{"id":7990,"date":"2026-06-05T05:00:00","date_gmt":"2026-06-05T03:00:00","guid":{"rendered":"https:\/\/www.papillon.center\/?p=7990"},"modified":"2026-06-04T19:59:32","modified_gmt":"2026-06-04T17:59:32","slug":"the-screw-and-the-painting","status":"publish","type":"post","link":"https:\/\/www.papillon.center\/en\/blog\/the-screw-and-the-painting\/","title":{"rendered":"THE SCREW AND THE PAINTING"},"content":{"rendered":"\n

I don\u2019t believe that on a first date, a first rendezvous, people prepare by trying on their entire wardrobe, looking at themselves in the mirror and liking what they see, only to glance back out of the corner of their eye and think, no, not liking it at all, and so changing again and again, furnishing the bed with that blue shirt, but maybe it\u2019s a bit too much, with that long, tight, very tight black skirt, but maybe it\u2019s a bit too much, and that t-shirt that looked so good the day before, the colorful one, but come to think of it, maybe a bit too much, in short, furnishing it with many possible possibilities but not that single, absolutely perfect possibility, until that friend, the expert on the matter, gives the okay and utters the fateful “yes, like this it\u2019s perfect.”<\/p>\n\n\n\n

Well, I don\u2019t believe that on a first date, a first rendezvous, the screw and the painting decide when to part ways, whether in the middle of a deep, black, round night, at 2:57 AM while breaths are long, intense, in unison, or on a Sunday at the end of August at 12:33 PM while the wind blows in through the window, bringing that scent of hands kneading dough and smiles coloring tarts from the window across the street.<\/p>\n\n\n\n

Come to think of it, actually, I\u2019ve always thought people break up on Sundays. It could seem like the title of a Paolo Genovese<\/em> movie taking place in a car, on the way back from a trip where people spoke, touched, kissed, and looked at each other very little, a trip where they felt close only in feeling distant.<\/p>\n\n\n\n

But well, I don\u2019t believe that on a first date, a first rendezvous, the screw and the painting can imagine, think, or plan when one will no longer be strong enough to hold the other, and the other will no longer be light enough not to weigh on the heart of the first. When the wall will no longer be so taut and firm as to embrace them both, because in the meantime it has moved, it has changed its lines of thought.<\/p>\n\n\n\n

Baricco<\/em> asked himself, for instance: “It\u2019s one of those things you\u2019re better off not thinking about, otherwise you go crazy. When a painting falls. When you wake up one morning and you don\u2019t love her anymore. When you open the newspaper and read that war has broken out. When you see a train and think, I have to get out of here. When you look in the mirror and realize you are old.”<\/p>\n\n\n\n

And so, it happens. It happens that there is a time. It happens that outside, if you take a photo, the landscape looks completely the same, but inside it moves so fast that you can’t stop it; it changes fearlessly, and as you press the camera shutter, poof<\/em>, everything has already changed. It happens that what you used to call your safe place turns out to be a place where that very same certainty of a comfortable life has stopped you, day after day, one centimeter per step. And now, like the ballerina in a music box, you spin a thousand beautiful vortices, but no matter how sparkling, they never fly. It happens that you can’t explain it with words, but “you see a train and think, I have to get out of here.”<\/p>\n\n\n\n

And from the train, you look back for as long as you can keep your eyes straight on the tracks, on whoever is waving goodbye, and you try to remember every detail, every scent, every word said; you try to make an effort to remember the pauses and the full moments, you wonder if you are doing the right thing, if it was the right time, if you had the right ticket. And then, as the train rushes on and encounters new places, the words, the colors, the precisely conscious memories transform and leave room for a memory that is not a sequence of individual notes on the sheet music of the body, but a melody never before played by those fingers, with those notes.<\/p>\n\n\n\n

