DIGICULT

Digital Art, Design & Culture

Founder & Editor-in-chief: Marco Mancuso

Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo

Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256

Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5)

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Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS

Monica Ponzini Florian Thalhofer And The Korsakow System ...... 3

Annamaria Monteverdi The Theatre Of Electronic Surveillance ...... 9

Maresa Lippolis Steal This Film 2: Share Alike ...... 12

Domenico Quaranta The Gate: Open Considerations – Part 1 ...... 17

Silvia Scaravaggi Vinz Beschi: Media Don’t Eat Children ...... 22

Claudia Moriniello Who Is Afraid Of The Dark? ...... 32

Bertram Niessen Quasi Objects Project By Lorenzo Oggiano ...... 36

Domenico Sciajno Duprass Duo, New Audiovisual Politics ...... 41

Luigi Pagliarini Polymorphic Intelligence: Part 1 ...... 47

Gigi Ghezzi Beijing, World Researches Politics ...... 52

Marco Mancuso Lab (au): Meta Design. Liquid Spaces And The Cities Of Tomorrow ...... 55 Giulia Simi Near Future Lab: Imagining A Possible Future ...... 67

Alessio Chierico The Sensitive State Of The World To The World ...... 77

Barbara Sansone Art Futura 2007: The Next Net ...... 85

Lucrezia Cippitelli Transitio Mx 02: Nomadic Frontiers ...... 90 Florian Thalhofer And The Korsakow System

Monica Ponzini

directions. The stories are fragmented and not necessarily coherent and are the basic model for Florian’s not linear narrative.

Starting from a clip, the programme isolates other so called SNU, smallest narrative units, among which the audience can choose, thus obtaining a different plot and so a different film each time. The classic screenplay is If Shakespeare considered the world a divided and the story, or rather the theatre, Florian Thalhofer believes the stories, are the result of a common world is a hyperlink system. That is contribution of both the author and how he represents it, film after film, the audience, a narrative stream shooting landscapes, stories and which moves through the Net. And it revelations which are “assembled” is actually the Internet which is not with his original software, the only a non-linear communication Korsakow System . model, but also the main distribution platform, where its evolution takes The result is a non-linear and place. An evolution which, according interactive film, where the audience to Florian, starts from a way of can decide the plot by selecting a thinking that is innate in our brain. series of links which are generated by a key word. The system was created in 2000 to make the film [korsakow We met Florian Thalhofer in New York syndrom] , dedicated to a before he started touring the USA for degenerative pathology of the brain his latest project, [1000Stories], which of alcohol addicts which destroys was developed on vlog and their short term memory and make installation at the same time. There he them unable to find space-time told us about his point of view .

3 linked to the next one), I had to change all the links. I thought that for the next project I had to work in a more clever way. So, when I started working on the video of the “Korsakow Syndrome” –I started here in New York , actually- I started shooting and developing the software at the same time. I created a system based on keywords, where it was easy . to have bits and pieces and if you took one out, it didn’t collapse. I didn’t Monica Ponzini: How did you conceive know anything about database and the Korsakow System?You define it “a keywords, for me it was just simple hyperlink system”, but it’s something very logical. I think that if really a new way of creating and you spend a couple of years working watching images . on computer-based stories, you just Florian Thalhofer: It was a bit of an follow some natural steps. accident. I was attending the Everyone thinks following a University in Berlin , studying design, Korsakow-like “scheme”, then we but I didn’t like it so much, so force our thoughts into linear whenever we had something to do, I thoughts and at a certain point we made a story out of it. I didn’t know believe that linear thoughts are the anything about filmmaking and real thoughts. They’re helpful, but I storytelling, I used the computer and think there’s a difference between it’s been very natural for me to what we call “thinking” and what we develop something like the Korsakow call “feeling”, we feel and we think, System, that’s very logical. The first but where is the difference? In both thing I made was an hyperlink story cases there’s some activity in your called “Small World”: I liked it, but brain, but I think that when you have a there was a problem with it, because thought you can put it into a linear it wasn’t very flexible, you couldn’t shape, when you have a feeling you change things. I forgot a very can’t. But with feelings you can still important story and I wanted to add solve problems, there’s something it, but because of the way “Small complex going on in your brain, but World” was structured (each story was you don’t know how to express it .

4 way of watching movies, read books, etc. I received an invitation for a “YouTube evening”, where people keep selecting the links that come up and project the videos connected to these links: it’s like a Korsakow experience. I’m sure that YouTube wasn’t aware that it was inventing a new way of storytelling, they just used keywords to structure a massive . amount of information. What happens is that small “Korsakow projects” grow Monica Ponzini: Working with this inside YouTube, and it would be method makes your filming different fantastic if they gave filmmakers the than a “normal” filmmaker? chance to use this system Korsakow Florian Thalhofer: When I started, I is a small YouTube in itself, only for a didn’t know anything about single author, or two . filmmaking, about linear storytelling. To me it’s hard to make a comparison, I never really directed a linear film. When I talk to filmmakers, I can see that they think very differently, the practice that you do when your work on something, forms the way you think, the way you see the world, and I think that Korsakow changed the way I see the world. And it’s not just

Korsakow, there are other things: . Internet, for example, changed the way a lot of people see relations Monica Ponzini: You talked about among things – not a linear, and the YouTube, dealing with a massive computer . amount of information. In general, we’re overwhelmed with information Monica Ponzini: Internet has changed that has to be processed through the way we get information, we databases. Database based experience artworks. How is going to communication will become essential, develop? just like we do now with the Internet, or will coexist with other forms? Florian Thalhofer: There will be a new

5 Florian Thalhofer: People will always audience, but I think that the people watch “classic” films, and this out there are much more intelligent distribution system will go on for the than the authors. It would be very next 50 years, but people will watch rude of me to tell them how to read things online as well. I make my work. Internet gives me the documentaries and Koerakow is the possibility to reach a lot of people: my perfect tool, I can’t think of anything projects are pretty small, but with the better than Korsakow to “see” things, Internet I can produce very cheap and to connect them and frame them, still be “out there”. I don’t watch understand them. A linear version of television any more, Internet is my them would be a lie. So, there will be source of information and I this new kind of storytelling that will communicate online. I have a lot of use the Internet, and the database is ideas on how to further develop like an engine that drives the car: Korsakow, I would like tostructure the people aren’t maybe ware that things program according to people’s are database based but there will be feedback, but I can’t do it yet. a lot of “cars”!

Monica Ponzini: Since there such a high level of interactivity, how do you think your audience experiences and “contributes” to your movies?

Florian Thalhofer: When I make my movies, at the beginning I don’t really think so much about the audience, I just want to learn something about the world. It’s very luxurious to be . able to make these kind of projects: I like to be in a shopping mall for a Monica Ponzini: Talking about the month and think about the world! Internet, a lot of young video artists When I’m done, it’s very interesting use the web as their main – if not sole- for me to see how people connect the distribution platform. What do you characters, and I use the strategies think about it? they use for the next project. I also Florian Thalhofer: I met a filmmaker believe that the audience is much who made three documentaries. The clever than I am, since they are so first two were distributed only on the many and I’m only one. And I have the Internet and the third was shown on feeling that TV underestimate its

6 TV. He mentioned to me only the first Korsakow System: how did you two and then after a while he said “ok, develop it? then there’s this third one”. It was the most successful, but a lot of people Florian Thalhofer: This project is the told him what to do and how to biggest project so far, with a budget change it in order to show it on TV of 12,000 Euros for two people. At the and it wasn’t his film any more. About moment, there’s a problem with the Internet, I like the fact that my Korsakow: it’s made with Direct, so it projects are so small and I have so runs on 70% of computers. For this much control over them, I can project, I’ll travel within the States and experiment and if things go wrong it another artist, Mark Simon will travel doesn’t matter, you can improve and within Germany . Our videos will be experience more freedom. Maybe uploaded on a website and then that will change in a couple of years, transferred to a Korsakow-based but at the moment it’s great. installation, so there will be a Korsakow project growing while we Monica Ponzini: Can you talk about will be on the road. I would like to your latest project [1000Stories]? It’s a have it online as well, but I couldn’t vlog, but it’s also transferred on the manage to do it, maybe next time.

7 basing on American culture and I think that’s a good thing. But why is American culture so important? In a way, I feel that I grew up experiencing the American culture myself, but I can’t understand this country. I’ve been to New York and Los Angeles , and there are people who are very similar to Europeans, but they all say ” New York is not America “. Where is . the real America then? It’s out there, somewhere, but nobody goes there. Monica Ponzini: Why did you decided Some came from there and they say to come to the United States ? it’ s terrible, but I don’t believe that it’s Florian Thalhofer: I was here two terrible, I want to see it, check it out! years ago, and I’ve been interested in So, here I am . the States for a long time: they’re the most influential culture in the world, http://thalhofer.com/ wherever you go, you can communicate with other people www.korsakow.com/

8 The Theatre Of Electronic Surveillance

Annamaria Monteverdi

design richly equipped with digital technology and wide screens. It is the producer which at the RomaEuropa Festival in 2003 showed the multi-, prize-winning movie Alladeen the non-fairy-tale of call centre operators in Bangalore , India , also winner of an Obie Award.

