It happens that in order to promote money saving for customers that have to transport huge industrial machines in fairs all over the world technologies are developed to create video representations that allow - ten years later - to work as director at the stereography in the medium-length film Il Volo, directed by Wenders (fist Italian stereoscopic fiction). I was told the unusual path of Italian stereography by Giampiero Piazza, funding father and director of Lilliwood, i.e. a company based in Bologna specialized in this kind of shooting. 'I began working in the field of industrial photography 38 years ago, by making graphic in a traditional way - says Piazza - but every time I came into new opportunities, I've always tried to follow the crest of the technological development'.
For inspiration among the narrow streets of Venice, James Johnson-Perkins, conceptual artist who teaches at Newcastle (UK), stopped to tell readers Digimag of his residence for artists in Venice, a few weeks of immersion in the suggestion of Venice, thanks to a scholarship from the Emily Harvey Foundation. The conversation with British video artist offers us some interesting ideas regarding possibilities for video-makers and artists in general Gigapan technology. Johnson-Perkins' recent experiments with this technology, all accompanied with a Pop sensibility, can reinvent the tradition of Renaissance Venetian views.
A couple of years ago Lev Manovich, famous guru of new media, was introducing the concept of Information Aesthetics, referring to the ways of visualizing emerging information and based on the creativity and alternative representations. On the basis of this concept, quantitive and qualitative data have become the main interest and desire of artists and designers, who have already begun to experiment new techniques and ways to generate shapes and fabulous software
Professor of New Media Art at the University of California, both artist and graphic designer, Lev Manovich does not need further presentation. His first book 'The language of New Media' (it came out in Italy in 2002 in the Olivares Edition) was one of the main reference points for many theorists, artists, communicators and designers, that were already well settled down in the 'new technology' sector. Ten years later, thanks to the digital diffusion, grammar was already consolidated in the capitalism era and Lev Manovich decided to analyze and study that which today is seen as our 'interface with the world'(1): software.
Annie Abrahams's show If Not You Not Me at the HTTP Gallery in London (12 February till 20 March 2010) was inspiring in its subtle, low-tech sensitivity of inter-connectedness. This was Abrahams's, a French-based pioneer in the field of networked performance, first solo show in the UK. Abrahams created three new works for the show. Documentation of several of her previous projects, including some of her most well known pieces such as One the Puppet of Other (2007) and The Big Kiss (2008), was also effectively displayed.
Along with this interview with Massimo Menichinelli, my second collaboration phase with Digicult begins. After being interviewing the leading live media artists during the past years , I believe I fairly cleared my mind up on what is going on in that field , and I hope to have also supplied at least narrowly i nteresting readings, to those who bothered reading me.
If it is true that since the beginning of this phenomenon numerous photographers and video makers, have tried to slow down the extinction of Writiing, it is also true that their tentatives were limited. This is probably what pushed Evan Roth to create a new method, which offered graffiti artists to archive and store their work and their tags.
The fact that music stimulates our emotional components and sounds guide our approach to the world is not new. Many have talked about and studied the effects on memory, on affective involuntary reactions and relationships that develop between the listening and stimuli pleasure.
Telling the other side of the story is the goal that Squatting Supermarkets is aiming at, an installation, a performance, a work of net art, some short stories (and one could use many more words to describe it), a coproduction FakePress / Art is Open Source, presented for the first time in November 2009 during the Piemonte Share Festival. It won the Special Project Award at this same festival and the Green Award for '0' impact technology of the Environmental Park in Turin.
They are called Rifiuti di Apparecchiature Elettriche ed Elettroniche (Electronic waste), the old home and industrial TV devices, cathode ray tubes, that after having been our analogical company for many years are now part of fossil age. And with the widespread of digital technology they are bound to occupy an even larger space in disposal plants. The collective KORF suggested in La Spezia, at the Centro di Arte Contemporanea during an ex position titled Arte Avanzata, the other side of recycling: TV is not (only) rubbish. This story will be told us by one of the collective's protagonists: Manuel Bozzo.
Watching a sound art installation requires a silent contemplation that allows to listen carefully. Sometimes it is not considered as something - as music is - going beyond the limits of a time-based expression. Many sound sculptures, as well as most visual art, have a linear sound structure (e.g. Clown Torture, one of the earliest videos by Bruce Nauman).
Jay Yan is a young artist based in Los Angeles who, after graduating from the UCLA's Design | Media Art department, in few years managed to have a discreet international reputation and impress one of the most influential chinese contemporary art collector in the world.
Architecture, according to Vitruvius, is the sum of three factors: utilitas, venustas and firmitas. Usefulness and beauty are for sure features that cannot be renounced in order not to cross the border into sculpture or into the simple and unfortunately rampant building industry. But what about permanence? Is it truly something that cannot be renounced ? Is it truly a must that an architectural work has necessarily to be solid and lasting over time ? When, on the contrary, a work is ephemeral, short-lived , transient cannot belong anymore to the domain of architecture ? And if the term 'ephemeral' rather than bearing the negative connotation of something fragile and subject to speculation, could instead carry a different meaning?
Closure moment is approaching for Digital Life,which opened in early March 2010 Pelanda activities in Rome. Recently restored, Pelanda is the part of the vast ex-slaughterhouse compound (the name itself refers to the room where animals were skinned)which in mid-February opened as space of cultural production. Wanted and organized by Zone Attive, a Roman cultural entity that has survived to Rome's political crossing from 'veltronian pax' to Alemanno's leadership in 2008, Pelanda space was inaugurated as a step further towards the recovery of the Mattatoio di Testaccio.