A Call to the Unformed, the Informed, and the De-formed
“There is no final shape, only gestures toward becoming.”
+i-v-i+:
How the World’s First Artpreuneriat Venture Studio is Redefining Startups and the Creative Economy
Silicon Valley has long thrived on disruption. From the garage startups of the 1980s to the unicorns of today, the narrative has been one of relentless innovation. But in the race for scale and valuation, something vital has often been left behind: meaning.
Enter +i-v-i+, a venture studio with a manifesto as much as a business plan. Its founders describe it not as an incubator or an accelerator, but as the world’s first Artpreuneriat lab, a place where art, philosophy, and entrepreneurship converge.
At its core lies a simple, almost mystical phrase:
“Not the object, but the oscillation. Not the origin, but the encounter.”
This is not startup jargon. It is a signal: that +i-v-i+ intends to rewire the assumptions of what a company is, what it does, and why it exists.
The Problem: Creativity Trapped
The global creative economy is worth $2.3 trillion, making it one of the fastest-growing sectors worldwide. Fashion, design, film, gaming, music, and digital art fuel not only cultural vibrancy but also GDP. Yet the paradox remains: the people who generate this value, artists, designers, and cultural entrepreneurs, are often excluded from venture ecosystems.
Too many creative ideas never leave the studio. They remain unfinished projects, gallery whispers, or prototypes without capital. Meanwhile, most traditional startups ignore culture altogether, building products optimized for clicks rather than resonance.
The result? A profound under-leveraging of cultural innovation. For investors, this represents a blind spot. For society, it represents a lost opportunity to fuse profitability with meaning.
+i-v-i+ was designed to unlock this potential.
The Philosophy of +i-v-i+
Unlike conventional studios, +i-v-i+ begins not with markets or metrics but with a philosophy. Its founding ethos is built on five principles, distilled from postmodern theory, Eastern philosophy, and startup pragmatism.
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Remix as Ritual
Innovation is not ex nihilo. It emerges through recombination. +i-v-i+ rejects the cult of originality and embraces remix as the true driver of cultural progress. -
Process over Product
Startups are not monuments but ecologies. Each venture evolves like an ecosystem: adaptive, iterative, always unfinished. -
Creation through Letting Go
Inspired by the Kyoto School, +i-v-i+ teaches founders that the ego is not the engine.
True creation emerges when the founder learns to step aside and let the work evolve. -
Toward the Ineffable
Ventures here are not built only for revenue but for resonance. Profit matters, but so does Return on Meaning & Impact (RMI). -
Reflexive Intelligence
Ventures are designed to be self-aware. They question their own perception, adapting continuously to shifting contexts and audiences.
In practice, this philosophy doubles as a startup methodology. What Y Combinator did for lean iteration, +i-v-i+ seeks to do for cultural entrepreneurship.
The Model: Artpreuneriat in Action
+i-v-i+ is structured as a venture studio — but with a twist. Instead of focusing solely on tech founders, it collaborates with artists, designers, philosophers, and cultural entrepreneurs. Together, they co-create startups that are both financially viable and culturally resonant.
How it works:
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The studio identifies creative sparks, ideas with artistic depth and commercial potential.
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+i-v-i+ provides legal, financial, branding, and technical infrastructure.
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In exchange, the studio takes 15–20% equity in each venture.
Revenue comes not just from equity. +i-v-i+ runs accelerator programs, licenses its Artpreuneriat Method™ to institutions, and organizes cultural summits and salons. It is as much a movement as a studio.
The Market Opportunity
Globally, the creative industries are expanding faster than almost any other sector. In Europe alone, they represent over 7% of GDP. Yet venture capital flows disproportionately to software, fintech, and biotech.
This imbalance creates a blue ocean for +i-v-i+. By focusing on cultural entrepreneurship, it enters a space with minimal direct competition.
Policy tailwinds strengthen the case. Programs in Europe are pouring billions into innovation, but few are dedicated to creative founders. +i-v-i+ positions itself as the bridge between institutional funding and cultural startups.
For investors, the message is clear: this is a first-mover advantage in a massively undervalued sector.