Supervision is the association’s latest output going on the first tour in UK , Does anyone remember Enemy of The Australia and US. It is composed of 3 State directed by Tony Scott and stories of privacy violation and starring Will Smith and Gene surveillance over free citizens, real- Hackman? The story deals with a man time monitored without their targeted by closed-circuit cameras, permission. Their lives are so open to radars, bugs, satellite indicators, high- everybody’s eyes that you can see sensitive microphones following each everything they do: from their of his movements. This movie as banking operation to each of their many others is concerned with travels in the country, from the pay important issues such as control, they bank to everyday shopping, as wire-tapping, data security and well as their encounters in monitored satellite espionage. Among them we public spaces. Mrs Marianne Weems must mention Francis Ford Coppola’s sets the scene for everyday data The Conversation,The End of violence piracy stories in a post-private era. by the German director Wenders and Here the stories are tied together with The listening, shut in 2006 by the the common issue of everyone’s own Italian director Giacomo Martelli. personal identity as branched, unmanageable information, no more Recently these issues has been bound to a body but travelling handled by a US group, The Builders through thousands processors in an Association. Its manager Marianne invisible data space. Weems specializes in theatre stage

9 tape, SIM, e-mails, net surfing, website attendance: the first filing of our personal life starts here, through target-software able to prise out our passwords, logins, ID, access codes.

.

They are people living in the ‘ white noise’ of the continuous remote connection, voyagers stuck at the border line because of surveillance systems criss-crossing strictly . confidential and personal pieces of information with those inside the Monitors, web bugs (a kind of invisible AIDC ( Automatic Identification and cookies set by ads companies to track Data Capture) . Mrs Weems can boast users, analyse their habitudes and sell the collaboration as dramatist and the information they got to other assistant for Elizabeth LeCompte and commercial societies), biometrical Richard Foreman’s production). She techniques, they all allow the gave these “data-bodies” and these identification of individuals thanks to immaterial “info-spheres” tangible RFID technology (Radio Frequency concreteness. She managed to do it Identification), i.e. the identification of creating a majestic architecture made specific body features through a of a wide screen, multiple real-time microchip tracking objects and screenings, computerized animations people. and a motion-capture system. Nowadays there are data collectors We usually get phone calls to our little as a seed of rice, so that they mobile number from companies not could be inserted under skin and hiding to know which is our phone make us become living locators. On network and how much we pay for this subject we can’t forget the huge our calls and being eager to offer us a US campaign for boycotting the better subscription. Credit cards, company Benetton after this latter personal ETC, cards with magnetic announced the introduction of TAG

10 RFID for clothes. The company technology and learn how to justified this introduction by saying it construct a own sound or visual MIY was due to logistics and new detector (in shape of a key case or marketing strategies (this strategy bracelet) in order to identify possible involved the undesired track not only TAGS. At last we speak about the of United Colours’ sweaters, but also Surveillance Camera Player: since 1996 of the buyers ). Among the artists they have realized a critical theatre working on surveillance systems we made of silent performances showing have to mention the Preemptive slogan-shields and actions in front of Media, a group of US media artists. surveillance monitors set in different Recently they got a new entry, Mrs cities. Their aim is to unveil and Beatriz De Costa, who has just left the denounce the presence social control. group Critical Art Ensemble. he group redacted a real, regularly upgraded, map published in the net. Moreover, the creation of a web I-see applicative let people calculate their own tracks avoiding the watchful eye of the monitor.

http://thebuildersassociation.org

www.superv.org/ .

www.critical-art.net/ In Zapped! they promote specific workshop to come in touch with RFID www.notbored.org/the-scp.html

11 Steal This Film 2: Share Alike

Maresa Lippolis

of pirate cinema (http://piratecinema.org) , a first version of the second part of Steal this film was showed at the end of October. The projection was closely related to the creation and production of the project

We decided to interview some of the representatives of the League of the noble peer , the name which was In the wake of the “diy-do it yourself” given to the production team of the attitude of Abbie Hoffman ‘s book, film. Steal this book (1970) , in 2006 a pretended group of filmakers who gathered under the name of “The league of the noble peer” , produced an interesting documentary film, Steal this film , showing how the present time’s pirates are causing trouble to the diffusion and production system of knowledge and information with their recreational and disenchanted habits.

The film has become and interesting . case of alternative distribution and circulation since it has been Maresa Lippolis: STF2 is incredibly downloaded by more than 2.500.000 different from the previous film. In people and than redistributed in the your first film you redefined the idea most important p2p European of pirate subjectivity by describing its community. recreational, fertile and vivid characteristic, while in your second In Berlin in the glorious headquarters film it seems you have tried to

12 legitimate it theoretically. Is it (caretaker) del processo di produzione because the film has been produced di un film, intendendo con questo la by channel 4 and thus showed to a sesibilita´e l’umilta´ con cui si different community which is affronta un lavoro di cura. Resta il probably less aware of the fatto che non rifaremo piu´un film mechanisms and ideas that are the con questa impostazione. background of author rights’ issue?

LNP: No non e´una questione legata alla produzione, lo abbiamo davvero scritto cosi´, e´stato cosi´che ce lo siamo immaginato. Il primo era un film pop, parlava direttamente alla comunita´ p2p. In questo secondo film abbiamo voluto rivolgerci esattamente alla stessa comunita´ ma chiedendole di fare un passo in piu´. C’é una definizione che usa . spesso Chomsky per le sue opere: le Maresa Lippolis: What kind of licence definisce manuali di autodifesa are you going to use to distribute your intellettuale, e´questo quello che film? abbiamo voluto costruire anche noi con STF2. Ci siamo resi conto del fatto LNP: Abbiamo noi il copyright, sia che ha una struttura poco aperta, “un perche´vogliamo che la gente lo rubi po´ autoritaria”, e infatti le stesse scaricandolo, sia perche´sappiamo persone che hanno visto STF1 ci hanno che questo film e´ in una posizione detto che questo gli e’ sembrato un complessa. Vogliamo mantenere la film educativo. In effetti in qualche possibilita´di negoziazione con il modo lo e’. Ovviamente questo sistema dei media che si sostiene e´dovuto anche al fatto che ci manca grazie alla pubblicita´. E´ una ancora un po´ di esperienza, non questione sottile, di sensibilita´. siamo filmakers anche se abbiamo Ovvio che chiunque potra´ scaricare deciso di fare film: l’idea e’ quella che e diffonderlo, ma vogliamo comunque un testo puo’ raggiungere 5000 riservarci la possibilita´ di dire “no tu persone, se va bene, mentre un film non puoi averlo”. Non volevamo raggiunge un numero molto piu´ nemmeno rilasciarlo sotto una licenza ampio di persone. Ad ogni modo non che descrivesse in maniera troppo siamo degli autori, ci consideriamo dettagliata cosa puo´ o non puo´ piuttosto dei badanti, dei custodi

13 essere fatto con questo film, perche´ Maresa Lippolis: And what kind of il termine legale non spiega channels are you going to use to completamente quelli che sono i distribute it? termini della relazione che si puo´ instaurare quando si attivano delle LNP: Che domande? anche questo riflessioni o delle pratiche come secondo film sara’ distribuito grazie a queste. Invece ci siamo immaginati un migliaia di download, tracker torrent e modo diverso, sperando di attivare il www. Sembra ovvio ma in realta´ una partecipazione e una relazione non e´assolutamente automatico: piu´complessa con chi guardera´il significa riuscire ad attivare delle film: abbiamo infatti pensato di relazioni che possano diventare renderemo disponibile il girato importanti per la distribuzione del attraverso un archivio basato sul nostro film; è questa la nostra software 0xdb (http://0xdb.org). strategia e in qualche modo questo Speriamo quindi che chi guardera’ significa anche fare una riflessione questo film possa passare da ruolo di sulla comunicazione e sul spettatore a quello di produttore. funzionamento dei media oggi.

14 economico accedere a dei materiali, di archivio o dei lavori altrui, ma allo stesso tempo devi investire tempo e soldi con degli avvocati, per capire cosa puoi o cosa assolutamente non puoi fare.

Abbiamo deciso di stabilire delle relazioni diverse con questo film. E la stessa cosa succedera’ per l’archivio

. che intendiamo costruire rendendo disponibile il girato. Parecchio Maresa Lippolis: In your film you materiale non e’ stato incluso nel repeatedly use the same materials as montaggio definitivo. Ci piace l’idea di well as parts of other artists’ films and renderlo comunque disponibile in un works. Though that is typical of archivio digitale, che sia fondato documentary cinema, in this case it sull’idea del pubblico dominio o della has a double meaning, which refers to gpl, per cui manterremo come vincolo the idea of plagiarizing al’uso del materiale quello che per le creative commons e l’attribuzione e LNP: No io non dire che si tratta di alla viralita’ della licenza (la clausola plagio, ma di citazione, nel senso che share alike). Ad ogni modo dovremo abbiamo chiesto a tutti il permesso prima sciogliere la questione con chi per usare quei materiali. Ad esempio ha rilasciato le interviste a noi c’é una relazione diretta con i direttamente, pensando di concedere Negativeland, e non abbiamo avuto a noi la possibilta’ dell’uso di quel alcun problema a chiedere una materiale. Anche qui una licenza o un versione ad alta qualita´del loro semplice contratto legale non puo’ lavoro per il film. Ad ogni modo non si ridurre i termini della relazione e dello tratta semplicemente di una scambio che si e’ instaurato durante la questione tecnica, e’ piu’ una produzione del film. questione etica e di sensibilita’. Specie se consideri il fatto che questo film e’ in parte il frutto della collaborazione con un canale di distribuzione mainstream, riteniamo che sia un po’ questo il prezzo da pagare. Si tratta in qualche modo di un paradosso, al giorno d’oggi e’ sempre piu’ facile ed

