by its founder and director Carmen Gallo. Sophisticated humor, subtle irony, and observation of technology, the Center skillfully presented paintings describing thought-provoking technological beings, sorts of hybrids programmed, genetically enhanced, and evolved over the years, becoming more and more cybernetic. Star Wars fantasies? Egregores? Are they real or avatars of an artist’s creations? Are they messengers from a distant past or from a distant future? Over the decades, the center hosted debates and conferences on this controversial subject.
Are there hybrids? What about clones?
Who are they, where do they live? Are they real or just a figment of our imagination?
And what about abductees, contactees, abduction experiencers, channellers of different entities? Is the abduction phenomenon psychological, imagined, or experiential? Real or pure speculation? European and American ufologists advanced theories of experiences that go way beyond conventional interpretations: they make shocking statements about these paintings as disclosure of hidden messages, accurate descriptions of robots constantly evolving, clones, doubles, copies, or versions of humanity. Some canvasses seem to present processes of hybridization executed in another dimension beyond the matter where non-human advanced intelligence operates. They affirm that in the artistic expression of his entire life, the painter introduced the viewer with the solid idea of technological super humans created and constantly modified perhaps by a transdimensional, interstellar intelligence.
Where some appreciate the paradox and the humor, others see a reality that is taboo to mention: when asked, the artist politely declined to explain. His art evolved with and often anticipated, technologies and so his hi-tech robots in a half a century time-lapse, his intelligent machines evolved into cyborgs, human-like sentient beings totally merged with technology. They instantly communicate telepathically and at the speed of thought, as if the painter imagined a new intergalactic programmed frequency – an advanced civilization as the future of humanity.
To many, this artwork seems to describe how humans are evolving and preparing to enter an alien society. Also, vice versa, aliens, hybrids, or clones are being instructed to enter human society, learn human interactions, and become human-like.
With stunning accuracy, this art collection predicted the future, as reported by Italian journalists. A well-known journal of Cybernetics put one of his paintings of the early eighties titled “Cloning” on the cover, showing a series of containers with beings in the making.
In the early eighties in SoHo, New York, Carmen Gallo of the Center for the Multidisciplinary Study of Cybernetic Existentialism inaugurated a monumental art exhibit titled “Chips are us” introducing to the audience canvasses of the Artist who is considered ever since the quintessential cybernetic existentialist. His paintings of the eighties introduced beings that responded to programs, with semiconductors embedded in the canvas, beings with no feelings of affection nor sweetness, robots incapable of empathy: all showing a physical embodiment of a process of computation.
Those who claim to have experienced an abduction phenomenon see a familiar situation in this artwork and suggest that, maybe, the painter, describes what he saw as his art reawakens dormant memories.
Aliens. Real or imagined: they are here and well documented on canvas by the legendary Ruffo Caselli.
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