From time immemorial the territory of the high Marca Treviso, in the arc Piedmont that goes from Piave to the springs of the Livenza, especially at the foot of the Cansiglio, has supported the local populations providing food, raw materials, firewood and much more, in a word: ” Wealth. ”  True, it was not “wealth” cheap: the price to pay was hard work and great labours, the result of which was often a miserable handful of food and goods scarcely sufficient for a lean survival, pursuing an ever precarious balance between human needs and the Claims of a land often stingy and only sometimes generous.  It would still be reductive to think that the simplicity of peasant or wooded work transcended from a wider vision: “Superior”. Even at these latitudes man has always tried to combine the work with the need for order, harmony and beauty. A constant action of shaping natural spaces to tear them to the wild and bend them to a fulfilling order not only on the utilitarian level but also on the aesthetic one. A diuturna struggle has stimulated the ingenuity and the resourcefulness of man to develop more and more complex production processes, moving to develop models of behavior always renewed, to try to reduce the fatigue by pushing up to invent new Work tools. In a nutshell to develop a culture that was based on the intelligent use of resources. “It is useful to the industry to conform” says a medieval saying. And our predecessors did not shirk this rule was a fluctuating, slow but unstoppable process that reached a reasonable balance in the interaction between man and the environment. Sometimes the solutions adopted Rasentavano the brilliance: – just think of the bench to build the hooves (Banca da Thocole) a brilliant tool that combines simplicity and functionality-. In the low Middle Ages we find the cultural roots of our people. The Serenissima Republic of Venice has made the Bosco del Cansiglio its own “rowing wood”. The skilful management of the forest has left a trace not only in the recently found and catalogued confinements, but above all in the * * * * * *. I regret to note that the osmotic interaction that for millennia behind harmonically to the man-earth relationship is today almost totally forgotten, not to say erased. But the Earth continues to be there, femininely open to welcome our instances and generously ready to continue to feed us and not just food; As long as we want to adapt to rivolgerglisi humbly to rediscover it and to enjoy it in new and innovative ways.  The utopia that we pursue in the art forest is to guide the new generations to a sort of agnizióne, a sudden recognition, that stimulates the rediscovery of a deep lived, assimilated through the living the territory and the contact with the survivors Of the ancient traditions, to find traces of those creative thrusts above. It is therefore up to us, modern residents of these territories, the problem of codifying and defining a new relationship with the natural environment that responds adequately to the changing needs of our time.  It is essential, primarily on the ethical and moral level, to remedy the arrogant presumption of being able to leave the earth without thinking of having to pay the high price that comes. We can not pretend for a long time not to see the hydrogeological degradation that relentlessly erodes and crumbles the land that trample, crumbling downstream roads and dwellings, forcing to pharaonic work of containment and restoration of which our old not They even imagined the need, always ready as they were to the daily and minute care of the Earth, tracing gavìn (drains), containing streams, piantumando slopes.  It therefore emerges that the need to define clearly the extent to which the preservation of traditions can or should prevail over the supposed contemporary necessities. As long as you continue to believe that the iterations described above are just a past to protect, rediscover and preserve, our work will be short-life.  The term tradition (from Lat. traditio-Onis, “delivery, Transmission”), in the meaning we want to understand, expresses its main meaning in “transmission in time of patterns of behaviour and norms of life”. What must be kept and transmitted are the models and the norms, in essence the lesson of the past, not so much the actions accomplished. In Reality, what we usually define as “traditions”, far from being mechanically transmitted from one generation to the other, often appear as the fruit of a selection, ex post, of the past and are the subject of continuous transformations if not even the Product of real ‘ inventions ‘, as supported by E. Hobsbawm and T. Ranger enlightening for the understanding of the knot of the problem is what Gustav Mahler said: “The tradition is to guard the fire, not to adore the Ashes”. At this point the most complex question remains, that of identifying the fire and what the Ashes are. Answering this question is the propulsion element from which the idea of the thematic park “The wood of art” springs. Before being a physical place the park is an “imago” in its Latin meaning (image, spirit, concept, vision, dream, appearance, Remembrance, reflection, comparison, allegory, hallucination); An abstraction in short, around which to elaborate and build assumptions and guidelines to redesign the approach of man with nature, tradition, art.