15 . e’ diventata una controversia reale che infligge la quotidianita’ della Maresa Lippolis: You are planning a stragrande maggiornaza delle persone third part of STF; there are some films comuni. Infatti il prossimo film non that start dealing with the same parlera’ di proprieta’ intellettuale, ma subjects. Why do you think this is di guerra e di come l’informazione happening right now? giochi un ruolo centrale nella nostra societa’. Non ci interessano piu’ di LNP: Ma davvero ci sono cosi’ tanti tanto le persone che mixano musica, film che raccontano quello che copiano o fanno gli artisti in Brasile. Il abiamo raccontato noi? Forse vuoi nostro film non raccontera’ nulla di dire che ci sono diversi film sullo tutto cio’. Andremo alla ricerca di stesso argomento, e questo e’ ovvio, storie quotidiane che incarnano le perche’ questo e’ davvero un contraddizioni innescate da brevetti, momento in cui il conflitto legato alla patenti e dai colossi che detengono circolazione delle informazioni e dei l’accesso ai flussi informativi. saperi e’ all’ordine del giorno, anche dal momento che non e’ piu’ semplicemente una controversia legale interna al diritto industriale ma www.stealthisfilm.com/

16 The Gate: Open Considerations – Part 1

Domenico Quaranta

far from being the definitive one. Yet a step forward has been made and many people have tried to go beyond the limit. But let start from the beginning

The backgrounds

I personally had to face a similar problem just once in my life. In December 2006 I was offered by Mr. The Gate (or Hole in Space , Reloaded Luigi PagliArini to take part to the ) is an installation realized for the Peam in Pescara , Italy . There I opening exhibition of the iMAL Center decided to show a phenomenon I was for Digital Cultures and Technology in following for a while: the performer Brussels (4 th -10 th October). Come Gazira Babeli, acting on the virtual up in Yves Bernhard‘s mind, manager stage of Second Life. It was the first of the iMAL Center , the installation physical time for Mrs Babeli and we was created to handle a only watched her with great interest. At apparently simple question: how to the end we chose to show 3 pictures build a bridge between real space and (a self-portrait and 2 pictures virtual worlds. The objective in mind representing 2 of her most meaningful was the enjoyment of virtual spaces performances) and the video- and the interaction with their documentation of other inhabitants in the physical space performances. Also the idea of a without the interaction of a graphic Gazira Babeli’s live performance interface. interested us, but we feared the final output. As all virtual words, Second The problem is not new and the Life lies upon conventions not for solution proposed – the showing in beginners, and we couldn’t take it for real space of a video-streaming from granted in the variety of audience the virtual world- showed more times attending the Festival. The visual not to work. The Gate has not solved aspect plays for sure a pivotal role, the problem and the found solution is but in a live video you loose the

17 prominent dimension of the making Mr Lucchetti her interpreter-. interaction, as well as the So, while the alien Gazira was fundamental aspects of production executing in a live show her best (the inside camera is directly performances (from Super Mario’s controlled by the user, what let him storms to the awful cans of Cambell’s have a global view of the world) and Soup), Mr Lucchetti was translating communication, most of the time by the chats into words and briefly telling chat. If you take away the public all what was happening. these aspects, you see on the screen an imperfect clip, without cuts, The cooperation was successful, but dialogues and captions. A limited use not completely. Despite Mr of a definitively more interesting Lucchetti’s ability, what was reality. happening in the screen remained distant from the public of the “Peam”, usually used to more direct and “sensorial” experiences. Unfortunately this distance was always present in all Second Life’s live performances, not allowing the quality to shine through the performance in act there. Moreover, if you take into consideration that Second Life is plenty of bugs and that time perception is by far more amplified . than in reality, you can easily understand how important the As Dante in his journey through Hell, problem is, as well as the right Purgatory and Paradise , we needed solution. our Virgil, a “human interface” showing us the way in a world where we don’t get the rules. As Mrs Gazira is used to say, Second Life is at the end a theatre stage: we had to bring the theatre inside reality.

To do it we asked the Italian-Spanish curator Lele Lucchetti for help – and of course Mrs Gazira who was a friend of him in another life, agreed with us for

18 . Second Life -by the way, in a couple of occasions the artists didn’t show to Waiting for it, Second Front is pay much attention to inside focussed on the Fluxus-Punk impact spectators-. Their performances have of its crazy performances, while other a stage in Second Life, but they don’t performers rely on the appeal of the look for audience there. In fact, the audio-visual effects of their exhibitions are conceived for the real interventions. As far as I know, only world, not for the avatar public. two people, Eva and Franco Mattes tried to solve the problem. I had the Troubles arise when you have the opportunity to follow their ambition to involve both the two performances on two projects ( Real kinds of audience . Life / Second Life) on the 8 th September 2007 in Linz, Austria, during the Ars Electronical Festival. The Mattes tried for a new way: the obsessive control of the “preproduction”. Their performances – re-enactments of famous performances of the Seventies from Vito Acconci to Marina Abramovic- take place in accurately prepared sets and are entirely codified in order to . avoid improvisation. Also production plays a major role. On this purpose The Gate : the planning there is an assistant who follows every single act for conveying the most I’ve got Mr. Yves e-mail in the last, impressive impact to the key- oppressive days of August. In short, moments of the performances. In she upgrades me about Imail’s next other words: the Mattes seem to solve opening and about a project she’d like the problems caused by virtual world to realise for the exposition, perhaps just erasing it. They are not concerned with my collaboration: ‘something in trying to make the screen appear as very simple, a ‘Junction Point’ a video, on the contrary they do between the 2 worlds, a floor surface anything to do it, as the live TVs do for in both worlds where real user and SL plays and operas. user can meet.’ The idea is interesting, though not original. It deals with the Is seems that it works both for the real construction of a mirror-stage in real public and the audience inside and virtual space, allowing open

19 happenings and various based on communication and communication experiments. I do find interaction between people and interesting to give birth to a avatars. To get our goal we rely on the performance stage, an installation symmetry of the two installations (a working as a “box” for a range of black carpet delimiting the action events spontaneously born by both area, shot by a camera set on the side sides. And I accept the collaboration. of the vertical screen, showing the other world). Beside delimiting the In the following days, in collaboration area, the carpet is useful to create a with Mr. Yves and Mr. Yannick Antoine theatre space accessible to , the The Gate‘s irreplaceable everybody, welcoming as a break- architect, we define some details dance stage. We want to avoid the regarding concepts and design. The fear for the stage and on the contrary most immediate cultural reference are promote improvisation, Second Life’s the holes in space and time among soul: spontaneous theatricals. the classic science fiction parallel universes; the aesthetical reference is the colossal 2001 – A Space Odyssey , appreciated for its prominent minimalism. The artistic one that is also present in the title is Kit Galloway and Sherrie Rabinowitz ‘s memorable satellite performance realized in 1980 and entitled Hole in Space. It was composed of the installation of two mega-screens in two squares in NY and Los Angeles , connected by . satellite and respectively broadcasting Of course the place where to install what was happing in front of the The Gate in Second Life is other screen. The unannounced event fundamental. No doubt, to me: had produced at the time an because of the community it increasing interest, from the first gathered, the quality of the cultural curiosity of passers-by to the next and offer, the particular attention paid to also spectacular interaction attempts the performance aspect and freedom between the two groups of of action I do think the right place is spectators. As in that memorable Odyssey. We speak about with Sugar occasion, we do want the space Seville, curator for Odyssey, who loves beneath the screen to become the this proposal. We also think of place for improvised performances,

20 involving the famous collective sadomasochistic sense. Second Front for the opening exhibition on the 4 th October a choice that is by far the right one./the www.imal.org/ best one.

http://odysseyart.ning.com/ Second Front chooses to install, in front of The Gate and consequently www.gazirababeli.com/ of the camera eye, a reconstruction of the universally known Auguste www.artificialia.com/peam2006/ Rodin’s The Gates of Hell (1900). The performance consists of a kind of www.0100101110101101.org/home/perf mime where the group, entirely ormances/index.html naked, blend with Mr Rodin’s plastic http://slfront.blogspot.com/ statues of, taking the same magnificent postures. In reality these www.ecafe.com/getty/table.html poses suit with the erotic animations of Second Life, in a definitively www.domenicoquaranta.net/blog/

21 Vinz Beschi: Media Don’t Eat Children

Silvia Scaravaggi

one, I thought that if I’d knew them before, I would have surely enjoyed better and earlier all the advantages the media world brings with it and will incontestably bring. It is not the right place to dissert about this, least of all my intention is a generalist speech. I want to talk about a conscious use of the electronic and digital instruments and I want to explain historical and

I casually discovered the media, theoretical knowledge of the novelty digital, A/V world at school, actually the creative artists and students took during my first year of university. from them, for everybody. It’s just one Before that moment, I didn’t even of the valid reason that can make know its meaning. I watched people understand new media are an television, I went to cinema, I looked effective instrument through which to music videos, I wrote emails, and I look and interpret the world. For this, listened to music on CDs without an and many other motivations, near education about that. I never learned history, philosophy, mathematics and to understand the mechanism behind literature, children – who were born and inside the instruments I used, and live in a world plenty of media – their history. And I didn’t even know can understand and learn how to use anything about their evolutions and them in a conscious manner. implications for the future I found a good, rare, almost unique Often, when I was young, I listened to case in Italy to talk about those voices against a technological and arguments, through a concrete technical development, negative experience that encouraged a critical thoughts about the use of new media, look as well towards a certain “art about the relation new generations didactics”, which nears children – and could set with them. Anyway, the first often adults as well – to the time I critically faced the analogical contemporary creative world, to electronic world, and then the digital contemporary art and new media;