Our
Story
Title: Phonex over ashes, beyond narratives
Artist: Amir Noferesti
Plurma Codex Series
"We are not artists of objects, we are narrators of becoming."
“Call it a quote. Call it prayer. Call it a wound that speaks.”
Forget the inherited image of the studio as a sanctuary of form.
ti-v-it is no longer a studio.
It is a threshold, a place of unravelling and remembering.
A liminal membrane where contradictions breathe.
It is where the fractured soul of the world pulses,
where contradiction is not resolved, but honoured.
Here, the image is not a product.
It is a prophecy deferred, a gesture of truth in exile.
We do not seek to affirm what is.
We awaken what has been silenced, occupied, ritualized, and forgotten.
Between self and other, voice and void, presence and metaphysical absence, ti-v-it emerges as a field of dialogue.
A choreography of tensions.
A sanctuary for post-memory and pre-language.
ti-v-it is rooted in the Kyoto School's dialectical vision, especially Tanabe Hajime’s concept of Absolute Mediation. In this view, art is not direct self-expression. It is not autonomous creation. Rather, it is mediated negation, a surrender to contradiction, a collapse of ego, and a leap into the Other. It is not what the artist says, but what arises when the artist lets go of saying.
The works created here are not statements. They are encounters, not to be resolved, but inhabited. They do not ask “What is this?” but “What happens to you here?”
ti-v-it inhabits a post-symbolic aesthetic. It understands that we no longer just look at art, we look through it, into ourselves, and beyond ourselves. The art is aware of its own mediumhood. It references itself while inviting you to do the same. This is not just representation; it is meta-representational intelligence in practice. A canvas is a statement about perception. A gesture is a dialogue between cognition and culture. A glitch is a prayer for precision in a fragmented world.
To engage with ti-v-it is to become the medium.
It is to reflect upon reflection.
To be seen, not by the art, but by your own seeing.
Beneath its conceptual architecture lies a mystical impulse: not toward dogma, but toward direct encounter with the ineffable. The sacred is not depicted; it is activated. Through broken mirrors, silent loops, ambient gestures, and recursive layers, ti-v-it art points beyond itself, toward the felt sense of the unseen, the unspoken, the ungraspable.
Not faith in form, but trust in process.
Not theology, but ontological wonder.
Not art as a product, but art as a portal.
ti-v-it embodies the meta-modern spirit by narrating contradictions without collapsing into despair. It builds affect from detachment, it reclaims the emotional after the critical, and it lets sincerity emerge through complexity, not despite it.
This is not art for the market. This is not art for ideology.
This is art as meta-sensing.
A framework of feeling. A method of metamorphosis.
To step into a ti-v-it work is to enter a semantic fog that reshapes your orientation. You will not leave with answers. You may leave with more porous boundaries. And if you’re willing, you may leave less certain but more awake.
ti-v-it is a reminder that we are never outside the artwork.
We are its condition, its continuation, and its collapse.
We are the medium, the interruption, and the miracle.
“We are narration of concepts as mediators.
We call it quote.
You may call it art.”
Rooted in the tremor of postcolonial awareness, rising from the ruins of imposed narratives,
ti-v-it is not about rejection or nostalgia.
It listens to irony, but does not kneel before it.
It plays, yes, but as a sacred rite of deconstruction.
It believes, but with eyes wide open.
To create here is not to define.
It is to invite paradox to sit at the table, to let sincerity breathe through fragmentation.
To let silence speak in the syntax of gesture, ti-v-it is not a place.
It is a technology of transmutation.
A poetics of repair.
A remembrance of what it means to feel,
to rupture,
to reconcile.
It is:
Image as invocation
Gesture as exegesis
Undoing as wisdom
Silence as resistance
Presence as a political act
Amir Noferesti
Founder:
In an age where the soul fragments under digital noise and the intellect collapses beneath the weight of synthetic certainty, Amir Noferesti runs, not from the world, but toward its essence. He runs with a white flag, not as surrender, but as sanctification. This white flag is not cloth; it is the purification of perception, a symbol of neutrality in an overstimulated age. A cry for stillness. A sacred pause between signal and meaning.
