I sincerely confess that I cannot remember whether I had already seen the word “molinology” when I first used it. All I known is that it was in 1962, while cruising the Azorean seas on board the steamer “Carvalho Araujo” that I wrote in my note-book,

Molinology can be the description and the study of mills or other “mechanical devices, using the kinetic energy of moving water or wind as a motive power for driving, namely grinding, pumping, sawing, pressing, and filling machines. More particularly, molinology aims at the knowledge of those traditional engines which have been condemned to obsolescence by modern technical and economical trends, thus being a chapter of the History of Technology and part of the History of Civilization. The word is a hybrid of MOLINUM—a low-Latin word extensively adopted in romanized Europe for mills in general—and the known greek suffix logos (- λόγος )—discourse—in the usual form LOGIA: knowledge of. (1). Molinology as a mental discipline and a field of research, should survey and collect all data refering to Wind and Watermills as a whole—terminology, technology, ecology, ethnology, economy, history, jurisdiction, protection, preservation, and restoration, as well as their aesthetic values—in order to determine their origin and evolution, their economic and social role, their human testimony and, thus, ethnological importance. The comparative study of Wind and Watermills will bring new lights to the knowledge of the intercourse of civilizations...

Contemporaneamente al decadere dell’arte Pop, si assiste negli anni tra il 1965 e il 1968 al manifestarsi di tutta una serie di nuove operazioni figurative, ispirate a espressioni artistiche meno note e diffuse dello stesso pop ma ad esso contemporanee o precedenti, e quindi già sufficientemente radicate nella cultura europea e americana fin dal finire degli anni ‘50. Tutto il vasto fenomeno dell’arte concettuale e comportamentistica a cui ci riferiamo, spesso non eccessivamente omogeneo e di fatto composit e composto da differenti momenti apparentemente contrastanti, trae i propri motivi di contraddizione interna, oltre che dal perseguire una gamma di finalità vasta e quindi differenziata e discontinua, dall’avere le proprie matrici in referenti storici e figurativi discordi.