22 which, even if born in our time to tell me your first experiences in this therefore similar to our way of area, how did you get from your thinking, it is often alien and Conservatory diploma to your A/V constantly needs explanations, as communication? excluded by lots of cultural “popular” ambits such as schools, museums, Vinz Beschi: I remember with pleasure cinemas, television . to the emotions I felt when, young, I assisted to the home projection of the familiar videos recorded in 8mm. And I remember how my attention focused on the unshaped spots that appeared on the screen, provoked by dust between the film and the projector light. They seemed little animals born by the magic of the projection that moved sometime slow sometime jerky until the point they disappear after being crossed the . entire screen. And then the sound, the sound of that wonderful Bolex Paillard Vinz Beschi is an exemplar model to projector that is now exposed in my face those themes. He’s born in studio. The sound perfectly matched Brescia in ’58, graduated at the with those spots movements. Brescia Conservatory and at the Istituto d’Arte of Guidizzolo, Avisco I think my A/V passion was born from expert in A/V communication and those projections. The conservatory applied arts, with particular attentions studies matched with the art institute to the relation between sound, gave life to the desire of discovering images and infant world. As he how the invisible part of shots, sounds underlines in his curriculum, “he’s could relate with the visible part, the connected to the childhood world images. At the age of 20, I was offered He’s convinced that searching in the the occasion to teach music A/V universe moments of free education at the Mompiano expression together with children and Audiofonetica school. The direct kids is a way to create “non-art” out of contact with boys and girls with the rigid and competitive structures auditory problems, who saw images schemes ” without hearing the correspondent sound, brought me to create new Silvia Scaravaggi: Vinz, would you like paths of audio/video education

23 starting from the point that their way sound and images is a substantial to perceive images was only in aspect of your work, but another silence. Silence is still now protagonist fundamental theme I would like to of my “audiovisual” research. explore is the relation between children in your laboratories and the In the music room I had a transparent video medium. A key example is – in box, hermetically closed. Inside the my opinion – “Di tutti i colori”, 14 box, a phrase: “This box of transparent minutes video results of a creative glass contains the silence, precious as laboratory with children from PInAC a secret, fragile or tough as every of Rezzato (Brescia ). Can you tell me indefinable essence. Outside, far in something about this “Videoattivo” space and time, noises, sound experience? aggression, talking masses, acoustic universe, violent screams of the Vinz Beschi: Videoattivo experience is excluded”. born by the meeting with Elena Pasetti, director of the PInAC that understood the potentialities of the project and involved me with enthusiasm in this research. An experience that invites to explore and discover new meanings, new “beauties” and colors and aspects in the most banal reality of the objects we use everyday. Practically, a direction exercise of the look. In a television position that provided the . diversification of the point of view, Silvia Scaravaggi: Your video work children realized “live” visual events particularly insists on the relation through composing games obtained between image and sound, for by manipulation of liquid and plastic example “Strip Melody”, homage to materials. The television medium, Cathy Berberian that, more than thanks to the closed circuit, turned numerous prizes, will be presented into a fantastic prosthesis to see in a the 23 rd November during next different manner, a “machine to see” Cinematics Festival in Brussels , in the and invent the reality. author video contest organized by After many years of Videoattivo, this Claudia D’Alonzo for Digicult. Without one has been one of the most any doubt, the relation between complete and gratifying whom result

24 is the product of several elements in . harmony between each other, particularly the sustain, indications It’s been wonderful to see children to and suggestions of Elena Pasetti, who flash up, enjoy, be surprised, excite strongly trusted this experience and and rejoice in front of a big TV screen the spaces of the PInAC, a little pix in which images were the result of where children and adults felt their own expressive research/action. comfortable, free to try, hazard and They’re ability in involving me and manipulate following their artistic transmitting emotions has been instinct. From this experience, the touching. I’ve been more than once video “Di tutti i colori” took shape. It’s surprised by what was going on in the a documentary about the childish screen, and so were they. The screen creativity that highlights a path of slowly lost its technical connotation artistic-expressive action/research and turned into a big canvas. An through which we experimented, with electronic canvas on which images thirty five-year-old children, the from all the materials let something possibilities conceived to the childish comes out: signs, nets, and visions of elaboration by the television system a world to invent and discover. as well as the expressive The camera didn’t let anything go opportunities offered by the away. Hours and hours of images sensitive-perceptive experience recorded on digital film. What could mediated by the specific television we do with all that material? The idea medium. Images seem to be random, was to create a little diary to live again due to the game, but they’re actually under a different form all the caused by curiosity, amusement and sensations, emotions and surprises invention of who’s manipulating the felt during the direct and active objects in the game. sono il frutto experience. This is how the film was della curiosità, del divertimento e born. A film where you can see all the dell’inventiva di chi manipola gli colors, through an operation of cut oggetti con il gioco. and paste that transformed the material into something unrecognizable, through transparencies and special effects common in TV, but everything is actually flour, foam, toothpaste, honey .

25 Elena Pasetti: PInAC is a civic institution, who goes by the borders of its territory and who’s occupied to concretely decline the local minds in a home-museum with children drawings who has the world as border. Unique in its genre, it keeps a collection signed by the international character, tells emotions, feelings, thoughts and hopes for thousands of . children. Its activity provides different actions. Collect expressive works The visual track became the stimulus realized by children in collaboration to search for sounds, noises that with schools and associations through real, unusual, rhythmic, interested in the spreading of the melodic synch could give new visual culture produced by the meaning to images, a new rhythm to childhood and its creativity sequences. A sound that often gave expression. It builds formative offers depth and concreteness to live to teachers and tutors in the ambit of emotions. The video closes with the intercultural and aesthetic education; image of a child with the hands inside it promotes and organizes meetings a pot plenty of tomato sauce, who’s and ateliers for parents, educator and smiling observing alternately its hands curious adults. and the fantastic image reproduced on the canvas. A smile, an expression, The PInAC house has opened doors a look but most of all a pure joy in and windows. Starting from children, front of this little “art miracle” that Rezzato is in relation with all their deeply involves and moves the rights. The right to creativity and spectator. expressivity, to start with children’s, but also the fundamental right for Silvia Scaravaggi: This type of unique everyone to beauty. The commitment work, and exceptional also in Europe, in working to cultivate expressivity is possible thanks to the presence of and guarantee a creative life confirms PInAC, the Pinacoteca Internazionale the right to a dignified life. To draw, dell’età evolutiva “Aldo Cibaldi” of the you need pencils and colors, you need Comune Rezzato ( Brescia ). Following water and peace. In PInAC DNA Elena Pasetti, director of the PInAC, there’s the vow to guarantee to all what is the meaning and importance citizens the right to a pacific and calm of this kind of reality in Italy ? life, to instruction and healthy.

26 and actions that seem empty of meaning, as ripping a paper sheet, turning a jar of tomato sauce or pronouncing an insignificant word, trying to collectively taste forms, lines, sounds, silences and colors, I think those are the moments when the meaning of the word art take shape.

Where does anyway art start and

. ordinary gesture finish? How I would like to know it I think it is found not in Silvia Scaravaggi: With your work, the research of new realities, rather in children are into art and most of all new manner to relate with the into the audio-video medium. How do existent. I think involving kids in you get to this? How do you insert restrained experiences, lived with the your work in the world of “art senses through the camera eye and didactic”? hear, means keeping in mind the influence the audio-video area plays Vinz Beschi: I make a citation from on the identity formation and the Jean Dubuffet: “Art never sleeps in developing of creative and aesthetic beds prepared for her. She runs away abilities, such as personal strategies to as her name is pronounced, she loves interact with others and the reality the unknown. Her best moments are around us. when she forgets her name”. It is not easy nowadays to involve children into art paths, because of the indefinable state of art. I like thinking at the word “art” as close to the word “limb” (N.T.T.: in Italian limb is written “arto”). Limb as hand; limb as eye and hear Limb as video camera. I think participating with a group of children where together you near things, materials, objects in a different and unusual manner is an art that finds its . existence not in the result but in the collective itself. When children Silvia Scaravaggi: PInAC is an intensively stop on everyday gestures extraordinary reality that allows the

27 work with children together with children relate with TV, trying to find electronic media In my opinion, this path to tell thoughts, experiences and means being conscious and assuming desires. the responsibility of making children approach a type of society that is Among all the experiences, “Dentro il soaked with media. Is this a way to video, oltre la TV ” is a particularly make people conscious of electronic significant one. It’s a project that and digital media since they are proposes the dismantle of television, children, and teaching how to making children talk with the TV understand it and use it in a creative language through a theoric-operative and personal manner, without being path that wants to leave, through overwhelmed by them? games and expressive activities, huge space to imagination and creativity. In Vinz Beschi: For sure. The relation the audiovisual laboratory, children children-TV has been object of many have the occasion to live all these books written by psychologists, opportunities experimenting the sociologists and educators. Some of expressive-creative potentialities of them say it’s wrong; some of them say the video technique, exploring with it’s ok; some of them stay in the the eye, hands and heart, games and middle, saying children only have to situations that become electronic have small quantities of it. Far from images, substantially television. demonizing TV or praising its qualities, I think it is necessary schools and all Starting a production path means do other educational spaces instruct not follow a linear and regular path, children to watch and live TV. which can be described with a diagram in all its passage, but The creative/expressive activity of the activating a conceptual process of “electronic brushes” research of the experimental origin, with the great PInAC puts side by side a series of ambition to explain how the mind experiences inside the Avisco of works. Brescia, cultural and professional association that promotes research activities, formations, updates on audiovisual languages. It’s been twenty years since Avisco has been helping children to see and use things (the world), representing them with the immediate perceptive languages, as images and sounds. It made

28 . you tell me something about it?