At the heart of Amir's path lies a meta-modern interpretation of perennial philosophy: the belief that beneath all historical currents, faiths, and systems, there breathes a single stream of truth, a nameless knowing passed through metaphors, rites, poems, and light. His work is not nostalgic, nor utopian; it is a reconnection, the rebuilding of what has always been hidden in plain sight. He believes that meta-narratives are not dead; they are wounded. They long to be healed through a new kind of intelligence: not just critical, but mystical meta-cognitive therapy.
This therapy is not clinical. It is aesthetic. Symbolic. It emerges when cognition is allowed to breathe, when words become wind and maps become mirrors. Amir carries in his soul the residue of the pain of humanistic empathy, of grief grounded in geopolitics, yet transmuted into a philosophical offering: that no pain should remain meaningless. That every cognitive overload, every historical trauma, cultural contradiction, and personal disintegration can be sublimated into a higher synthesis.
And so he runs, not as an athlete, but as a seeker.
He carries with him no dogma, only a compass of perennial wisdom, not to measure territory, but to orient the inner cartography of being.
His path emerges at the intersection of:
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Language: as the carrier of the soul, where every script, symbol, and accent is a fingerprint of divine dispersion.
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Meaning: as an emergent resonance between presence and interpretation, a phenomenological dance between sign and silence.
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Ontology: not as abstract theory, but as felt reality, the way being burns through each moment of witness.
Framed by the philosophy of intuition and perceptual liberation, Amir’s work is a resistance against reductionism. He dissolves binaries between logic and mysticism, between aesthetics and psychology, crafting instead a lived phenomenology of renewal. This is the metaphysical work of art in a digital age: not simulation, but resacralization.
In his drawings, flags, scripts, and rituals, the body remembers what language forgot. He recomposes the syntax of spirituality, blending neuroscience, Ishrāq, Buddhism, and the Kyoto School into a new grammar of coherence.
A therapy of symbols. A remembrance of the forgotten. A mysticartist in motion, To run with a white flag in such a world is not passive.
It is active transfiguration.
It is to declare that even in brokenness, there is beauty.
Even in post-truth, there is pre-verbal truth.
Even in exile, there is home.
This is the story of Amir Noferesti, not as a name, but as a movement of meaning.
A cartographer of spirit, a mystic of cognition, and a meta-modern artist who reminds us:
Before we are thinkers, we are perceivers.
Before we are users of technology, we are bearers of light.
Before we are divided by borders, we are spun from the same silence.
And so the white flag rises, not in defeat, but in wonder where we didn't write anything to be other.
Not as an end, but as a beginning of return.
These pieces are here to own for money or value to support my educational effort in philosophy of communication, art, and culture, and then to support philanthropic events and scholarships.
Mystigital Experience:
Alchemy series:
Title:
Eye of the Architect: The World Watches Itself
(L’Œil de l’Architecte : Le Monde se Regarde)
Artist: Amir Noferesti and +i-v-i+ (Meta-Collective / Post-symbolic Meta-Makers)
Year:
2025
Medium:
Digital Collage Print on Archival Paper / Mixed-Media Digital Alchemy
Dimensions:
Variable (Exhibition Print: 100 × 100 cm)
Edition:
1/3 (Signed & Certified by Amir Noferesti and +i-v-i+ Foundation)
In this layered cosmogram, the eye does not look outward. It looks through. It is not an object, but the act of seeing itself. The viewer becomes implicated, not as a spectator, but as a lens.
The composition places the eye at the centre, not a naturalistic eye, but one drawn from hermetic geometry, encircled by radiating spheres like ripples in the epistemic sea. Below it, a pyramid rises, a timeless form of ascent, burial, and cosmic alignment.
To engage with this work is to step into a ritual of recursive awareness.
You are not just looking at the world, you are looking with the world.
Mystigital Series resembles excavating different paths of wisdom and mysticism, deeply rooted, inspired by Western philosophical narrations and mind patterns.
