At nine o'clock on the morning of November 18th 2011, the lecture theatre of the European Design Institute of Milan was crammed with students. Eyes were on spectacular images; hands raised to book questions; ears pricked up to carefully listen every detail describing a rigorous, scientific and almost obsessive practice, but not less visionary. 'Lectio magistralis' by François Vogel, video-artist and French filmmaker, opened the exhibition dedicated to him during the XXI° Invideo Edition, entitled Shifting Distances (16-20 November), festival of 'video e cinema oltre' (video and cinema beyond), directed by Sandra Lischi and Romano Fattorossi.
Inscrivere in una cornice predefinita il lavoro poliedrico e in costante ridefinizione di Manuel Vason, appare un tentativo tanto arduo quanto fallimentare. Nei numerosi e diversificati progetti che questo giovane fotografo/performer può già vantare, ciò che si riscontra con evidenza soprattutto un impulso, una tensione comune, contemporaneamente multiforme ma definita, all'azione e alla riformulazione di s e del processo creativo, che porta dritta alla realizzazione dell'opera
Performance, concerti, laboratori, installazioni, ascolti guidati, proiezioni. Un'affascinante staffetta di eventi scandisce il calendario di Mntica, festival cesenate tenutosi dal 26 novembre al 4 dicembre, che anche nell'edizione 2011 - la quarta - ha conservato intatto il suo cromosoma sonico, rilevato per da un'angolazione diversa rispetto a quella adottata negli anni precedenti: l'istante che crea.
A first acquaintance of the works of Filippo Minelli leads us - through the images and visions that he is proposing - to the common denominator that brings them either close together or far from each other, though always making them interact with each other: the watershed word / silence, is a mode of examination chosen to explore and create, not to attribute a meaning to existence.
As we had seen in the first part of this essay, published on the last month issue - Digimag 69, the work of Toshio Iwai lies beneath two major worldviews: holism and reductionism; Allison on this regard writes: 'Whereas other scholars such as Max Weber argued that modernity brought rationalization, Benjamin thought that under the surface of rationality the urban-industrial world had become reenchanted on an unconscious level
With the upcoming edition in 2012, the festival will celebrate its 25th anniversary by introducing not only the new Artistic Director, Kristoffer Gansing, but also a new project called reSource for transmedial culture, developed and curated by Tatiana Bazzichelli. The theme of transmediale 2012 will be in/compatible, which in various ways will lead the visitors back in time to the very beginnings of the festival and will project her towards the future of our digital age.
How does contemporary art fail to provide unusual perspectives on the everyday characterized by an exponential growth in the production of any kind of images and videos? What is the boundary between a digital reality consisting of archives of huge size and daily life? What aesthetics is interesting to talk about in these digital native years? These are just some of the questions to which an answer was attempted in the exhibition Collect the WWWorld. The Artist as Archivist in the Internet Age, curated by Domenico Quaranta
Artisti e biologi lavorano fianco a fianco per tentare di dare una risposta concreta a problemi come l'impatto dei cambiamenti climatici sull'ecosistema, la salvaguardia della bio-diversit, la clonazione di esseri viventi. Temi che l'arte prende in carico, non pi rappresentandoli, ma proponendo soluzioni. Se la sopravvivenza dell'ecosistema globale una priorit non solo etica, l'artista, analizzando il nostro rapporto con la biosfera, vuole ricordarci l'intima connessione con essa e la necessit della sua tutela. Ne discutiamo con Piero Gilardi, direttore dell'Art Program del PAV di Torino.
This two-part essay offers an investigation of the 'depths' of the algorithmic workings of digital visualisation systems. The focal point of this study is digital 'memory', as explored in relation to the Algebras of Logic, the notions of process paradigm, pre-representational grids and emergence. In this way, the algorithmic unconscious' of digital visualisation technology - i.e. the inherent paradoxes and unknowns, the uncontrollable data flaws, the hidden inconsistencies, the exchanges and the potentialities of the system - is unveiled. New possibilities and ways of creating more than mere visual phenomena emerge
The light in Cairo is sandy and stratiform like the beige and grey nuances of its decadent buildings along each side of the wide streets, between bridges, underpasses, and railroads. The rays of sunshine penetrating the thin vapor surface bounce on the rusty air conditioners spotting the stochastic and implacable turmoil of the square, and intensify the amber nuance of the afternoon light
In times of economic, political and cultural crisis, with a succession of natural and man-made disasters, and real or evoked doomsday scenarios, how have we reacted? Did We take a clear position? Did We participate to violent riots or peaceful movements occupying our streets? And how did our cultural system behave?
A short guide to becoming-bat is a radio piece focusing on sounds produced by bats, some kind of FM-creatures, able to modulate a system of echoes and resonances that define a non-visual space, within which they fulfil their bodily functions. Immersed in complete darkness, bats build an undulatory space made of signals, of frequencies and amplitudes, 'a pulsating space that constantly changes, evolves, expands and contracts. Bats inhabit a radiophonic-world.
The exploration of this landscape is indeed what the exhibition Invisible Fields -Geographies of radio waves, proposes. Opened on 15th October 2011 at the Arts Santa Monica in Barcelona, it will run until the 4th March 2012. Curated by José Luis de Vicente and Honor Harger, from the digital culture agency Lighthouse (Brighton, UK), it has been realised in collaboration with the British Council, the Bureau du Québec in Barcelona / Le Conseil des Arts et des Lettres du Quebec, the LABoral Centro de Arte y Creacion Industrial of Gijón and the Blit-Centre d'Art Contemporani of Blit-Girona.
Last year from November 16th to November 26th took place the fifteenth edition of Festival CynetArt of Dresden, one of the most long-running and most famous European festivals, known in the field of digital art and its contamination with contemporary audiovisual methods