Silvia Scaravaggi: What type of Vinz Beschi: “Carta Bianca” is born collaborations do you establish in this from a laboratory experience who sector? Which are, in your opinion, in involved an heterogeneous group of Italy , the most sensitive realities boys and girls from 12 to 15 years old, about those themes? coming from the junior school of Rezzato . As all my laboratories, this Vinz Beschi: More than PInAC, where I one started with silence inside and have the possibility to invent outside. Silence as the white space of particularly creative research paths, I a canvas ready to receive brushes on collaborate to audiovisual projects in it. Silence ready to be interrupted, many school institutes, from pierced by visual/sound brush kindergarten to university. Moreover, I strokes. Can silence be a white paper? collaborate with public and private Can we break, upset, pierce and rip institutions that care about media silence with a white paper? How? education. As Avisco, there are many others realities that worry about those themes and that all refers to CIAS. I would like to mention the Cineteca Municipale of Bologna, with the “Schermi e lavagne” program; the city of Turin, Divisione Servizi Educativi, with the historical laboratories “Immagine di via Millelire” and “Immagine2″; the GET – image didactic and Cinema Academy of Bari; Multimagine of Bergamo; the . Biennale of Cinema in Pisa; the Venice Kids have been invited to try all the municipality – services of educative possibilities offered by a paper sheet. projectation A chaotic, almost uncontrollable Silvia Scaravaggi: Is your last video situation was born, where everybody “White paper”, who’s been selected let loose, producing intense actions and will be presented during the next and noises. edition of INVIDEO – International Once this irrepressible impulse to exhibition of video and cinema – in destroy and provoke, we observed the Milan from 7 th to 11 th November ’07, panorama composed by shreds and, the result of a work with children? Can going back to silence, we collected

29 everything into bags till the point of . making the space free again. Some moments of silence again. Now, it’s The laboratory experience has been up to the eyes and hears of the lived in an intense atmosphere and camera to explore the white paper the emotional involving made and capture the experimented action. provoking and overconfident adolescents be transported by the Everyone chose its own visual and idea of playing with a white paper. sound gesture and realized it in front They showed a deep gesture: the of the cameras, while 2 other guys hands of a participant that almost were cameraman and clapperboard- finished its action close the execution man. as an orchestra director ends a slow time. A simple rip in the paper can “Carta Bianca” is the story of a paper represent the laceration, the division, sheet, without sense but plenty of the rupture or a slow agony. The “senses”, where at the beginning the paper and gesture around it can result was undefined, where nothing represent joys and pains. is told, maybe just little histories: without an opening, without an end. And also an homage to Lucio Stories developed around silence, Fontanta his cuts, his holes “Carta breath, hearing, chaos and action. Bianca” will be presented, after Sounds and images that follow a INVIDEO, the 1 st December inside the never established order that surfaces “20es Les instants video” in France , the causality. “Carta Bianca” has been inside the section “Vidéo ponctuée de an active, concrete, sensual poésie”. experience, in which participants have been thrown without fear, surprised by their own results, pleasantly www.vinzbeschi.it transported by images and sounds, by their gestures on a white paper. www.pinac.it

30 31 Who Is Afraid Of The Dark?

Claudia Moriniello

place in Palermo, and not by chance on the occasion of a performance- concert for four channels “surround sound”. The audience floats immersed in the deepest and absolute dark, so as to amplify their sense perception which involves not only music but also the a-dimensional atmosphere created to obtain a deeper involvement.

Composer, performer and sound This completes in a certain sense the installer, John Duncan is a rare interview Silvia Bianchi made for example of those artists who have Digimag some time ago ( always been totally engrossed in http://www.digicult.it/digimag/articl existential research and for more than e.asp?id=717 ) in order to deeply twenty years has been a pivotal figure understand the incredible artistic for radical experimentation. universe of the American artist John Duncan (who was born in 1953 in His long and varied career, Wichita, Kansas, but has been living in characterized by electroacustic Italy for a couple of years). He grew up intensity and performative art events, with the performing art and studied goes through the results of his with Allan Kaprow, later focusing on rigorous researches in the most extreme realities such as that of different topics and settings (arcane, pornography. In his record production metaphysical, transgressive). we find relations with science and Duncan creates his work as an energy energy; the artist breaks the matter to catalyst, and through his work he tries reveal its structure, to analyze the and encourage the audience to character of its elements and find the participate in the process of research essence of the substance itself, and self-discovery. This interview took privileging the work on short waves.

32 Claudia Moriniello: So, what is that is left for you only and kept inside you?

John Duncan: My mistakes…

.

Claudia Moriniello: You are an eclectic artist and by ranging from sound to videos and artistic performances you are one of the few left who is . immersed in existential research. Claudia Moriniello: If we consider What are the fields of your artistic creation an inner urge that researches? screams because it wants to show, John Duncan: I’m very interested in what happen once it is born? existance, in all its forms, in terms of John Duncan: In my experience, it being alive. For this reason I push the comes from outside. From where limits forward, to catch what is exactly, is a part of the reasearch, I unconscius and latent in all of us. really don’t know. In any case, it Claudia Moriniello: Both your developes its existence indipendently electroacustic work and your by me. As all of us, it has its own bad performances show a transgressive and beautiful aspects, sometimes in and mysterious personality which is extremis … never wholly revealed. What’s the Claudia Moriniello: In your hands border between what you express sound becomes physical and real and and the part you do not because it is the body is attacked and hit. Through private? the perception of sounds the senses John Duncan: No, that empy space, drift until they become flat and liquid; that not expressed part of my soul, is then they disappear by evaporating. not a limit. Moreover, I learned to use The bdy empties, disappears, my soul as a gnerative power and as becomes air. From physics to material metaphysics: are they really so close?

33 John Duncan: I don’t know. Everyone John Duncan: First of all, it becomes lives his own existence, according to the creative process for the other. My the listener, to his serendipity, his process and my role work only as a behaviour, his freedom and limits. unique energies catalist

Claudia Moriniello: So your work is a channel, a means to reach a higher, detached, free condition…

John Duncan: This is the intention, to supply and to be an instrument.

.

Claudia Moriniello: Your works have often a subtle, desecrating and provocative theatrical component. You always drag your audience into a sense vortex and often you involve them physically too. Why? .

John Duncan: To meet me on the half Claudia Moriniello: It often happens of the creative process. Every time the that you push the user to a sense audience have to decide to accept or overexposure through light or sound. not the rules to be part of the creative Are those the means or the goal? process, as entering in a completely John Duncan: The means dark room totally naked, this decision become part of the process and of the Claudia Moriniello: What does the art. IF you decide to accept, art and word “synergy” remind you? experience continue and develope. If you don’t accept, that decision John Duncan: Parallel universes! reflects a personal limit, but it is art as well. Claudia Moriniello: What is darkness for you? Is it a dimension, a condition, Claudia Moriniello: So the other has in or what else? any case an important role in your creative process? John Duncan: It is the lack of

34 continuous distraction, a rare luxury, . like the silnce after a noises overload. Claudia Moriniello: What do you expect or what would you wish to receive from those who come and see your performances and/or concerts?

John Duncan: Attention, with an open mind. If my works deserve it…

www.johnduncan.org/

35 Quasi Objects Project By Lorenzo Oggiano

Bertram Niessen

theory reflexivity out of common. Good lecture.

Some times writing a Digimag article is a little nightmare. No one of your contacts answers, the issue date gets . closer and Marco Mancuso rightly starts asking for some material. Bertram Niessen: First of all, can you say something about yourself, about his interview is one of the rare cases your personal and artistic travel and where the article appears from how did you get into the work you’re nothing. I met Lorenzo Oggiano developing during those years? during an inauguration, and I didn’t link his name with anything specific. Lorenzo Oggiano: Happy childhood, Once visited his website I though unquiet adolescence in Vicenza. The made the puzzle of name and face time spent in Bologna was with the extremely fascinating determining. I lived there from the ’86 “Quasi-Objects” projects, that I to the ’97, divided between the already had the opportunity to see. freelance graphic activity and the Hypnotic mutation of micro entities, usual frequenter of self-managed laboratory flavor and contrast liquid spaces. I graduated at the visual arts smell. Well I couldn’t miss the DAMS, with a thesis about the occasion. More than the meeting with relationships between contemporary one of the few Italian experimenters art and new technologies that that cleverly and consciously use the occupied with enthusiasm lots of my 3D, I had a fine chat with an artist with time. From the late ’97, I moved to

36 Sardinia where I found the right the contemporary artistic dimension, necessary to bring on my experimentation. Art developed, with research. a more and more accelerated rhythm from the middle 19 th century, an Bertram Niessen: Where does your important role of fascination for bio-technological connection/articulation between hybrids started? It’s an argument reality plans often too much that’s more and more spreading inside separated, contributing to open the contemporary art. I think about body to the outside, founding it with projects such as Res-qualia, that you the environment, de-naturalizing, de- collaborated in, but also projects by structuring, turning it into something Adam Brandejs, Oron Catts and Ionat “philosophically available” to Zurr. What do you think about the integration, recombination, international panorama? projection.

Lorenzo Oggiano: Well, there’s lot of artists with different methodologies and vision interested to themes interconnected to the relationship between corporeity and technologies, and the database of Res-qualia represent an excellent platform to start for those willing to experiment in this ambit. Whilst the technical- scientific progress gives during last years new and powerful tools to work . and a new consciousness about the quality and strength of the actual With those premises, the transformation, I think it is important (post)evolutionary prospective that’s to underline the continuous delineating represent for every artist a contemporary research towards the further, stimulating opportunity to fragmentation of the body that contribute to the pre-figuration and interested the scientific, artistic and reading of the real. Whilst questions philosophic modernity. For sure, the are numerous and complex, the recent scientific discoveries and the international artistic panorama seems power of those in different disciplines extremely reactive, positive to the and applicative ambit throw a new confrontation and, as you observed, light on the sense of life that we can the proposed reflections find more see reflected in a determining way on and more spaces and attentions,

37 marked by the perception of an do you work in this sense? How do urgency and sensibility that’s slowly you develop those projects from the but gradually changing. method point of view? Which is the relation between method and On the social plan, the polemics technique? between fans of creationism and Darwinism, the strong debate on Lorenzo Oggiano: I usually choose bioethics, disposed by the necessity technologies and instruments of operative answers to concrete depending on projects. Evidently, problems, and many other signals call when the works is technology itself – for the ineludible of those themes and as for “Sound Generated Video the need to lead collectively a process Modules for Single Channel Output” –, that doesn’t have standard endings. the plan can nothing but be different, As “participating observer” I’m even the method side. interested to the biopolitic aspects, to the elaboration of a thought. I try to In “Quasi-Objects”, even for the nature observe and interpret. of the synthesis images itself, the modeling and 3D animations seemed to be able to give back the total sense of the research that, briefly, analyzes the progressive relativity of the natural forms of life after the techno- biological evolution.