Title:
You Made a Flower Arise from a Thorn, and a Thorn from the Foot, and a Foot from the Flower
Tu as fait surgir une fleur d'une épine, et une épine du pied, et un pied de la fleur
Artist:
Amir Noferesti and +i-v-i+ (Meta-Collective / Post-symbolic Meta-Makers)
Year:
2023
Medium:
Digital Collage Print on Archival Paper / Mixed-Media Digital Alchemy
Dimensions:
Variable (recommended: 90 x 135 cm)
Edition:
1/3 (Signed & Certified by Amir Noferesti and +i-v-i+ Foundation)
This image is a recursive meditation on causality, perception, and the alchemical entanglement between body, symbol, and form. Constructed as a layered visual palimpsest, it centers an emblematic alchemical engraving of an androgynous pair, evoking the divine marriage (coniunctio) from Western hermetic traditions, while surrounding it with saturated, semi-obscured imagery from surreal domesticity, psychedelic flora, childlike wonder, and folkloric symbology.
The piece takes its poetic title from a verse that itself bends logic into myth: a flower from a thorn, a thorn from the foot, a foot from the flower. This cyclical inversion sets the tone for the entire composition. where images both birth and are birthed by each other, echoing the non-linear causality of dreams, rituals, and sacred paradox.
Through juxtaposition, opacity, and layering, the image avoids declarative meaning. Instead, it invites a visual metanoia, a gentle but undeniable shift in perception. It is a philosophical puzzle whispered in visual language.
Manifest Series:
Title:
You Left a Message in the Space Between Languages
(Tu as laissé un message dans l’espace entre les langues)
Artist:
Amir Noferesti
Year:
2024
Medium:
Digital Collage on Archival Substrate / Multilingual Calligraphic Composite with Symbolic Overlay
Dimensions:
Variable (suggested: 100 x 70 cm)
Edition:
1/3 (Certified Edition + Conceptual Signature via MetaScript Code Signed & Certified by Amir Noferesti)
In this palimpsestic composition, explores the terrain of language as material, meaning as interval, and writing as witnessing. Built upon a stratified layering of Arabic, Persian, and abstracted symbolic alphabets, the piece suspends the viewer in a field where legibility, memory, and translation shimmer, always almost arriving, always already dissolving.
The work resists fixed literacy. Its core lies in the space between languages, the interstitial silence between letters, scripts, tongues, and worldviews. It gestures toward the mystical failure of translation, where intelligibility breaks into beauty, and meaning pulses through what is not said.
It is not simply a text-based work.
It is a field of cognitive choreography, where the eye dances among scripts as the mind softens into uncertainty.
Title:
Family of Abraham, A Manifestation of Wishing the Best Possible Reality for the World
Artist:
Amir Noferesti
Year:
2024
Medium:
Digital Collage on Archival Substrate / Multilingual Calligraphic Composite with Symbolic Overlay
Dimensions:
Variable (suggested: 100 x 70 cm)
Edition:
1/3 (Certified Edition + Conceptual Signature via MetaScript Code Signed & Certified by Amir Noferesti)
Manifest Series is a body of work rooted in the act of envisioning not as fantasy, but as a conscious practice of shaping reality through image, intention, and interconnection.
In Family of Abraham, layered photographic textures bring together sacred geographies, pilgrimages, and gatherings tied to the descendants of Abraham: Muslims, Jews, and Christians.
The overlapping forms are intentionally translucent, allowing the viewer to see through one tradition into another, creating a shared visual field where boundaries dissolve.
The work is not an argument; it is a prayer in pixels.
It seeks the best possible reality: one where the shared lineage of faith becomes a wellspring of empathy rather than division.
Here, the crowd becomes a single body, the sacred sites a single heartbeat. A visual metaphor for mutual visibility and shared humanity; no tradition obscures another. Which evokes both the rhythm of ritual and the shared movement of collective longing.
Suggesting histories and futures flowing into one another, refusing fixed borders, this work resembles excavating different mystical paths from Zorvanism to Mazdeism, and all branches of Islam and Judaism, mendai, yazidi, darruze, and sikhism included.