That kind of memory which, if it had a face, would be Monet\u2019s Water Lilies<\/em>, where every element lives, new and different from itself, without shouting its boundaries. Perhaps precisely because Monet himself painted it by relying not so much on the perception of the sense of sight, altered by his eye disease, but on that of the sense of life.<\/p>\n\n\n\n

Oh, how little we are like a tired-screw and how much we are like a full-painting, don’t you think?<\/p>\n\n\n\n

And they tell us that we need an artificial kind of intelligence to answer the \u201cdifficult questions\u201d, one that is always there, available, that never disappoints, that bows to us in the morning in a way they didn’t even do in 18th-century France. One to assist us, hold our virtual hand, hug us like a blanket (in this heat!) and not “judge” because “that\u2019s just how we are.”<\/p>\n\n\n\n

But what does it know about trains and water lilies, about the blue shirt and the long, tight, very tight black skirt, about hands kneading dough and goodbyes from the carriage window? Sure, everything can be learned, but these things here pass through the skin, not through the written pages of books.<\/p>\n\n\n\n

And here are various bits and pieces read\/heard over the recent period:<\/p>\n\n\n\n

In Venice, a 20-year-old girl was admitted to the Serd (addiction treatment center) for addiction to artificial intelligence. (https:\/\/www.ansa.it\/canale_tecnologia\/notizie\/tecnologia\/2026\/05\/08\/a-venezia-una-ventenne-in-cura-per-dipendenza-da-intelligenza-artificiale_e5655a90-2ad5-402f-92f0-276ab409b795.html<\/a>)\u00a0\u00a0<\/p>\n\n\n\n

Grief Technology: using photos, videos, and voice recordings, AI recreates the voice, expressions, and tone of someone we have lost.\u00a0(https:\/\/www.youtube.com\/watch?v=IKsZajZEuBg<\/a>)<\/p>\n\n\n\n

AI companion: a virtual companion always available, who does not judge, does not reject, and adapts perfectly to what we wish to hear.\u00a0(https:\/\/www.youtube.com\/watch?v=HZKjuMljfxA<\/a>)<\/p>\n\n\n\n

Now, without getting into the merits of what looks like an episode of the highly acclaimed dystopian series Black Mirror<\/em>, and without absolutely condemning this “artificial lady”, since there are certainly fields where it proves truly useful and decisive, I think that, to return to the matter of “difficult questions,” what scares us is not so much the difficulty of the question, but the difficulty of the response, the human one this time, that we receive.<\/p>\n\n\n\n

Which is not always a warm, enveloping blanket, or at least not at first impact; which sometimes says “no”; which forces us to develop a thought, our own intimate reality; which forces us not to repeat a series of learned and expected data; which exquisitely forces us to be<\/em>.<\/p>\n\n\n\n

So why look for a warm blanket if we can warm each other hand-in-hand, if a fan of infinite possibilities blows upon each of us?<\/p>\n\n\n\n

Because human intelligence lies precisely in the nuances, in memory that is not just a recollection, in boarding a train not because it\u2019s late, but because you cannot do otherwise, in going to a first date with the fear-joy-courage of putting everything on the line.<\/p>\n\n\n\n

Because the eyes that paint water lilies are those that look not outside, but inside.<\/p>\n\n\n\n

And because the screw and the painting might part ways at some point, but they will have lived a beautiful love story.<\/p>\n\n\n\n

Susanna Lucatello<\/p>\n","protected":false},"excerpt":{"rendered":"

I don\u2019t believe that on a first date, a first rendezvous, people prepare by trying on their entire wardrobe, looking at themselves in the mirror and liking what they see, only to glance back out of the corner of their eye and think, no, not liking it at all, and so changing again and again, […]<\/p>\n","protected":false},"author":22,"featured_media":7985,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-7990","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"acf":[],"yoast_head":"\nTHE SCREW AND THE PAINTING - Papillon Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.papillon.center\/en\/blog\/the-screw-and-the-painting\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE SCREW AND THE PAINTING - 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