Isaac Mao has been called the ultimate Chinese digital guru, maintaining interests in commerce, electronic communication, and, increasingly, network politics. He is broadly labelled a venture capitalist, blogger, software architect, entrepreneur, and researcher in learning and social technology, dividing his time between research, social work, business, and technology.
What follows is a double-multiple interview with canecapovolto and malastrada.film (Alessandro Gagliardo) originally included in a special report by Rapporto Confidenziale on the art of the autonomous brotherhood named canecapovolto
When the video game industry in USA crashed in 1983 it was the beginning of the golden age for the Japanese videogames with companies as Nintendo and Sega. Top stars game designer as Shigeru Miyamoto, created during this period legendary videogames as Super Mario, Donkey Kong and The Legend of Zelda.
Dream Addictive is a collaborative project in the context of the relationship between art and technology, founded back in 2003 in Tijuana, Mexico by Carmen González and Leslie García, both with a solid background in the field of applied sciences, physical computing, visual programming and independent hardware production. These elements made them particularly sensitive to the development of artistic works in interaction design, highlighting the possible dialogue between the reality of the audience and the simulation provided by the machines.
Chris O'Shea is one of the most popular international graphic and interaction designer, based in London, whose work focuses on the possible interaction mechanisms between man and machine, as well as on the design of artistic works, often by dimension of play and irony, that bring into question our sense perceptions and common experiences of the outside world.
Amongst the several protagonists of that unique period, the MID Group, founded in 1964 in Milan by Antonio Barrese, Alfonso Grassi, Gianfranco Laminarca and Alberto Marangoni, whose activity came to an end in 1992, represented one of the most important groups of that wonderful period. It was the first in Italy to expand its field of research beyond the narrow disciplinary borders of art. It worked between technological research and educational intent and conceived visual communication as a language including the most various expression forms: film, graphics, environment, object, architecture, photography.
Let us randomly pick up two recent Italian events of digital art. In these days the group Alterazioni Video is presenting its last work, Violent Paintings, at the Galleria Fabio Paris in Brescia. It consists in a number of images found on the web, passed several times between the five members of the collective, each of them intervening on each image.
When aboarding the subject of interactive sound installation it is natural to turn to David Rokeby's work (1960, Tillsonburg, Ontario). If one thinks back to the line of research that was based upon the Sound Sculpture study in order to find a definition for Sound Art, knowledge of Rokeby's Very Nervous System (1986-1990) and his theory of harmonics of interaction' is fundamental for an understanding on the relationship between sound, movement, space and technology.
The little and typical town of Casté in La Spezia's countryside, within the municipality of Ricc del Golfo, after the Foce pass, counts 23 inhabitants (someone more during the summer) and was completely rebuilt and restored thanks to the European Union's funds. This summer the town has become scenario of a series of very particular initiatives divided into theatre, videos and music. It is a wonderful landscape in the Vara Valley with old houses made of squared stones and cement, 'piazoet" (i.e. balconies used to make products dry), and a single family-owned restaurant, which is difficult to abandon once sitting on the balcony with a great view on the valley rich of chestnut groves.
From the end of July to the beginning of August Instanbul hosted the third edition of Urban Mashup, a particular international workshop organized by URBz, i.e. an association acting above all in India but which was also able to create a deep net of international relationships. URBz promotes all over the world a review activity of cities and therefore their new planning aimed at valorize the interpretation of societies living there. The first edition took place in Tokyo in July 2009 and the second one in Mumbai in November 2009.
There's no time for warnings. That was the opening statement of 2010 Festival Ars Electronica edition:Repair - ready to pull the lifeline, which has focused on advocating, as only way of conserving humanity and natural environment, direct action, as well as repairing and planning of achievable solutions, instead of merely analyzing problems we are well familiar with since decades.
Annie Abrahams, born in the Netherlands, has been based in France since 1985. She holds a doctorate in biology from the University of Utrecht and is a graduate in fine arts from the Academie voor Beeldende Kunsten, Arnhem. Abrahams's work most often employs networking technologies: she produces networked performances, net.art pieces, collective writing projects, videos, as well as installations and performances in physical space. She started using technology for her artistic practice around 1991, and her first telepresence piece took place in 1996, in a gallery in Nijmegen, Holland.
The last years are witnessing the rise of a new phenomenon generally defined as Makers movement. Its pillar is the network grown around Make Magazine and Maker Faire. Make Magazine is a publication born in 2006 that connects a wide range of DIY projects related with technology. Makers Faire is a meeting held around the USA aiming at the connection of backyard inventors, artists and high-tech crafters. Behind this boom is O'Reilley Media, the publisher worldwide known for its software manuals and for the support to many initiatives related to technological innovation, social entrepreneurship and high-tech startups.
Talking about an event like Ars Electronica is far from easy, first of all due do its sheer size, Size about the multiplicity of possible activities (attending exhibitions, conferences, laboratories, performances, projections; resting and exchanging views at the meeting points; participating to a variety of parallel activities,), the creative sites whose boundaries fade one into another (video, cinema, dance, music, ininstallations, handcrafting, animation, sustainability, architecture, games, science, medicine, biology and the wide extension of spaces across which the festival is articulated.