Catharsis series:
Title:
Lamentation
(Doléance)
Artist:
Amir Noferesti and +i-v-i+ (Meta-Collective / Post-symbolic Meta-Makers)
Year:
2025
Medium:
Digital Composite on Archival Canvas, Image Layering, Memory Mapping, Algorithmic Blending
Dimensions:
90 x 90 cm (Variable installation)
Edition:
Unique (1/1 Signed & Certified by Amir Noferesti and +i-v-i+ Foundation)
This work is a visual requiem, a soft archive of longing, rupture, and remembrance. At its surface, it appears as a collage of cities, landmarks, aerial imagery, architecture, airplanes, bodies in movement, all filtered through the ghostly veil of a blurred crowd.
But at its core, this is an image of mourning.
It holds the wound of Flight PS752, the air disaster that not only ended 176 lives, but also fractured an entire generation’s faith in safety, voice, and justice. I felt two nations of Iran and Ukraine, entangled in Pain at that moment, which the moment was my silent scream to what is going on in the world.
The plane is central, frontal, yet submerged in layers of Quebec City, skies, and shattered geographies. We are not simply seeing the aircraft; we are seeing through it, as though vision itself were broken by memory; it is a Lamentation of my pain on my first marathon as catharsis, I have faced the pain of being in Canada, with the grief of having avoided seeing the friend at the last moment.
This is not a documentary image.
It is a metabolized pain on 1st, 42 Kilometers of Silence
ای گل خوشبوی ما، تویی بهانهٔ ما
بیا که جانی و جانا، تویی یگانهٔ ما
دل به تو سپردیم و دیدیم که نیست جدایی
تا که جز تو نیفتد به دل، بهانهٔ ما
Let your life lightly dance on the edges of Time like dew on the tip of a leaf.
بیا تا گل بر افشانیم و می در ساغر اندازیم
فلک را سقف بشکافیم و طرحی نو در اندازیم
سنكون يومًا ما نريد
بلادًا وطنيّةً، حديقةًَ من زهرٍ
وسَلامًا على الجميع.
האדם מצוי כל ימיו במלחמה
אבל ילדו משחק במגרש
והאישה מהלכת לבית החולים
למען חיים.
وردتي من وحل، و ياسميني
من حرب وأغاني من عودة وحب.
ذِمَّتِي بِمَا أَقُولُ رَهِينَةٌ وَأَنَا بِهِ زَعِيمٌ
2nd, 42 Kilometers of Silence
For Peace Within, Manifesting Peace Without
A Catharsis for the Unwritten Flag (Middle-eastern with a peace flag)
Artist: Amir Noferesti
Medium: Endurance Performance, Soil, Breath, Silence, Fabric
Length: 42.195 KM
Location: Toronto (urban/suburban)
Date: Toronto Marathon 2025
Owned in personal collection and belongs to +i-v-i+ Foundation
The 1st 42 Kilometers of Silence is an endurance act, a sacred loop of body and spirit in motion.
A Middle Eastern child runs 42.195 kilometers, holding an unwritten flag, blank but living, a canvas for peace before it is claimed, before it is politicized, before it is lost.
This first performance does not end at the finish line.
The journey continues in the making of a living archive:
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Poems written from breaths taken at each kilometer, each line a step from wound toward witness.
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Divine Names, in Arabic, Hebrew, Persian, and other tongues, carved, inked, or burned into wood.
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Wishes collected from strangers and elders, inscribed in looping, fragile scripts, folded and sealed like seeds.
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Paintings that layer soil, sweat, and pigment into the textures of landscape and memory.
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Scarred Wood Panels that bear intentional cuts and scorings, each mark a story of harm transfigured into touchable form.
*The white flag is not surrender. It is a demand: It was screaming against discrimination and social tags regarding racial origin, an endurance run as a symbol of resistance.
The work honors peace not as an abstract ideal but as muscle, skin, and scar, lived in the body and carried into the world.
Symbolic Elements
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42.195 KM → Represents both the distance of a marathon and the psychological journey of surviving beyond trauma while being seen as a statistic. Each kilometer honors a silenced name.
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White Flag (Unwritten) → A handmade flag without symbols, slogans, or borders. It is unclaimed peace, representing childhood itself as sacred ground.