A precedent valuation towards some objectives obviously doesn’t let the medium be the one that suggest paths and solutions in every moment

. Near digital, sometime combined with it, I use, when necessary, other Bertram Niessen: You use several instruments and materials. Fabric, different techniques, but the one I wax, resin, varnish, pigments. I’m found the most impressive it is the 3D, working at some assemblies realized for its ability to conjugate imaginaries with metallic and thermoformed that we used to and visions plastic materials. Moving from equilibrated between formal elegance monitors sometime is said to be and microscopic hallucinations. How healthy.

38 almost-object comes from Latour work, if I’m not wrong he elaborated it inside The Modern Cult of Fatticci. It’s a kind of difficult theory. How are you linked to this author thought?

Lorenzo Oggiano: It is an important intellectual debt in relation to his work and those of many other thinkers, scientists, artists. Changing himself

. the concepts created by Michael Serres, Bruno Latour, in “We’re never Bertram Niessen: I think that you’re been modern”, reflects on “work of objective is to create micro worlds, depuration” that allowed during floating in space and time, from which modernity the production of two born choices oriented to renounce to distinct ontological areas, human and chronological narration. Have you ever “non human”, constitutionally and thought about a project with a closer strategically denying to each personal narration? Why? knowledge the possibility to think about mix, about processes of Lorenzo Oggiano: The observation is mediation/translation, about realities correct. In “Quasi-Objects” videos – of socio-technical nets. A modernity called appositely “kinematics” – destroyed by the weight of an narration tend to zero through uncontrolled proliferation of hybrids different strategies: redundancy, that, not finding a place near objects fragmentation, dilation and circularity. or subjects, made unsustainable that Chronology interests me al place of separation between nature and transformation, but also disturb me as artificial on that a thought, an linear vector. The reasons are related anthropocentric asymmetric to the specifics of the project, and cosmology was built. precisely to the exigency to say something about the elementary dynamics of co-evolution of the species (among them and nature as well) more than the history of the single occurrences, the principle to organize further the sensible data.

Bertram Niessen: The concept of

39 . about the projects you’re realizing?

In “Quasi-Obects” I collected ad Lorenzo Oggiano: I’m working at the interpreted following my sensitivity cinematic week of “Quasi-Objects” of the invite of Latour to think the which a preview will be proposed at unthinkable of moderns, in the ambit the Traffic Gallery in Bergamo at the of an “Emended constitution where end of January with some big sized nets turn legal, where the Middle pictures of the same set. In random Empire, the almost-objects are order (and variable priority) more than represented”. projects I already talked, new graphic studios, a new video installation of In precedent works, and recently in three channels and the reprise of the photographic series “Sample-Kit”, materials from “Multiple Trace realized between 2002 and 2003, I Memories”, a work about the past, the already got involved to the possibility memory, the personal identity of “sight record” the inte(g)raction and realized in 2004 using old family films the semantic movements in the ambit recorded in 8mm. of a relation subject-object. “Quasi- Objects” is the sequel of this path. www.lorenzooggiano.net Bertram Niessen: Do you want to talk

40 Duprass Duo, New Audiovisual Politics

Domenico Sciajno

out that behind their work as a duo an interesting activity which has seemingly no borders conceals…

I had the chance to know part of the interesting work of the Israeli artists Liora Belford e Ido Govrin on the occasion of the Experimental . Intermedia Festival in New York. What aroused my curiosity was their Domenico Sciajno: When I saw your approach which, though experimental performance I noticed a different in its nature, tends to create more approach from that of other relaxed and less aggressive experimental Israeli artists I met atmospheres than those of other before: more space for reflection and Israeli artists I knew before. constructive thoughts rather than explicit and aggressive accusation. Is The Israeli experimental artists I knew it possible to find a relation between shared the use of energy to the that approach and a new trend highest degree, a strong political and towards socio-cultural topics in a social commitment (we all know the nation like Israel which has always historical tensions in Israel) and been known for its harsh and extreme wanted to stress the substantial break contrasts? Or is it a peculiar and their independence from Western characteristic related to your own art rules in every aspects, from music personal aesthetics? to figurative arts. When I talked with them I tried to understand that Liora Belford e Ido Govrin: We believe “difference” and beside that, I found that life (and art as part of it) should

41 be taken in a specific way (at least questions about our means of course most of the time) which involves we integrated this conversation in our listening, reflecting, slowly final work and so even when you’re progressing among the rest, a way to trying to avoid politics, its constantly live and to make art that contradict blowing at your back. It is very ‘easy’ the way Israel is being pictured to the to be a political artist in Israel and to world (and to itself). act according to the moral/artistic codes of such social group, but It’s true, Israel is a very aggressive finding artists that deal with politics place, very hectic which normally the other way around is quite hard. contradict such an approach we’re taking, but this dissonance between Also, one must realize that today’s the approaches leads interesting ideas young generation of Israelis (people and/or art works. One could stand between the ages of lets say 18-30) against such an approach (and we don’t follow up blindly with the earlier sometimes hear this criticism) by generation ideas of Zionism, saying that this is a pure escapism. To nationalism and patriotism for that we answer – being Israelian instance. By that, they do have other artists doesn’t mean we immediately interests in life rather than war or must follow the political game, hence, politics. create political art. The fact that Israel is such an extreme place as far as politics goes, makes it very hard for artists of our kind to even start dealing with it… it doesn’t mean that we’re totally neglecting the political side in our art, but when we do make a “political work” we do it our own way. For example, our audio/visual installation called Island, which deals with that specific question of . legitimacy of the non political art in Israel. Island deals with an alternative Domenico Sciajno: Since you belong reality, processing the world out side to the new generation, do you find it the gallery as being an isolated space easier to understand what is around made by its own rules. While you? recording the video and audio outside the gallery, we were approached by a Liora Belford e Ido Govrin: No, we’re security guard who asked us afraid it isn’t easier on the individual

42 level, we think every generation has to act by our client’s rules, with the its own problems to deal with and need to fulfill their will, and even uncertainty adolescence phases to though we try to broaden that overcome and so do we. On top of framework as much as possible, that, the current Israeli/Jewish sometimes you just have to accept situation makes it even harder, as the needs of others. For example, fundamental and essential those video structures, designs for values/conceptions of the past are interiors you mentioned, we did for being seriously questioned towards this fashion house – on that project we alternative local and historical needed to support a comfortable identity. shopping experience and to remember the fact that people need Domenico Sciajno: I see you freely to buy the goods at the end of the turn from experimental art (usually day, and so we worked different then not very easy and comfortable) to on our art. Nonetheless, we hope the interior design with the idea of consumer experience was a bit making a space comfortable for shadowed by an additional dimension, people while they are shopping or hopefully intelligent, of our works spending their spare time. How do which acts as a double agent – a critic you reconcile those opposites? Do on one hand and alternative exhibitor you use a “radical switch” or is it just on the other hand. reorganizing the same material and ideas according to the given situation?

Liora Belford e Ido Govrin: Indeed we work on both platforms which we guess you can clearly distinguish between them on most level of life and creation but the line sometimes is thinner than we think. The creation of our art is an isolated and purely process, hence, allowing us to do . solely what we want, which leads to experimentalism. On the ‘other’ Domenico Sciajno: At this point it platform, which we can call it the would be important to know commercial platform [or our day job, something about your specific the story is obviously different – there, backgrounds and your real area of we have a framework were we need artistic research

43 Liora Belford e Ido Govrin: Liora put your peculiarities (sound and studied film and television at Hadasa image). Have you got a specific College and scriptwriting at Sem method to develop your audiovisual Spigel film school in Jerusalem. Her works? background also involves a significant period of painting and sculpturing. Ido Liora Belford e Ido Govrin: Together, studied social work, film and we investigate the aesthetic approach scriptwriting on several institutions by deconstructing the audio-visual but dropped them all. At later times, narrative using the max/msp/jitter he studied (and finished) sonology software and implement it in various and sound studies in the royal modes; sound/video art, cross media conservatorium in the Netherlands. installations and live performances. Nowadays, he is finishing his B.A in Our creation of art is strongly leaning philosophy. to the aesthetics of minimalism, abstraction, restrained gestures and Domenico Sciajno: It is thus thank to compassion while introducing utopian Duprass project that you are able to art arenas where experimentalism is the core issue.

