Maurizio bavutti biography definition

“…

I have chosen to leave the highway, I was so confused while I was running too fast, I needed to start walking slowly and learn how to enjoy every single moment along the way. Now that I have found my soul, I am gonna hold it tight in each single shot.”

That was a statement from artist Maurizio Bavutti who after 20 years of a cross-continent photography career between Italy, Spain, UK, and the USA, has decided to focus on researching the human soul through photography.

In order to do this, Maurizio has built a practice centered around what psychology professor and art theorist, John Suler, calls Mindful Photography. To put it simply, mindful photography is the act of cultivating a state of mindfulness through photography when most people would do so through meditation. 

Oxford Learner’s Dictionary describes mindfulness as a mental state achieved by focusing one’s awareness on the present moment as a therapeutic technique, while calmly acknowledging and accepting one’s feelings, thoughts, and bodily sensations. And for those who are spiritual like Maurizio, guided meditation platform—Insight Timer—acknowledges how it is actually a process to understand your soul’s perception on worldly affairs, help you see things from your soul’s perspective and extract the life lessons your soul is intended to learn, which will ultimately connect your everyday life to your soul and to the soul of another.

In Maurizio’s photographs, mindfulness is inserted in both their creation process and in the perception of the final results. For his process, he has developed his own practice over periodic long walks with his dog —starting by noticing how his companion is only ever concerned with being in the moment. 

Like when walking through grassy fields, his dog only sees grass to roll around in, while we humans are constantly tortured with the need to attach meaning

Laura Loriga | Interview | New Album, ‘Vever’

The album was written in Brooklyn, New York, between 2017 and 2019. All the songs were composed while living life in the city day to day, and greatly inspired by the dear people around her and the live performances she witnessed in that period.

The name ‘Vever’ comes from a book, Divine Horsemen: The Living Gods of Haiti by Maya Deren. The word, in Haitian tradition, describes specific drawings that are made during rituals, symbolic representations of different divinities that serve as a “beacon” for the “loa” (spirit) that is being called. These drawings are always symmetrical, because they presuppose an exchange between the living and the divinity that take place as if in a mirror, and this is also related to the fact that those spirits are in fact the living’s real ancestors, and were therefore men and women as well at some point in the past. Loriga found that deeply interesting, like communication in all its forms, and it made her think of the superimposition of different spaces, times, people, family, and how important all this is in the everchanging present.

Your newest album, ‘Vever’ is inspired by living in Brooklyn. What in particular did you find the most fascinating in living in Brooklyn?

Laura Loriga: Brooklyn, just like all of New York, is made by its people. They are its most fascinating element to me. The music community, and the art community in general, have been for me the most inspired, open and humble that I have ever experienced, and they have deeply changed the way I perceive and want to make music. On a wider level, the myriad stories of each individual that came to find answers, happiness, or some sort of peace in this place from every corner of the world are mind blowing, in the present just like in what you can guess about the past. Everything seems to have its place in the chaos, somehow a mass of infin

C.F. FRNDNY76M12F187S P.IVA 02662650395 Email dennys.frenez@gmail.com Phone: +39340**29423 Orcid: 0000-0001-6466-8673 Academia.edu: unibo.academia.edu/dennysfrenez I received my Ph.D. in Archaeology from the University of Bologna, Italy, in 2011. My research focuses on commercial and cultural interactions between urban-level societies in Asia during the Bronze Age, with particular focus on the Indus Valley and Eastern Arabia, applying a wide range of theoretical and methodological approaches, including the ancient administrative systems, traditional technologies, iconographies and art styles, and socio-economic and political organisations. I have directed archaeological projects in India and Oman, and collaborated with museums and expeditions in India, Pakistan, Oman, Tajikistan, and Turkmenistan. I have published several edited volumes and over thirty scientific papers in peer-reviewed journals, conference proceedings, edited volumes and encyclopaedias. I have also organised international conferences and exhibitions, and I currently serve on the editorial, scientific, and review boards of prestigious journals. Since 2017, I have been the advisor for archaeology and heritage, including UNESCO, of the Ministry of Heritage & Tourism of Oman. Present appointments ‣ Official adviser for the Archaeology & Heritage sector, Ministry of Heritage & Tourism, Sultanate of Oman (from 2020) ‣ Vice-director of the Inqitat Archaeological Project, Khor Rori, Sultanate of Oman (Director: S. Lischi, University of Oxford) (from 2022) ‣ Lecturer at the University of Padova, Italy, for teaching in the course SUQ0090679 - Bronze Age Archaeology of Central Asia, Iran and the Indus Valley by M. Vidale (from 2021) Research interests ‣ ‣ ‣ ‣ ‣ ‣ Bronze Age state-level urban societies in Asia with specific reference to the Indus (Pakistan & NW India) and Magan civilizations (SE Arabia) Iron Age semi-nomadic cultures in SW Arabia (Dhofar, Oman) and their interaction with Anc

We live in a delicate moment where our relationship with the environment is compromise between a series of nostalgic memories and the tragic fate of the contemporary truth. My photographic research, through portraits and landscapes, wants to deepen this space-time relationship between human and nature, inseparable from the emotional awareness of the spirit.

Both distant and familiar, the stillness of my works remind of who we are and who we were, where the underlying psychological tension of empty spaces and unknown faces, unite both the past and present in a dreamlike depiction of a world poised between myth and reality. 

The play of chromatic values, achieved by using analogue techniques, ​​has a pure quality in which the image is harmoniously composed and complete, through a careful use of light, a quiet elegance of the forms and a suspension of the subjects in to a romantic dimension, for a series of portraits and landscapes that are to be defined as “timeless”.