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Running Alone → The performance is solo, barefoot or in worn shoes, to evoke both pilgrimage and flight. Not athleticism, but sustained presence through pain.
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Soil-stained Clothing → After the run, the clothing is displayed as a relic. Sweat, dust, and tears become the only visible ink on the unwritten flag.
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Sacred minimalism, tactile silence, endurance turned into texture.
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The warmth of lived materials: wood, paper, earth, cloth.
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A feeling of walking into a sanctum, not a gallery.
Peace begins in the tendon and the breath.
It manifests in the scar that heals without erasing.
The 1st 42 Kilometers of Silence is not an end, it is a seed.
Every step is a word. Every word is a flag.
Title: The Mental Eternal Puzzle
Artist: Amir Noferesti and +i-v-i+ (Meta-Collective / Post-symbolic Meta-Makers)
Year:
2025
Medium:
Digital Composite on Archival Canvas, Image Layering, Memory Mapping, Algorithmic Blending
Dimensions:
90 x 90 cm (Variable installation)
Edition:
Unique (1/1 Signed & Certified by Amir Noferesti and +i-v-i+ Foundation)
Catharsis Series explores the inner landscapes of neurodivergent cognition, the oscillation between pattern and chaos, intensity and stillness.
In the experience of neurodivergency*, overlapping geometric fields spiral inward and outward, mapping the lived experience of a mind that processes everything, all at once.
The work draws from his own reality where he spiraled up himself in Hyper-focus as a kaleidoscopic vortex
Sitting in a restaurant is a Sensory layering as a living tapestry of details, from smells, touches, thinks, and unknown feelings.
The recursive search for completion in a puzzle that has no fixed solution, where no land sits under your ground, eternity, and liberty.
The composition never settles; it invites the eye into perpetual movement, mirroring the way thoughts loop, interlock, and refract.
This is not a disorder rendered in paint; it is a cognitive cosmos.
It is both the burden and the beauty of perceiving too much, too vividly, and never being able to stop turning the pieces over.
It is a metabolized pain on 2nd, 42 Kilometers of Silence
Title: Neuro-joy-gente
Artist: Amir Noferesti and +i-v-i+ (Meta-Collective / Post-symbolic Meta-Makers)
Year:
2025
Medium:
Digital Composite on Archival Canvas, Image Layering, Memory Mapping, Algorithmic Blending
Dimensions:
90 x 90 cm (Variable installation)
Edition:
Unique (1/1 Signed & Certified by Amir Noferesti and +i-v-i+ Foundation)
Catharsis Series explores the inner landscapes of neurodivergent cognition, not to prove I can. Not to change myself.
But to be visible, unapologetically.
I wear a birthday hat, carry a balloon, and hold a cupcake in my mind the whole way.
Because I am still the child who loves bright colors, still the teenager who got called “too much,” still the adult who feels the weight of stares that say I don’t fit.
This is my neurodivergence*, normal, human, alive.
I am not broken, and I am not rare.
Every step says:
It’s normal to flap your hands when you’re happy.
It’s normal to think in spirals instead of straight lines.
It’s normal to miss a social cue and still be worthy of love.
It’s normal to be quiet when the world is loud.
It’s normal to celebrate without a reason.
In the portrait, my face is layered, past selves, present truth, and future possibility.
Every layer is me. Every me is enough.
The marathon is not a metaphor for struggle.
It’s a moving mirror:
I am whole at every pace.
I am whole when I’m exhausted.
I am whole when I am celebrated.
It’s normal to be me. It’s normal to be you. It’s normal to be.
تو یکی نِهای هزاری تو چراغِ خود برافروز
3rd, 42 Kilometers of Silence
A Catharsis for the Unwritten Flag (Middle-eastern with a peace flag)
Artist: Amir Noferesti
Medium: Endurance Performance, Soil, Breath, Silence, Fabric
Length: 42.195 KM
Location: Toronto (urban/suburban)
Date: Toronto Marathon 2025
Dedicated to Yasmine Razavi Ebrahimi in gratitude for all support.
