ABSTRACT
Decorating and working on material creates the opportunity to receive from it all its inherent forms or 'noises', i.e. that which we call faktura. Material is the mother of faktura. The author apologises for the metaphorical terminology to which he resorts. It would also have been possible to call this principle the 'principle of connectivity with the material, 'adaptation to the material', 'and dependence on the material'. Colour photography and the 'artistic' lenses for portraits are a serious threat to manual technique. In the nature around us we can find a rich collation of materials. Birds, mountains, water provide us with ever-changing arrangements. Of course we do feel the need to admire just one material and completely separate it from others, and thereby bring out its latent 'noise' and gain aesthetic enjoyment. The artists of those small country places in Italy which acquired their tuning fork unconsciously, through the chance selection of pigment, material and their processing.
