Kenneth Goldsmith is an artist and poet, well known internationally for being the founding editor of UbuWeb - the largest digital archive of contemporary art. The last August released his new book "Wasting time on the internet", a manifesto that shows "how our time on the internet is not really wasted but is quite productive and creative as he puts the experience in its proper theoretical and philosophical context.
Marco Barotti is a contemporary artist and performer. Thanks to his collaborations with Plastique Fantastique and Asphalt Piloten, he joined the international art scene. His artworks are hybrid creation that involve architecture, design, sound and technology that interact with the space and the viewer, creating a total experience for the senses
Joseph Nechvatal is an American artist who operates in different fields, such as music and media art. He is not just an artist though, he is also a philosopher and professor, and published many texts. The most complete and organic one is Immersion into Noise, a book kept hidden in the philosophical and essayistic panorama.
Thirty years ago, well, thirty-one, to be more precise; “Big Science”, Laurie Anderson’s debut album, was published. If you want to talk in clichés, what doesn’t do justice to anybody, we could say that the American artist doesn’t need to be introduced: anyway, Lou Reed’s girlfriend, key player in various artistic scenes of the last decades, Laurie Anderson is a complex and an iconic personality, i.e., a child of the ‘80s.
The philosophical twentieth century was characterized by an explosion of science and scientific nature which highlighted an idea of progress and progression of the human thought and evolution as something which does not need further questions. The idea that functionality and applicability of a theory can be applied to praxis, which executes and finalizes such theory, comes full circle
Especially nowadays, noise is deeply-rooted in every individual. Being the unquestionable protagonist of our daily life brings two consequences: one is the development of a particular interest in noise as point of departure for different studies, and the other is the stratification of these studies and opinions. They overshadow the possibility of alternative readings and the rediscovery of the phenomenon with all its qualities.
Voice is our means of communication. Voices inform us about what it happens in the flat next to ours, in the streets or in the car. A weeping baby explains a need, the low pitch of a conference invites to listen carefully, the cries of Diamanda Galas take convey us all the pain she want to express. Different worlds of expression sharing the same common idea: they are expression of the voice.
Systems of interaction between acoustic and electronic music are the base on which the Twentieth century's musical performance developed and grew. It is possible to find live electronic, namely performative, tracks, since the very beginning of experimental-contemporary music. In some cases even some of the very early works of electronic music, as Maderna's Musica su due dimensioni (Music on two dimensions, 1958), are filed among the so-called live-electronic compositions, marking by using this term the performance aspect that used to conciliate the writing for an acoustic instrument with the magnetic tape during the live execution.
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.
The theme of space is a cornerstone in the philosophical investigation. It appeals to the world experienced by the subjects in terms of perceptual knowledge, the aim then is never the metrological and scientific analysis of change, but the attempt at clarification of the common sensitive comprehension of those data which the outside world offers to those who meet it.