42 Kilometers of Silence is a durational, site-responsive performance in which a Middle Eastern child, a symbol rather than a singular identity, runs a full marathon distance through unremarkable terrain, holding no national emblem, only a blank, white flag stitched by unseen hands.
There are no sponsors, no medals, no audience cheering.
Only the sound of footsteps, breath, and wind.
This is not a race. It is an embodied remembrance.
For every child whose life has been shaped by boundaries they never drew.
For every child who lost a home, a limb, a language, or a lullaby.
For every child still dreaming under rubble.
*The white flag is not surrender. It is a demand: It was screaming against discrimination and social tags regarding racial origin, an endurance run as a symbol of resistance.
Let childhood belong to no side, to no army, to no ideology.
Let it belong to joy, to imagination, to stories left unfinished.
Symbolic Elements
-
42.195 KM → Represents both the distance of a marathon and the psychological journey of surviving beyond trauma while being seen as a statistic. Each kilometer honors a silenced name.
-
White Flag (Unwritten) → A handmade flag without symbols, slogans, or borders. It is unclaimed peace, representing childhood itself as sacred ground.
-
Running Alone → The performance is solo, barefoot or in worn shoes, to evoke both pilgrimage and flight. Not athleticism, but sustained presence through pain.
-
Soil-stained Clothing → After the run, the clothing is displayed as a relic. Sweat, dust, and tears become the only visible ink on the unwritten flag.
-
Sacred minimalism, tactile silence, endurance turned into texture.
-
The warmth of lived materials: wood, paper, earth, cloth.
-
A feeling of walking into a sanctum, not a gallery.
This is not a performance for the past.
It is a seed for the future, carried kilometer by kilometer,
by a child whose only country is the dream of being whole.
"Peace is not an agreement.
Peace is the right to have a childhood."
ti-v-it™ | Artpreuneriat
Transform your creative ideas…
+i-v-i+ is not only building startups; it is building thresholds into new possibilities.
For investors, it offers first access to undervalued creative startups.
For founders, it provides structure without suffocation.
For society, it promises ventures that generate both profit and resonance.
The closing words of the +i-v-i+ Constitution echo here:
“+i-v-i+ is not a style.
It is a metamorphic method.
A grammar of liminality.
A technology of transience.
It offers no answers, only thresholds.”
In a world saturated with products and platforms, perhaps what we need most are thresholds: spaces where meaning, culture, and capital can encounter each other anew.
How NobodyButEveryone™ and +i-v-i+ Are Turning Social Causes into Scalable Ventures
For decades, advocacy has relied on non-profits, fundraising galas, and petitions. But in a world of networked publics and brand-driven influence, advocacy is in need of reinvention. That’s where NobodyButEveryone™ comes in, a platform designed to transform causes into collective, deliberative campaigns.
With +i-v-i+ as its incubator, NobodyButEveryone™ reframes activism not as charity, but as a venture model. Its core symbolism, the White Flag of Dialogue, signals a move away from hero-centric campaigns toward shared, participatory responsibility.
The Concept
NobodyButEveryone™ believes change is no longer about one hero saving the many. Instead, it’s about creating structures of collective responsibility where everyone contributes to systemic solutions.
Each campaign is designed as a platform for intergenerational dialogue around critical issues: climate justice, transparency, dignity in healthcare, cancer awareness, and beyond.
+i-v-i+ incubates NobodyButEveryone™ with its Artpreuneriat framework, ensuring campaigns are designed with the depth of philosophy and the rigor of business strategy. This includes:
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Creating transparent governance models to avoid the pitfalls of traditional NGOs.
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Designing advocacy as a scalable, repeatable process.
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Building a revenue model through B2B licensing to NGOs, CSR partnerships, and advocacy-focused brand collaborations.
Instead of depending solely on donations, NobodyButEveryone™ operates like a campaign incubator:
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NGOs license its narrative frameworks.
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Brands sponsor advocacy campaigns aligned with their ESG goals.
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Institutions partner for legitimacy and reach.
With +i-v-i+ as a partner, NobodyButEveryone™ demonstrates that advocacy can be sustainable, scalable, and venture-backed. It doesn’t just raise awareness; it builds infrastructure for systemic change.
