Within a week the ferment of mobilization on climate ahead of the conference COP15 in Copenhagen for a year that stirred Europe, has infected Milan and Turin, and soon, Bologna and Rome. E 'was even coined a new word for the language of Dante and Mike Bongiorno: climattivista!
For loyal readers of this magazine, REFF is not new: this symbol perhaps resonates in their ears like an echo family and it is plausible that they may know some or all the story behind it. Me ripercorriamola together in his milestones (1). REFF going to RomaeuropaFakeFactory. REFF is the fake version of (almost) namesake Romaeuropa Web Factory, a competition launched in January 2009 by Telecom Romaeuropa Foundation to support digital creativity.
Art concepts and techniques should always be avant-garde, and serve as an approach to men's comprehension as well as an anticipation of what they will be and how they will behave. In light of that assumption, Stelarc, who is a pioneer of extreme performances and of performances helped by interactive robotic systems and virtual reality, represents without a doubt an important reference point for all those who want to deal with an artistic project which uses technology as a means of expression.
What relationship is there between digital art and cybernetic science? Surely more than one can imagine. The concept of the system, the research of process patterns, the importance of interconnections and the relationship between system and environment (be it a machine or living organism), the centrality of information, the phenomenon of retroaction and self-management, the importance of code, are the terms of cybernetic research, but it could also be said that this is true for the research of any artist who works with new technologies.
Once upon a time there was an internet site, an amount of web pages linked one another and housed in a clearly identifiable space which could be reached by a precise address. Once upon a time there was also the html - which later changed into xhtml - the language behind the hypertext system that can organize and make information intelligible, mainly in pictures and texts, of which web pages are composed. Yes, once upon a time.
How do we deal with broken promises? How can artists work to enhance agency among participant audiences who are anonymous, migratory and in transition? Can the museum become a space for Habermasian democratic dialogue under a state of exception? These are some of the questions that guided the project Emergencia - Agencia Emergente // Emergency - Emergent Agency by the Lui Velazquez collective, which was part of the Proyecto Cívico: Diálogos e Interrogantes (PCDI) public programming developed by Bill Kelly Jr. as part of the Proyecto Civico show curated by Lucia Sanroman and Ruth Estevez, at the Centro Cultural de Tijuana (CECUT) in the fall of 2008.
Future Places - Digital media and local cultures was held in Porto from the 13th to the 17th October. It is a festival, a meeting made up of a series of lectures and concerts, an exhibition, a place in which people congregate in order to discuss technology and creativity. It had two official sponsors: The University of Porto and the University of Austin, Texas.
They are the first days of October, and wearing the shirt with short sleeves and summer still clinging to his back, when you book, as an annual ritual, a short trip, destination, London, to see everything an art lover would ever see. Shows like rain: Miroslaw Balka, and the pure beauty of John Baldessari shine at the Tate Modern, a short distance Kusmirowski transforms the Barbican in a claustrophobic bunker.
The South African artist William Kentridge is one of the most renowned contemporary visual artists and proposes a poetic view on ancient taste where art and technique come together in the original value and significance of techné: the shows are based on his original filmed animations and recalls those theatres from the beginning of the century that experimented with the rudimental techniques of luminous animation (drawings on pieces of mobile glass, projected thanks to a Magic Lantern), promoting a primitive form of optical art.
Rocco Siffredi sounded the alarm: You Porn is killing the porn industry. A cry of starlets like Eve Laurence withdraws from the business main stream to provide its community of fans tailored services, without passing by production houses, in perfect style participatory pornography. The magazine Focus goes on sale with a dossier on MP3 players that are vibrators to the music, equipment wii remote to masturbate with your partner and kiss-phone prototype that simulates the kisses. The Orgasmatron in Woody Allen's comparison of all this affection. While waiting to be able to have fun with the wii with my favorite cam girl who sends me in 3D, take the technological revolution of sex very seriously and I do a tour in the Red Light District in Second Life.
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.
Eric Gunther, Justin Manor and John Rothenberg are three thirty-something ironic and ingenious, since 2003 the project Sosolimited youth group at the intersection of art and design specializing in the deployment of interactive installations, audiovisual performances, live remixes and immersive environments, all strictly based self-designing software and technologies and on a technical level / achieved very, very high. With a solid background in physics, computer science, architecture and music and a master's degree at MIT in Boston in the drawer, jumped to hit the crononaca (and the glory of international art) with a momentum that only a country like the United States' America could make practical and effective.
Almost Cinema celebrate this year its fourth birthday and also this year he accompanied the Film Festival of Gent, an exhibition organized by Eva de Groote, curator of the media area at the Center for Art and Culture Vooruit. As for the last editions (I visited and described it in a critical text published exactly one year ago on http://www.digicult.it/digimag/article.asp?id=1324) the exhibition is hosted in the wonderful art Nouveau rooms of the Vooruit center itself.
In 1956 Francoise Truffaut wrote how the film of tomorrow will be more personal than a novel and autobiographical like a confession or a secret diary (...). The cinema of the future will be an act of love. Trimpin: The Sound of Invention is exactly this: a pure act of love.
Artfutura has just turned 20 (a really venerable age for a festival on such a topic). It celebrated its birthday at the IMAGINA building in Barcelona.For people thinking they were going to miss the traditional Mercat de le Flors (in fact this would have surely been a more adequate location for it) it has in fact turned out to be amusing to attend this festival in the famous catch@22, the district of innovation which has been the subject of a series of debates, an area still gutted due to never-ending work-in-progress but already with a futuristic stamp.
The New American Cinema - NAC, represents one of the most meaningful artistic experience within the indipendent cinematography of the 60s, free from Hollywoodian empires and a mythopoetic all-engaging Star System. A group of directors - whose patroness and inspirer was Maya Deren - which included i.a. Jonas Mekas, Stan Brakhage and Michael Snow - began to meet at the margins of the official cinematography, deteriorating the visual monopoly of great producers. Through poor means which seemed to be a stylistic manifesto, they created a series of experimental films on the wave of the first vanguards, by then still half-asleep in the story of the audiovisual world.
I have been in Copenhagen for two months and I haven't seen anything yet: no museums nor exhibitions. It's not that Copenhagen is that big, nor that public transport is inefficient, we are talking about the extremely well-run capital of Denmark; the reason why is that I spend all my time at school. The Copenhagen Institute of Interaction Design (CIID) is a project recently set up by Simona Maschi and Heather Martin. In collaboration with the Danish Design school (DKDS), the CIID offers a year long, intensive master in Interaction Design to a very limited number of students. The educational activity is now in its second year and it is supported by a research laboratory and a consultancy which has contacts with private companies. The program has links with various companies which cooperate with the students and provide research briefs based on the reality of the market.
It is the talk of the moment. At meetings on the future of music (but also of publishing, cinema, television and visual arts) there is a prevailing topic: the search for new business models for creativity in the age of the digital dematerialization and world wide net; hence the meditation on the necessary changes both in the theoretical and practical approach to copyrights and reproduction