Our post-literary age, already fascinated by the ''liquid architecture in cyberspace'' (Marcos Novak), liquid identities and everyday liquid contacts between people, is focused on lightweight infrastructures in motion, the ''musical'' structures of light, sound and colours, the ability to transform visual arts into urbanism shows or the real need to sense the reality as a fluid network of individuals, art and technology.

I imagine The Liquid Room as a kind of metaphysical box where inner, outer and techno worlds are interconnected and interchangeable to build non-linear and non-aristotelian expressive forms of life&thinking &art. The liquid walls become the tools for the unification of codes (visual, verbal, soundly or kinetically) in our strange spiritual transition from the stability of things to the mobility of the images. The narration of such new forms is far of equilibrium, non-aristotelian and focused on jump, intuition and synthesis, on interactivity, integration and immersion.

The non-repeatable and continuously developing structures of The Liquid Room have the characteristics of a living entity who breathes new ways of communication, new realities and meanings. The Liquid Room is a metaphor for the non-separability, fluidity and transparency. A topos where the topological spaces and the functions live the eternal paradox of the plurality into unity, in order to avoid the vacuum of the evil (the evil is separation, many major thinkers asserted). The Liquid Room is an anti-separation unit, a true archetype for the genuine communication.

In our bizarre transition which stresses more on ontology than on gnosiology, the door is opened to a free, uncontrolled coexistence of multiple and temporary identities, like the identity changes of the mysterious neutrino particles. An age characterized by a very rich offer of interactivity will develop and encourage a liquid identity (its assembling node being replaced by fuzzy) for the people, who will be maybe more flexible to share their own self with the others.