Guiding Aesthetic Principles of +i-v-i+
Toward the Joy of Meta-Thinking
Art as the Sensing Mind
“Joy is not the opposite of seriousness; it is the soul of awakening.”
+i-v-i+ operates as an aesthetic system in which thinking is not divorced from feeling, and beauty is not the opposite of insight.
It seeks not only to create objects but to induce mental shifts, moments of joyful recognition, where the viewer becomes aware of their own seeing, thinking, and sensing.
This is not the cold joy of intellect as distance.
It is the warm tremor of becoming aware that you are aware.
Each principle below is both a visual strategy and an epistemic invitation, an act of meta-sensing, a celebration of the intellect’s dance with form, negation, irony, and immanence.
🌀 Finding Feelings in Contrast
(Juxtaposition over Unity)
Rather than seek the comfort of harmony, +i-v-i+ finds intellectual and emotional activation in contrast.
Contradiction here is not a problem to solve;
it is a structure of awareness.
By juxtaposing materials, ideas, and forms,
The work invites the mind to oscillate
to stretch, synthesize, and reframe.
In that stretch lies the pleasure of insight.
The joy of tension.
The space where perception wakes up.
✖️ Creating Through Absence
(Negation as Birth)
Absence is not void.
It is an invitation.
The joy of intellect often begins in unlearning.
+i-v-i+ uses negation as a method of mental deconstruction,
inviting the viewer to notice what isn’t there,
and in doing so, awaken new forms of meaning.
This is thinking through empty space,
learning through what’s been removed
a spatial epistemology of silence, gap, and refusal.
Here, not knowing becomes a fertile field.
A site of joyful disruption.
💠 Honest Complexity
(Irony as Sincerity)
In a world of fragmented truths,
+i-v-i+ uses irony as a sincere response to complexity.
Irony here is not cynicism
It is meta-cognitive courage:
The willingness to say, “I see the contradiction, and I’m still here.”
This principle invites viewers to think about how they think,
to sense sincerity not in simplicity,
But in the transparency of layered, contradictory truths.
The joy here is not in being right
But in being awake inside uncertainty.
🌌 The Profound in the Ordinary
(Consciousness through Everyday Forms)
+i-v-i+ draws the viewer’s attention to the sacred geometry of the mundane.
A bottle cap. A stain. A shadow. A whisper of texture.
By elevating the overlooked, the work engages the intellect in a quiet reorientation:
“Have you really seen this before?”
“Can the ordinary re-enchant your mind?”
This is not escapism.
This is cognitive joy in recognition
where the mind, in seeing the sacred in the small,
awakens to its own miraculous seeing.
🧠 Knowing Through Making
(Embodied Epistemology)
The joy of intellect is not confined to theory.
+i-v-i+ embodies the idea that thinking is tactile.
Here, hands become philosophers.
Materials become language.
Creation becomes cognition-in-motion.
This principle enacts the deep truth that the mind lives in the body,
and wisdom arises when we shape, feel, resist, fold, destroy, and rebuild.
The joy is in the doing
not just in understanding, but in becoming understanding.
🕯️ Art That Shifts Your View
(Visual Metanoia)
+i-v-i+ aims not merely to represent,
but to transform.
This is art that doesn’t just ask you to look.
It asks you to notice that you are looking
to become aware of the act of perception itself.
Such awareness, when sudden, can feel like an epiphany.
Not because of its clarity,
but because of its clarifying effect.
Here, metanoia, the shift of mind,
becomes a felt joy,
the quiet thrill of seeing differently, of being different.
✶ Coda: Joy as the Intelligence of Feeling
+i-v-i+ believes the deepest aesthetic experience is not amusement, distraction, or even admiration.
It is joy, not superficial delight, but the existential gladness of cognition awakening.
To create and to view within +i-v-i+ is to sense that meaning is not a fixed truth,
but a moving relationship
between presence, perception, and possibility.
To think is to feel.
To feel is to think.
To create is to dance at the edge of knowing.
Let’s Work Together
Where Nothingness Mediates Form.
Or alternately:
Beyond the Frame.
Beneath the Name.
Between the Breath.