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The diagnosis of an advanced stage IV Hodgkin’s lymphoma offered me the opportunity to see firsthand the vi- tal importance of photography which has now also become a tool of treatment for me. The course of the disease and therapy I face in these years have been an inescapable invitation to think about the forced and necessary inversion my practice has undergone: for the first time I have forced my gaze toward myself, or rather, within myself.

Referring back to Flusser’s theories, I am transformed into input savored and reprocessed by an endless series of algorithms constituting the “meta-bolism” of black-boxes to which I am thrown, devices and diagnostic instrumentation of all kinds (ultrasound, X-ray, CT, PET) with which I interface daily. I become raw material chewed up by a digital mind whose synapses are complex electronic processing that I imagine to be, absurdly, the developmental mechanism of an almost free interpretation of the aforementioned devices.

Through various software I scrutinized and explored diagnoses, pure and unresolved technical images if not subject to human interpretation. I become voyeur, observer, explorer and above all manipulator of a body immersed in intangible matter that fills the infinity of a fictional virtual world of which the virtual fetish of myself is the protagonist.

Such an operation over time has led me to realize that I myself am a black box capable of producing anomalies, masses, incongruities, results that are the consequential response, elaborated by means of “biological algorithms,” to a series of inputs sent by an external world that every day alters and contaminates intimate human nature. Mine.