‘No need to open our eyes to meet it. It boils in us with strenght and intensity same as it manifest in us : with its colors, forms, and ambiguities.’

‘The lines that each lives draws by crossing spaces and time are not only ephemeral ashes of a subjective experience. They are the nerves of the body of the universe.’

Coccia's ideas into  conferences :

in ENG: https://www.youtube.com/watch?v=M3t1fq7a5Yc

in FR: https://www.youtube.com/watch?v=oX3XI5zI1C0

The Modulor is an architectural concept invented by Le Corbusier in 1945. A standardised human figure used to design the structure and size of housing units. He believed that it should allow maximum comfort in the relationship between man and his living space. Thus, Le Corbusier thought of creating a system more suitable than the metric system, as it is directly linked to human morphology, and he hoped one day to see the latter replaced.

http://www.veroniquechemla.info/2015/05/le-siecle-de-le-corbusier-de-juliette.html

Body and Building: Essays on the Changing Relation of Body and Architecture by George Dodds in Sixteenth Century Journal · July 2003

‘Johannes Wilde compares Giorgione’s portrait Laura – in which “the flesh has been rendered in a variety of tints, among them a very intense red” – with the “colour sensations [one experiences] in the south in the deceptively transparent air which precedes a sudden storm in the summer.” Wilde concludes that, in this manner, Giorgione has purposefully demonstrated, “that figure and surrounding are inseparable, and that plastic form only exists in a space full of light and atmos- phere” ’.

Bodies in Resistance (Corps en résistance) by Valérie Jouve

‘I’ve always been obsessed with the alchemy between the Other and oneself, between the space and the person, between the collective and the individual. (...) that was when i began to think about a different approach to the photographic portrait and the figures began to converse with the space around them. The traditional portrait stresses an identity, whereas I felt that I was more interested in setting a body of individuals against the body of the Jean Nouvel building.’

The French artists Dach and Zéphir inspired us to think about the object (in our case, the prosthetic) as a medium and a part of a larger whole. Their work "La figure de l'autre" tackles history and cultural heritage as capable of producing a language of forms, materials and uses, at the origin of artefacts. That is why our prosthetics found inspiration in the African head vase as an object serving to keep the body standing straight.

Haraway’s manifesto inspired us to think about prosthetics as means of transcending societal boundaries. According to her work, a human body with a prosthetic (understood in a broader sense of extensions) signifies a rejection of rigid boundaries, notably those separating "human" from “animal” and “human” from "machine." That led us to reflect on the existence of boundaries, especially for women, and on the way in which objects can serve as either tools to break the chains making them unfree, or as tools to keep them in the same cage of societal boundaries, norms and gazes. 

Karl Marx's description of the connection between material things and social relations lays the foundation for twentieth century theories of prosthesis: "There is a physical relation between things. But it is different with commodities...There it is a definite social relation between men, that assumes, in their eyes, the fantastic form of a relation between things" (Marx 77). The blurred line between men and the materialism of the commodity sets up a prosthetic system in which social relations are determined by the material relations between commodities, ultimately alienating men from one another and from themselves.