From 2 to 7 November last year, the sixth edition of Share Festival toke place in Turin. The event proved, throughout the past years, to be a prolific source of inspiration and reflection on cutting edge media art and digital cultures' issues.
On their website, just after the welcome messages, it says: Gob Squad make performances, videos, installations and weird happenings, mixing performance, theater, film and real life. Apart from the huge variety of artistic practices mentioned, the focus rests immediately on the weird. The term, difficult to translate alludes to different meanings such as strange, eccentric or curious. Indeed, after having had the opportunity to take part in a work of the Anglo-German group, it becomes much easier to understand the reason for that adjective.
When the German artists Volker Morawe and Tilman Reiff were young they used to play games that deal with punishment in some ways. The most popular was probably Folter-Mau-Mau Tilma Reiff explains. A simple card game where the looser would be punished according to the cards that remains in his hand. We remembered the special tension that arose from the threat of possible punishment and the excitement that came with it. The relief if you came away unpunished. It simply adds a lot of feelings to the experience.
Vladimir Vladimirovič Majakovskij's works (1893-1930) contain traces of a new aesthetics. In some specific verses of his poems one can individuate the roots of a renewed conception of art and its relation with technique, serial production and reproducibility procedures. These matters have been immediately faced by the rising European and East-European design culture, expressed by heterogeneous experiences ranging from visual art, architecture, graphics, industry, in constant search of a balance between arts and trades, that played a key role in design.
A perfect candidate for this role is FORM + CODE, a book by Casey Reas, Chandler McWilliams and LUST, recently published by Princeton Architectural Press. Contents are clearly expressed through an historical overview on the code development in electronic art, and in some of its conceptual art natural language programming forerunners(based on instructions series set up not for the machines but for the public). The graphic layout is a well-kept and an inseparable part of the publishing project, including a selection of pieces of work and breathtaking images (at a very reasonable price, it must be said).
Maybe not everybody knows that Barcelona and Catalonia in general, more than everywhere else in Europe, is hosting a rich panorama of improvisers, forced to play a secondary role and work in very little amounts of time. Among them we chose to interview Ruth Barbern, for she is a clear example of musician with a academic education passed to research, and she is involved in the organization of little events and concerts contributing to enrich scenarios and ideas of local sound and music experimentation. We chose her because she is a woman, but it is better not to say it loud for she does not like discrimination, no matter if even good one, although she admits the need of filling a still existing gap.
The use of archive material is a tendency which has established itself in the last few years as a common practice in audiovisual contaminations. It is an ongoing search which paves the road to countless approaches to the work, as well as involving the individuality of the artist in the reprocessing of traces and memories in an imagination which is set on the present. With Cemetery (Archive Works), inaugurated on 28 October and ongoing until 14 January at the Marslleria in Milan, Carlos Casas steps onto this path at its edges, balancing between visual anthropology and rethinking images as a form of trans-cultural memory.
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.
In a world where communication is more and more rapid and pervasive, we constantly show a deficit of interpretative tools that allow us to really understand this complexity and to interact with it. Many of the institutions traditionally delegated to the production of such tools have gradually shown their inadequacy, crystallizing in purely aesthetic logics and marrying an idea of creativity as a gesture included in itself, which is born and consequently develops independently of the rest in a sort of perfect and pure emptiness.
This article offers an investigation into how drawing infra-spaces creatively reveals the unknown types of digital geometry that emerge from the algorithmic 'flows' of digital visualisation systems, and our perception of science, technology and visualisation is redefined. This is the first part of this two-part essay.
Scientists and communicators are more and more persuaded that divulgating science to the public and involving outsiders into it is a duty rather than a choice. In order to make science is necessary to use a various range of tools: from a pen and a sheet where to draw sketches, write notes and create mental maps, to the utilization of the most advanced technology. The sciences that more evidently and more closely concern the human body, such as genomics and neurosciences, are searching for more effective ways to communicate and involve people.
This article is the first part of an overview of digital art which took place in Finland, the second country in the world located further north, bordering with Norway, Sweden and Russia, and a quarter of whose surface area is located beyond the Arctic Circle.
The exhibition Passages. Travels in Hyperspace (16.10.2010 - 21.02.2011), clearly represents an attempt for the LABoral Centro de Arte y Creación industrial of Gijon, Asturias, to make a qualitative leap. It doesn't mean that previous exhibitions were less ambitious - the big events the center has been hosting, starting with the first productive effort (Feedback, 2007), have few equal in the world. Indeed, the Spanish center has been curated by the world best curators (from Christiane Paul to Steve Dietz and Susanne Jaschko) who have been able to create projects that could not be conceived anywhere else.
All at once, in the irregular Italian digital scenario, an interesting exhibition has appeared. It just ended on the 11th November 2010 in an unsuspectable location, Palazzo Medici Riccardi in Florence. Its title is Colorito: an interactive renaissance of colour, curated by Luca Farulli (Accademia delle Belle Arti, Venice), Andruid Kerne (Interface Ecology Lab/Texas A&M University) and Frank Nack (ISLA/University of Amsterdam) who proposed a mix of traditional names of digital art and young artists, linked by their interest for colour. This exhibition was organized for the first time in Italy the last 25-29th October 2010, during the ACM Multimedia 2010 international conference (the worldwide premier multimedia conference organized by the Association for Computing Machinery). The event was coordinated by Professor Alberto del Bimbo, University of Florence, and Professor Shih Fu Chang, Columbia University, New York.