The Audiovisual Breakthrough is a book published by Ana Carvalho and Cornelia Lund, which addresses and explores the interdisciplinary nature of audiovisual production, trying to define terms such as visual music, expanded cinema, VJing and performance art. Written with the collaboration of artists and all those who work with the intersection of the various knowledge
Satellite stories is the title of the video program. It consists of eight different screenings, curated by Marcel Schwierin. A very successful aspect of Schwierin’s curatorial work was the capacity to transcend the division between language and distribution channels, by mixing works conceived for the net and works anchored to the cinema tradition, video art, and other performative and audiovisual works
Between 1972 and 1976, a venue on the ground floor in Via Riccasoli 22, in Firenze, acted as the main setting for one of the key moments that brought about the video art in Italy. At that very address, Maria Gloria Bicocchi and her husband Giancarlo founded art/tapes/22, the center for the moving video, which started in Florence, but then followed the couple as they were traveling to other residences, in Santa Teresa, near Follonica, and SantÃ¢â¬â¢Ippolito, in the Volterra countryside, reaching (complete with tapes and equipment) artistsÃ¢â¬â¢ studio, galleries and cultural centres in Italy and abroad.
Mobile A2K: Africa Interfaces Education Technology is focused on the relationship between technology and education in Africa, which programme includes three seminars organized by lettera27, a non-profit foundation from Milan, from 11th to 12th of September at Festivaletteratura 2010 in Mantua.
For more than a decade Scott Arford has been one of the reference names for art and music in relation to the new media in the Bay Area of San Francisco, and was awarded a Honorable Mention for Digital Music in the Prix Ars Electronica 2005.
Tony Oursler is one of the most internationally renowned multimedia artists, born in 1957 in New York City, where he lives and works. In the eighties he began to make short videos, and later he began to design installations where he set sound and video. Since the nineties the use of mannequins became a constant feature of his work, puppets and dolls were the stars of his installations.
Ape5 is an old digimag acquaintance that we were pleased to 'meet' in various moments during the past few years so that he could tell us about his videomaking and his VJing (Interview 'Ape5 and Miki Ry', by Bertram Niessen, Digimag 02), as well as his research as a producer with the netlabel Vidaux, that contains many of the more interesting names of the live media scene in Italy ('Vidaux, Netlabels for watching and listening', by Bertram Niessen, Digimag 08
Paolo Gioli is one of the reference Auteurs of Underground Italian Cinema. He has experimented in his research on images and vision, painting, photography and cinema, deconstructing and often inventing techniques, reproduction and shooting methods ex-novo. The 45th 'Mostra del Nuovo Cinema' (New Cinema Exhibition) in Pesaro, which is held between the 21 st and 29 th of June 2009, with a great homage dedicated to the Auteur with a film exhibition and a photographic exhibition, held in Palazzo Gradari in Pesaro, and the publication of a volume, curated by the Fondazione Centro Sperimentale di Cinematografia (Centre for Experimental Cinema Foundation), are among the most recent celebrations of his work.
The interview to Otolab is a result of the event that was organised on January 16 th by the O' Gallery of Milan, in collaboration with Marco Mancuso, Digicult curator. During that evening, some members of the Milanese collective (which has come at its eighth year of life) could meet, have talks and watched the national exclusive preview of some of their recent creations, such as 'Circo ipnotico'(Hypnotic circus) and 'Giardini ner" (Black Gardens)
With the title 'Cinema Beyond Cinema', the Multimedia section of Sonar 2008 wanted to offer a look on the different meanings that the word 'cinematographic' has taken on nowadays, in particular through the 'SonarMtica' exhibition with the title 'Future Past Cinema' and the 'Digital la Carte ' video interactive database.
Behind the scenes there is a cultural turmoil of anxiety, trouble, phone calls, institutional activism (which characterizes me and has involved me a lot) to obtain from the Ministry the already granted and then revoked authorization to Greenaway to elaborate his reading, animated with lights and sounds, of Leonardo da Vinci's Last Supper, exactly like he admirably did with Rembrandt's Night Watch and he is going to do with Picasso's Guernica.'
One of the most powerful characteristics of cinematographic language is to recall the imaginative mechanisms of dreams, to stimulate associations, to evoke atmospheres one can sink into, overcoming logic and letting images speak without using words.
The history of cinema and of visual arts is rich with moments in which visionary directors take their work into hybrid directions where physics, science, technology and music intersect. Chromatic futurist music, the abstract animations of people like Ruttman, Eggelin and Fischinger, the many visual music experiments of the beginning of the nineteenth century can be seen as the forerunners of contemporary forms of digital audio-visual interaction.
Martux_m aka Maurizio Martusciello, composer, musician and performer since more than 10 years, builds with his sound work and research an important interpenetration between traditional concrete and electro acoustic music and the synthesis of the digital electronic.
After a long desease, the film-maker, photographer craftsman-inventor Alberto Grifi left us this Sunday, on 22nd April. The definition of Grifi as the father of Italian underground cinema was useful to dismiss his case and turn his concept of deconstruction of the artist-director against him. At the same time it made his films cult objects though many never saw them, so that the memory of the collective experiences impressed on them could gradually wear out as their 30-year-old magnetic supports.
(Italiano) é in uscita per l'etichetta Minus Habens-Mixing Identities, la prima raccolta in forma di videoclip sul vj'ing italiano, nato dalla collaborazione tra VjCentral.it e la Fondazione Arezzo Wave.
The show managed by Richard Castelli called Sensi Sotto Sopra have been present at the Palladium in Rome since last 20 th October and included in the 2006 program of the Romaeuropa Festival. Through interactive and immersive works, Richard offered an experimentation of perceptive modalities with whom everyone rapports to art, movies and communications means, but also underline the distortion of the relationship work-spectator triggered by the use of digital, classic theme of the mix art-technology.
From the Twenties on authors coming from visual arts have started to manipulate the cinematographic language to snatch it to pure narration and reality reproduction: Eggeling, Ruttman, Léger, Picabia address their camera beyond the phenomenal reality, giving the cinema musical rules of rhythm and composition, experimenting the use of the film as material, made up of light and shade