44 the name indicates, is to bridge the gap over different polarities existing, both in music and mind, a concept which lead towards coherent sonic spectrum and an interesting cultural environment. As you can imagine, this is an indie label per-se, means, keeping everything at low level (budget wise) but at the same time there’s absolutely no compromise on . the art, design and packaging of our releases maybe this is the reason why Domenico Sciajno: Apart from your we released only 3 albums until now artistic and personal activity, you are As for ‘Laptopia’ Festival; ‘Laptopia’ is also involved in the spread of new Interval’s annual experimental art music and audiovisual products festival combining audio-visual throughout Israel: you own a record performances, installations and new label, you organize a festival and other media works. activities…can you tell something about those activities and how people The aim of ‘Laptopia’ is to expose the react to that? local audience to current international experimental art and to broaden the Liora Belford e Ido Govrin: We run ideas network. Many great artists took Interval Recordings which was part in this festival during the 3 years founded in 2003, named after the of its establishment. The territory famous mathematical and conceptual reacts very well for the festival at notion of the interval; a space present time. We started this project between objects, time between two because we felt a strong need for that events or a difference in pitch kind of art in Israel and also we between tones. The label interested in wanted to integrate the work of the gap between objects, the idea of foreign artists with local ones. silence, the love for the uncharted terrains that comes before and after the notes. Searching that area which is the limbo: somewhere between the http://www.duprass.com/ death and the living. The aesthetic idea behind Interval Recordings, as http://www.interval-recordings.com/

45 46 Polymorphic Intelligence: Part 1

Luigi Pagliarini

intelligence. My definition wants to wipe out the prejudice according to which constructive intelligence- and symmetrically the destructive one- is a exclusive prerogative for human beings or beings in general. On the contrary I want to prove that also a machine can create and have a real collaborative and competitive power. Anyway, according to me, they are able to be inspirers and inventors of As I had the impression that for too useful ideas for our world and our long both the scientists for Mind and future existences. the researchers for Artificial Intelligence had taken for reference In other words with the application of completely inadequate concepts, at electronics and digital also machines the beginning of the year I developed do play – and it should be the concept of Polymorphic acknowledge d- a pivotal role. In fact, Intelligence. This theory has little by with their creativity and intelligence little gained importance, being they are co-interpreters of reality. My requested and welcomed all around starting point is that robotics and AI, the world. as well as literature, art and psychology have inherited some This is an attempt to explain, in a common and ancient paradigms, simple theory, the so called human- ideas and approaches. These machine relation, trying to answer to paradigms make the interpretation of the several tricky theories and the human being-machine interaction philosophies concerning the different be established on a kind of mutual fields regarding the mind. My attempt alienation and so this cuts the inverse is to free from any kind of ambiguity and growing need for a definition of our thought, to give a straight and an integrated human being-machine simple definition of mind and relationship.

47 physical and geographic, mental and virtual. In other words machines are the complementary part of our Ego or, at worst, part of our world and our everyday life.

.

Unfortunately for us, these ideas come from so popular texts that the thoughts written there seem to have irreparably ruined the whole philosophical, artistic and scientific . heritage of the last century. The solution for alienation towards Probably the most influential and modern machines seems to be only ‘dangerous’ theories are those one: that is the one proposed by reported in Alan Turing and Isaac Eastern, Indian and American Indian Asimov’s novels, where the cultures. Most recently it has come philosophical approach is an absolute across the Western cultures through distance between human being and Jean Piaget and other theorists’, such machine. Their notion of machine (and as G. Bateson e J. Gibson, thoughts the consequent machine-intelligence and studies. All these theories ) is based on the principle of external constituting the basis for ‘Ecological and isolated object from the human Psychology’ or ‘Environmental entity. The relation with machines is Psychology’ start from the idea that then essentially extrinsic, both the whole universe takes part in the physically and mentally. activities of our ‘computational mind’. And this represents a real intellective Well, I think that these are the first and complementary potential for our concepts we should get rid of if you nervous system. want to consider intelligent machines in a modern way. For centuries human Now, if this is true, the people beings and machines have been engaged in A.I. and Robotics have to sharing the same spaces, both inherit the principle of Bateson. This

48 principle sounds as ‘ the walking stick is part of the blind man, a mental . extension of his peripheral nervous Although this process is clear and system, of the associative areas of his evident, many people do have brain and mind’. So the scientists have problems in understanding this in to agree with the idea that all artificial progress changes. So, we can see and objects can be a complementary part easily accept the changes in our of our elaboration skills, beside the mobile phone contact list, changes perception and action ability. By the regarding the features and use of way, this is manifest, also thanks to short and long-term memories. On the high sophistication and spreading the contrary it is difficult for us to of digital information systems. become conscious that the notorious In fact, there’s a distinction to do: our ‘copy&paste’, ‘undo’ e ‘T9text input’ modern psycho-technologies are have changed our everyday writing different from the traditional one – for and, as a consequence, thinking and instance bike (motor system) and communicating. On this subject I’ve telescope (sensorial system) – and developed a reference model called tuning with Mr. De Kerckhove, they The Darwinian Composer , but I’ll tell include radio, TV (connectivity) and you about a next time. In short, the above all PC and web symbol system we are inheriting from (interconnectivity). Otherwise, it is to electronic culture is affecting our point out that many kind of minds and I do think that it will automation are widespread rather probably start a real revolution of the than integrative. Moreover they whole human semiotic system. represent functions integrating and Elements such as hypertext, global substituting complex human researches, digital and satellite maps, knowledge processes such, for GPS, wearable computers, instance, creativity and problem- independent robots and so on are no solving. more than an increasing number of functions enriching the biological brain and a parallel devolving of abilities to machines. In other words these machines are on one hand a proof of the restructuring level reached by human brain, while on the other hand they represent the growing ‘relying’ of human

49 intelligence on machines. while, as it was not sufficient, intelligence itself is developing in a new dimension. This is due to some software technologies such as neural nets and evolution algorithms creating independent intelligence, thought and cognition forms.

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So I believe I can affirm that intelligence has developed its evolution speed and widely enlarged its action field. So there’s an other by- product: beyond the traditional . biological and evolution factors, intelligence is also developing its own Now, it is very easy to foresee what definition. This is due to both power was enounced by Alexander of the new technologies in improving Chislenko, that ‘the skill of future our and their own perception and the machine of sharing experience, influence of the intelligent machines knowledge will cause an evolution in on mind. As a matter of fact, as G. intelligence from a relatively isolated Rizzolati pointed out after the to highly connected function’ and that discover of Mirror Neurons, human ‘the continuous evolution of networks beings learn a lot by imitating. for mobile and stable instruments can Consequently, if on one hand we let be seen as a natural prosecution of machines copy biological intelligence, the biological and technological on the other hand we can’t help process for a community of structures imitating some of their behaviours intentionally conceived for a global and then starting a continuous interconnection’. Yet, it is more repeating process where teaching and difficult to get that it is our own brain learning happen at the same time. that is not alien to all this, but on the contrary is utterly influenced by All this is directly bringing us towards operating A.I. the first kinds of hybrid intelligence

50 All this is part of what I call Polymorphic Intelligence.

51 Beijing, World Researches Politics

Gigi Ghezzi

Sense – and pride – were part of this meeting, when the president of the CAS Lu Yongxiang affirmed “Throughout the visit to Beijing , Shanghai , and Hangzhou from 24-29 September, officials from AAAS and their Chinese counterparts suggested they were laying a foundation for the future”. To have an idea of the communicative impact of the associations we’re talking about, if we The American Association for the have the principal American scientific Advancement of Science (AAAS), the association (AAAS) and the China Association for Science and prestigious magazine Science, on the Technology (Cast) and the Chinese other side we can only consider that Academy of Sciences (CAS) were the the CAST network (founded in 1958) protagonist of Beijing meeting of 24 unites 900 magazines, while CAS th -29 th September. It deserves an (founded in 1949) count 108 research in-depth examination of its institutes and 200 scientific contiguous and symbolic meaning. It organizations. is impossible to disregard this kind of initiatives to understand how the future developing and technology geopolitical relationship will evolve.

During the conference, some deals of collaboration in the formation and publication area have been signed (most of all about the Science magazine), looking for a higher universal commitment for the ethic and sustainable development and for . the spreading of the scientific knowledge from the public opinion. The president Lu Yongxiang and Alan

52 Leshner, leader of the directive communication have been three of committee of the AAAS, individuated the themes that provoked more some areas of possible future questions, when not discussions. collaboration, such as the exchange of During the interventions some study programs and scientists Chinese scientists asked more ethic- between China and United States in scientific control to their colleagues. the areas of nuclear energy, Famous cases of technologically atmospheric and neurological advanced Chinese chip turned into sciences. re-invention of chip produced in the US . Qian Yi, environment science There’s no need to underline the teacher at the Tsinghua University , actual and historical importance of charged several cases of manipulation China in the developing and of curricula, paper and even technology, that is represented by manumission of scientific results Beijing and Shanghais as economic officially published (most of all and innovation centers. Moreover, it is through photography). not necessary to be developing politics expert to understand how the majority of the environment politics depend by the laws the Asiatic giant will impose to its population. This is the reason why Wan Gang, Chinese science and technology minister, wanted to remark the value of China integration in the worldwide organization of S&T (Science and Technology) and the moral and deontological integrity that the . scientific behavior ought to keep to Standard procedures against the developing of every nation. plagiarism, manipulation and result The meeting is an important stage in falsification are considered necessary. the processes of interdependence It is a problem related to the scientific between the researches and community that can be solved at developing politics and all the macro and micro social level, inserted problems of knowledge, ethic and in a communicative contest enlarged social responsibility related to the to the society, where communication scientific discoveries. The ethic, is “not only to the public, but even intellectual honesty and scientific with the public” (Alan Leshner), that

53 means where it is possible to interdependency to create a form communicate and listen to exigencies odemocratic grow and integration. of the communitarian groups, most of The occident – with its principal all the marginal and poor ones, that characters US and EU – must pushes mostly need to develop. over this politic, understand the reasons of the closedown, because Jeffrey W. Legro sustained a more the actual developing of China , complex discourse in the article “What foreseeing a growing interaction with China Will Want: The Future Intentions the occidental system, could take new of Rising Power (Perspectives on directions and, at that point, it would Politics, 9/07). Legro affirms that be too late to create alternative there’s no need to think about China scientific governance politics. only in terms of strength and aid of its

54 Lab (au): Meta Design. Liquid Spaces And The Cities Of Tomorrow

Marco Mancuso

Those elements are more and more discussed and arouse curiosity as much as the latest discoveries in the ever-present demotic.

