Hedonistic New World, Communities In The Post-Digital Urban Space

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Line Drawing, Students

Hedonistic New World, Communities In The Post-Digital Urban Space

Antonio del Giudice


The title of this thesis project alludes explicitly to the words of Guido Mazzoni literature critic professor at the University of Siena, who messianically defines, in his essay “I destini generali”, the modern person as the “poeta dell’attimale” (litterally the poet of the instant).

“We live instant and fragmentary existences; we are looking for temporary intensities, our thoughts and projects, our passions are stuggling to last. The obsolesence of the past and the future has begun long before than neo-liberism made so precarious the life of many: in this sense, the ideological equivalent of ‘ife is now’  is the itrivialised interpretation of the Kojève’s theses […].

The opulence has destroyed the past and the future before than the precariousness” (1)

Although in the last two centuries the urban development of the our cities was based on the distribution of the society in monofamiliar stable “community”, nowadays the web allows us every day to create manifold weak communities, composed by a number of “users” in continuous change, wich manifest their independence and vitality through the “separation.”

By reference to personal evidences daily collected, half the time totally unconsciously, I have tried to represent in a way entirely distopic and fictional as the concept of “weak community”, the new statutes and the new programs of the DIGITAL ERA could constitute an alternative to the actual urban development and, in wich way they could be able to take action inside an urban superstructure and on its pre-existing buildings, modifying time after time the inner workings.

“Because we’re so out of our minds with desperation, we don’t know any better. All we know is fake fodder and buying shit. That’s how we speak to each other, how we express ourselves is buying shit.

What, I have a dream? The peak of our dreams is a new hat for our Dopple, it doesn’t exist! It’s not even there! We buy shit that’s not even there. Show us something real and free and beautiful. You couldn’t. Yeah? It’ll break us. We’re too numb for it, our minds would choke.”

(1) G. Mazzoni, I destini generali, Editori Laterza, Bari, 2015, pp. 22-23

(2) Black Mirror,15 million of merits, S01 ep.2,  Brian Welsh, UK, 2011


Who influences you graphically?

Currently my recent works are influenced by architecture firms like Jean Benoît Vétillard, Salottobuono, BAST architecture, and last but not least the works of Map-office, Éva Le roi, Bruna Canepa and George Greaves.

What defined the format and graphic language of the project?

The original format I chose was A0 (841x1189mm), in order to represent four different scenarios on four panels as a sort of quadrittico and so, trying to illustrate the project through a storyboard.


What is your take on colour? What was the effect and purpose of using a different colour for each drawing?

As I said previously the choice of 4 different panels where to show the project, has been for me the early awareness.

After this, the choice of the color, which I think still very significant!

In the digital-era colors are probably more important than before, every color brings whit it a message, this makes me think about Facebok or Tinder and several other virtual platforms which use colors as a sort of simbology or language.

Thus, is not by chance that I choose these colors: red for the Hub of Love, blue for the hub of Memories, black for the hub of Vexations and yellow for the hub of Chilling.

What dictated the choice of a white background? 

I tried, with the white background, to display an aseptic atmosphere.

For example, if you look at the people, they have no faces, no gender or any other specific characteristic; they are just silhouettes, like the early image which is assigned you on a social network, it doesn’t say nothing about you.



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