DigiMag

numero72_A taste of Sonar 01

A Taste of Sonar. South Africa Deals with Avant Guard

Sonar of Barcelona, an International festival of Advanced Music and Multimedia Art, landed for its 19th Indaba Design edition (from 29th February to 4th March) in Cape Town, by using a completely new special format. In order to know more about that, we asked Georgia Taglietti, Head of the International Media Department of Avanced Music (the organization which, every year, arranges Sonar event), to describe this new partnership.
numero72_Transmediale Re 01

Transmediale Re:Source. A Partisan Report

I find it very telling that of all the panels offered at Transmediale I ended up attending most reSource talks and debates, and that the keywords and comments contained in my sparse notes were uncannily (and conveniently) connected with the key questions I had in mind when I arrived in Berlin on the frigid Saturday morning preceding the event
numero72_ Gabriel Shalom 01

Gabriel Shalom. At the Edge of Reality

Gabriel Shalom likes to describe himself as a "videomusician", or an audiovisual artist working on manipulation of moving images to reach a rhythmic composition
numero72_Detached from yourself 01

Detached from yourself. Therefore Under Control – Part 2

One peculiar aspect concerning the use of technology formulated by Japanese artists it is shown by the constant interplay between the oneiric (relating to dreams) and science-fiction alike worlds depicted both by Japanese and American novelists and the content and/or the technique deployed in the artworks. The fictional, technological-empowered and otherworldly novels are taken as a main reference in Electronic Art; or are it true the other way round?
numero72_Heat Bunting 01

Heath Bunting: Identity Bureau. Against Residual Self-Image

Identity Bureau was established by Heath Bunting to construct a custom-made physical person for the user, who would be able to function freely in society. The activities of the bureau extend also to instructions for other users to construct their own new identities. It undermines the habitual ways of climbing the social ladder and offers an alternative system to the dictate of there being a one and only "official" identity allocated to the individual by the state authorities.
numero72_Post Internet 01

Post Internet and Post Galleries. Conor Backman and The Reference Gallery

One of the founders of Reference Gallery, which could reasonably be called one of the best small-town galleries in the world, Conor Backman also happens to be a BFA student at Virginia Commonwealth University in Richmond, VA. Open since the fall of 2009, Reference has come to define the growing inertia in post-internet art with a constant flux between physical exhibitions, digital circulation, and distributed networks of attention.
numero72_Can Digital be art 01

Can Digital Be Art? Its Time For Analysis

Periodically, as it happens in all expressive art forms, we need to ask ourselves about where we come from and which our own shapes and contents are. All that goes also for the ever-changing field affected by New Media’s “hyper-speed”. For more than two decades I’ve been trying to trace the relationships between Digital Art and Video Art on the one hand, and those established between Digital and the most specific field of Contemporary Art, on the other.
numero72_ Virtuality 01

Virtuality. Aesthetic Experience and Curatorial Design

Vince Dziekan is an artist, art historian, and curator who has dedicated his research and practice to explore of the concept of “Virtuality”. Specifically, Dziekan has been working on the space (intended as exhibition space and the one where artworks can be enjoyed and experienced) and influence that new digital technologies have had on its transformation and organization.
numero72_Transmediale The Exhibition 01

Transmediale: The Exhibition. Uneasy energies in Technological Times

"Dark Drives. Uneasy Energies in Technological Times" curated by Jacob Lillemose, has largely complied with these resolutions, which I perceived as a pretty interesting purpose, and brave in their way, for a festival like the Transmediale, an event deeply rooted in the media culture, on an European and international level.