Nicola Colecchia

One of the main experts in dynamic systems and neural networks applied to visual arts.

Nicola ColecchiaH e is one of the most outstanding experts in dynamic systems and neural networks applied to visual arts. He was Lecturer and Researcher at the University of Bologna, where he carried out in-depth studies on the biological bases of aesthetic taste and on the automatic elaboration processes of visual and multi-sensorial information . As a promoter of the close relation between Art and Science, he has held many workshops and conferences at several universities, CNR, private foundations and museums.

His research, always in progress, has highlighted three innovative aspects:

  1. You can enhance the attractive power of any image so that it can challenge the audience indifference by overwhelming the other informations.
  2. You can “convert” the space language of images into the time language of a narrative sequence.
  3. The narration of an art work evolves according to the self-generating principle of neural networks, regardless of the free interpretation of a traditional narrator.

Through these and other scientific criteria, he has elaborated works by great artists from ages and places deliberately different from each other to detect deep structures of their languages and the biopsychic mechanisms which are at the base of "the inborn code of beauty". In such perspective works by Leonardo, Tiziano, Magritte, Miro', Beuys, Pesce, Kutner, Cattelan and others have been elaborated.

He is now the director of SynapticArt, a Laboratory of Multy-Sensorial Expressive Systems. - Museum of Arts and Science, Milan.

Main publications and essays

  • Nicola Colecchia (1990) Il Simbolismo Grafico CLUEB, Bologna

    Il Simbolismo Grafico

    From the systematic observations carried out on the development of the graphic language in children, two innovative aspects emerged:

    1. This language doesn't develop through the progressive attainment of the analogical correspondence between the graphic and reference representation, but develops by the progressive sharing of the significant potential of art, between one who produces and the observer. And the inter subjectivity communicative that is generated by the analogical representation and not vice-versa.
    2. The analogical representation, dismantled mainly by the object, is construct up mentally founded on the universal cognitive that not only explains the doodles of children but also the automatic scribbles from adults; art, ideograms and other forms of intuitive communication.
  • Nicola Colecchia e Filippo Zaccardi (2000) La Rottura della Simmetria nella Comunicazione Visiva FrancoAngeli, Milano

    La Rottura della Simmetria nella Comunicazione Visiva

    Utilising the notion of broken symmetry in the model making of the self-organised neural network, is derived from the Physics of complexity from Mathematics and from Topological geometry. Various sectors of research are studied in depth:

    • Non linear dynamic systems
    • Cellular automa
    • Visual perception.
  • Nicola Colecchia (2004) Magritte nella Rete: approccio neurale al linguaggio pittorico FrancoAngeli, Milano

    Magritte nella Rete: approccio neurale al linguaggio pittorico

    The theory of the neural network, applied to the pictorial language reveals that the bare physicality of a canvas path has initially an invisible sense even for the sharpest and trained eyes. These semantic paths develop progressively with the same narrative sequence of a film in which the technical assembly is adjusted from the self organising capacity of the neural pattern and not from the personal expositive ability of the writer's text. The neural networks in fact convey, through the sub symbolic language, that it doesn’t come from the symbol and from culture, but from the matter.

    The specific scope of the wording is to capture the intrinsic meaning of the painting by Magritte, that from the enigma of sense has done, as noted, an own privileged theme.

  • Nicola Colecchia (2014)The Attractive Power of Art Words
  • Nicola Colecchia (2014)Cutting-Edge Exhibition Systems
  • Nicola Colecchia (2015)The Myseriuous Smile of Mona Lisa
  • Nicola Colecchia (2015) Magritte's Cloud and Vertigo
  • Nicola Colecchia (2015) Anatomy of a Painting

    The Innate Code of Beauty

    For centuries art and science have spoken different languages, one made up of images, colors and visions, the other of numbers, proportions and certainties. Then with the coming of complex societies languages hybridized themselves. Today scientists are aware of the fact that they need artists as well as artists are aware of the fact that scientists are the new visionaries. Young creatives who are growing up in both fields of art and technology don't decide to rely on imagination but on the scientific knowledge about the functioning of visual systems:

    • – can we foresee the impact of a work on its potential audiences?
    • – is it possible to play on the deep mechanisms which affect a human being beyond those activated by the well-known cultural differences in the audiences (national, sociological, economical and cultural variables)?
    • – how can we optimize the charming power of a work in order to trigger an energetic resonance on its audiences?

    These and other questions gather on the relationship between Art and Science by projecting the subjective world of an artist into the social world of the enjoyment and improvement of art. Therefore art becomes an "interactive science". Through the innovative method of bottom-up processing we re/construct pictorial, architectonic, advertising and design works.

  • Other work of the same author can be downloaded from

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