The neural network model for a multimedia reinterpretation of the Modern Movement. The representation of transversal and coherent relationships in the artistic and architectural productions of the De Stijl movement

It is not easy today to talk about art or architecture without considering the recently experienced social changes. Undoubtedly, the new digital culture has imposed a change both in collective behavior and in personal sensitivities. The formation of knowledge centered on the concept of permanence is replaced by an iridescent and ineffable sense of contemporaneity, which produces continuous transformations of ideas into new ideas which then flow into the creation of increasingly complex artefacts, articulated when not multimedia. It can, therefore, be affirmed that this form of research of knowledge can be synthetically represented through the image of the neural network which is in effect the paradigm of the information space, governed by a concept of simultaneous time in which infinite paths reveal themselves. All plausible and at the same time prosecutable. The world has changed and with it humanity. So, in a short time, a traditional approach embodied by the man of the 1900s is replaced by a new one attributable to the so-called “millennials”.While, in fact, the individual of the twentieth century is characterized by an incremental approach to knowledge based on a study method based on deepening theme to then generate processes of synthesis and correlation of knowledge, young people of the third millennium seem to prefer a practically opposite path: less inclined to reflection, they use the web to produce quick manipulations of information on the subject under investigationwhich are often syntheses of different cultural visions. On the basis of these observations it becomes interesting to propose a reinterpretation of the experience of the Modern Movement, by way of example traced back to the analysis of De Stijl, through the application of the neural network paradigm: to tell, even before the artifacts, that unitary approach and that innovative aesthetic capable of irreversibly revolutionize the lifestyle and living spaces of the twentieth century men. Industrial and product design, graphics and posters, houses and interiors, are all modernist productions derived from the motto “from the spoon to the city”: an integrated and unitary design system, often the result of a rigorous functional analysis, proposed in the Bauhaus and accepted by a good part of the artistic community. In conclusion, we can say that if the theme of the research can be summarized in the reasoned reproduction of the network of relationships identified within the De Stijl movement, then the use of multimedia becomes a fundamental instrument of representation. We thus give the name Complex Drawing to the elaborations imagined as an original integration between the Theorem of theModel of Architecture by Riccardo Migliari and the Scale of iconicity by Abraham Moles. In short, we aim to superimpose the representation of the intangible component of the project to the numerous canonical producible drawings highlighting, in the end, both the presence of a creative thought organically integrated into an almost global system of knowledge and the creation of unique and original artifacts.