This painting was reproduced and described in the Italian periodicals, Demetra No.4, 1993 and Carte D'Arte No.1, 1992. Vira Fabra (wife of Ignazio Apolloni) writes in 2011: Will Anna Guillot's work - of which many have dealt exhaustively - be ATARAXIC TIME? And Miccini (what to write after him) who places Socrates and Lacan on the chessboard for a "serious game". A symptom? Further excavations are almost impossible if not for erroneously ludic purposes. Therefore, "What to do?" Joke, speak and not tell, remain silent and be a gardener in a convent, albeit for a short time, like Wittgenstein? Repeat and reflect on the anxieties of Gabriel Marcel, namely on the "questions of life" to which Savater leads to? On what presupposes large contradictions? On the triangle of Ogden and Richards? On the diagram of Bernar Venet who, motivated by profound considerations on Conceptual art, was to produce excessively intellectual works from which an intense relationship with philosophy united with constructive rigor and aesthetics emerges? On Faraday's continuum hypothesis and Maxwell's algorithms? On the dual-logic of Matte Blanco who sets out a reformulation of the principle of symmetry and who sees in difficult and open problems the hard work needed for the expansion of knowledge? On the "enchanting of our intellect through language?" Or to start again from anthroponomastics, from the "Manifesto dei nomi" by Alighiero Boetti, from "I pensieri del tè" by Ceronetti? Alighiero, from the German "adal and ger" ("break the spear for his noble progeny"); Guido, from the German "learned". Anna, from the Hebrew Hannah, dedicates a "work-book" to herself and writes about it, but not to create "semiotic pollution", or rather "programmatic concealment of meaning" (Volli). The name, the wonder of language for Bauman, "identifies the being" according to Plato, "clothes perfectly" according to Goethe. DEVELOPMENT From the emerging critical evolutions of the single artist ("The window on the interior" by André Breton; "Time regained" by Proust; "Il tempo neutro" by Bataille; "The writing of the disaster" by Blanchot; "The beauty of Fractals" by H.-O. Peitgen-P.H. Richter and the breaks of thinking by Mandelbrot), flourish the creative motivations implied by Miccini in quoting Descartes. And it is as though we were called on to re-read Migliorini's essay in the catalogue of the exhibition Poesia Tecnologica (1977). That's right Miccini, the search of art and life. THE QUESTIONS Ultimately? "Ghénòi òios essì mathòn" (become what you know you are): is it Pindaro's imperative that determines the piezoelectric rhythms of Guillot? Or Ugo Volli's "Apologia del silenzio imperfetto"? "Literature and art offer to each interlocutor only part of themselves; they speak and hold back part of the meaning". But could one maintain that Euclid with "Elements of mathematics" marked two centuries of minimalism before the "aesthetic" intervention operated by the Bourbaki group to the modern mathematics? Without questioning on art answers to life would be vain. Does Guillot fear, or perhaps want to accelerate the route of which Fritjof Capra the American physicist writes, who, fascinated by the idea of the possible application of a number of hypotheses given by two Chilean biologists on "autopoiesis" to allow our bodies - like "networks of interactions" - to identify the secret of life and even of the conscience and of all living things, is already thinking of the necessary correctives (ecodesign) if one continues to worsen the conditions of the "planet organism", so "very sick" today? Just how musical propensity has permeated Anna Guillot's art, but primarily how the extension of artistic limitations has determined a "mixed genre" (painting-writing-score), was already a fruitful factor in certain impulses and aggregations of a number of great artists of the past. But in Guillot's definition it is a "polyphonic living out of meaning-sign-colour, my hard-fought concealed confession". Thus, freeing impulse with which she wishes, perhaps to transform the monotony of the reality into creative energy not possibly weaking like matter using new means. PROJECTIONS The artistic score of Anna Guillot, involved like Giovanni Fontana in "La poesia dilatata" through the integration of many arts, undertakes the task of watering down the frenetic rhythms with the rhetorical contraction that does not cancel out the meaning of art or writing, but projects the meaning of a work or writing into the spatial dimension of desire, as much as the black and white of photography. And art! The artist? When its face is light its inner universe is darkness, and vice versa. New surrealism or existentialism? Light and shadow, day and night, appearing and facing each other, the hurry and the tiredness. The reading demanded to the viewer thus becomes not of a worldly life. Calculate the frequency of time in space, to find once again the first light born in the labyrinth of the consciousness? The search for "pure light" that throbs, that moves one's hand, that speeds the impulses of an artist up, "never gives trustworthy results." -- Source of annotation: Marvin or Ruth Sackner.