Surely the contents, the message and the display of information that could be conveyed through these digital systems are definitely far from the apocalyptic results imagined in Blade Runner (or in Salvatores’ Nirvana, just There are people living in cities who to pay homage to an underestimated are careful observers of the slow Italian product)on the one side, or changes which are taking place simply from a new around them. Such people are not contexuatualization of the public inclined to complaining about new spaces and the ordinary urban telecameras controlling the access to landscape on the other. That could be the old town centre, about the a possible new form of emotional prevailing traffic and polluted air, or experience with the environments the advertising billboards covering the and relations we usually interact with. facades of the old buildings in boulevards. My intention is not to deal with a complex topic on which experts much The changes I mean are those little more “skilled” than me are still multimedia sparks which have started discussing and arguing, just in one to become part of the urban article. What I just would like to point landscape surrounding us: digital out is that on the one hand the media screens set in frequently visited exalt a small number of architects places (such as stations, squares and who use digital technologies simply as airports), interactive shopping a computation tool for their brave windows, public projections, architectural calculations, while on multimedia advertising billboards. the other hand those studies of

55 design/architecture which interpret a break and listen to Manuel the concept of Meta Design or Media Abendroth from LAb[Au] , a collective Architecture more literally are living and working in Brussels and perhaps considered less appealing. very close to the activities of their So, together with stars such as Zaha exhibition space, Media Ruimte. There Hadid, Nox, Libeskind, Koohlhas , who are many projects which the Belgian are able to surprise and charm with collective developed according to the their shapes and projects (we suggest ideas explained above: interactive the extremely interesting essay by installations such as Touch, related to Maria Luisa Palombo Nuovi Ventri and the urban architecture project for many other books published in the Dexia Tower, 12m4s and i-skin, Universal Architecture Series ), there collective audiovisual performances are studies and projects such as Liquid Space , multimedia dance Lab[Au] , which consider the idea of project Men in e.Space and projects architecture mainly as an instrument such as PixFlow and EOD02 , to reinterpret the space, to enjoy and display the urban network of Marco Mancuso: For a start let’s talk information, an artistic means to new about Lab[Au]‘s activity. How and emotional experiences that can link when did you start, how does your persons and objects, knowledge and gallery works, what are the activities emotions. carried out in your study and how do you work with special live projects or collaboration with other audiovisual artists and performers?

Manuel Abendroth: Since it’s founding in 1997 LAb[au], laboratory for architecture and u rbanism, explores digital design focusing on the question: how technologies of computation, communication and storage, known as ITC’s, transform the

. construct of space on the level of its perception, conception and meaning. The subject is obviously long and According to this objective, the complex and its analysis has already projects by LAb[au] range from been dealt with on previous DigiMag’s experimentation (laboratory) to articles and is meant to be dealt with production (bau = the construction). in the future. Now I would rather take Further on, through the principle of a

56 collaborative agency, LAb[au] entire conception / production / explores the setting of a new meaning of artefacts. discipline, MetaDesign, acting on the modalities of digital technologies.

In this sense, LAb[au] follows the 20 th century avant-garde purpose, and as our agency name suggests, particularly the one of the Bauhaus. Triggered by technological advances, new codes (semantics) and methods (practice) appear often revealed by the term that is used to qualify them, as for example the word ‘design’ came . up in the beginning of the last century Obviously, these questions aren’t according to the shift of pre-industrial specific to one single artistic discipline to industrial society. The emergence but influence all of them; therefore of the concept of ‘design’ around the we established our ‘lab’ in the form of Bauhaus had the intended purpose of a collaborative agency to cross qualifying artistic concerns in relation different methods and practices and to the technological changes of the thus to explore these questions within time in order to reintroduce them in different perspectives. LAb[au] ‘s own the concept of art itself. The very term background is architecture and our of design has since evolved, as focus is architecture, but in times technology did, from industrial design where the notion of space is changing to communication design, system radically, it is important to research design etc. Seen from this angle the these fundamental questions within a industrial revolution led to design, the wide field and without any disciplinary post-industrial area to communication borders. Yet during the past ten years design (around the Ulmer Schule) and of our collaborative work and projects the informational revolution to system we established a design methodology, and process design, which we which we define as parameter design designate as MetaDesign. As non- , inherent to all our projects. This exclusive these terms can be and as reveals another important aspect of interwoven the developments and our work: the conceptual and purposes, they all are based on a theoretic work about a design method common question: how technologies proper to IC technologies, which we shape the aesthetics of their time, define as MetaDesign. influence artistic practice and the

57 In order to examine and explore all Manuel Abendroth: MetaRaum [ 01t the different aspects of MetaDesign XYZ ] is a platform for digital design including research, production and which we initiated four years ago with development we further felt the need a program focusing on the digital to establish a space to experiment medium and its multiple forms of and exchange with other artists active expression, as such: MR+ ( MetaRaum in digital media. According to this abbreviation to MR., say ‘Mister’ ). We motivation we founded in 2003 our follow a very strict programmatic own gallery with the focus on digital focus on digital design while hosting a art, architecture, design and music, series of activities going from called MediaRuimte (but which will exhibitions ( ‘MR.xpo’ ), artist- from 2008 be named MetaRaum). All presentations ( ‘MR.ini’ ), audiovisual these different aspects define today performances ( ‘MR.wav’ ), LAb[au] as a digital art, architecture conferences ( ‘MR.txt’ ), online studies and design group, a research lab and a ( ‘MR.www’ ), artist-residences ( digital design platform. ‘MR.tmp’ ) to workshops ( ‘MR.exe’ ). The intention of LAb[au] is to propose an experimental platform BY artists FOR artists where experiences and exchanges are shared with a public. New presentation formats proper to digital art are explored, and each invited artist is encouraged to explore the modalities of its work through live-experiment and site-specific development. MediaRuimte is thus as much a platform for presentation and . creation as it is a place to experiment Marco Mancuso: How do you plan the and to cross different artistic activities of your gallery in Brussels? practices. How do you think a modern gallery One of the specificities of our gallery should work today and how do you lies in its focus on digital design, its interact with the space available to practice, concepts and formats, you? What are in your opinion the excluding all other forms such as types of artists and the most multimedia art or art replacing interesting disciplines? How do you traditional formats and technologies relate to contemporary art market? by computers. For example: one can compose music with or without a

58 computer but there is a very specific type of music which one can’t . compose without computers such as Marco Mancuso: Your artistic activity algorithmic, generative, interactive is various and diverse. You are and programmed music. We follow involved in interaction design projects the same criteria for design, art, and in different kinds of installations, architecture… For us it is important to as well as in live audiovisual shows follow this strict distinction to be able and dance performances such as to explore digital design in its those performed for Todaysart conceptual, theoretic specificities as festival. So, how do you decide to in its presentation and production work choosing one direction rather modalities. Of course this approach is than another and what is the attitude much influenced by our own, LAb[au] that leads you? Besides, is there ‘s work, and thus MetaRaum is an “guiding principle” which connects all artist space for experimentation and your works and your different artistic project development inviting each attitudes? artist to research and observe new design aspects. This reveals another Manuel Abendroth: I agree that at first specificity of our space: there are only glance our works may seem a few places where digital artists can heterogeneous; implying various experiment, develop and exchange; artistic disciplines and formats such as thus MetaRaum acts as much as a audiovisual productions, dance, design lab as on a community level. fashion, graphic design, architecture All these aspects differentiate and urbanism, but on a closer look MediaRuimte from traditional art you will discover a continuous and galleries and the art business. Of methodological approach. On the one course MediaRuimte was never hand all our projects are based on the intended to be a commercial gallery question how digital technologies but obtains public founding’s as much transform our perception and as LAb[au]‘s own investment. understanding of space and thus deal with nowadays architectural concerns involving questions about interactivity, immersion, information architecture…and many other constructs. Today investigating ‘space’ is not a question which belongs only to architects but many other disciplines such as dance, music

59 therefore all our collaborations and from other artistic practices. investigations within various disciplines allow us to approach these Whereas the use of the term ‘ deSIGN ‘ questions from various angles, which I besides its Latin definition ‘signare’, to think is crucial in times where distinguish by a sign, is more based on fundamental notions and concepts of its cultural and historic meaning. space change. During the Bauhaus period, El Lissitzky was employing the term to One the other hand our work is identify and to found a new artistic entirely based on a design philosophy approach according to the age of the which we define as MetaDesign. From machine. But rather than being a pure an etymological viewpoint aesthetic reflection it was founded on MetaDesign combines two notions: the necessity to rearticulate artistic the one of Meta and the one of practice according to the social, Design, both very connoted as much political technological in the field of computer science as in transformations. The combination of aesthetics. In computer science ‘ Meta both words in one single construct ‘ describes the type of information thus relates to its technological, necessary to instruct any kind of semantic and cultural understanding communication or computation and reflects our contemporary state in process, it defines as well its spatial, the production of cultural artefacts. morphologic or semantic parameters. According to this, Metadesign can be It thus designates the way binary data defined as a practice grounded on the is processed into textual, inherent logics of computation and graphic information. In short it communication technologies in the describes a higher hierarchy of visualisation and formalisation of information; it is information about inFORMation processes in textual, information . In this manner the use of graphical, spatial constructs. As a the word ‘ Meta ‘ in the definition of a discipline MetaDesign is about the methodological approach focuses on setting of codes / language drawn the parameters of information from concepts of communication and structures, processes and systems, its information sciences – cognitive architecture. Further it reveals that science with that of process methods information processing technologies _ design and spatial constructs _ instruct their own language and architecture. aesthetics which differentiate them

60 city centre of Brussels) the influence of IC technologies on architecture and urbanism. A multi-tracking touch screen interface sheltered inside a pavilion placed in front of the skyscraper allowed citizens to interact in real-time with the enlightening of the tower by choosing a colour and composing out of points ( windows) lines ( the edges of the building) and . surfaces ( the facades ) an architectural enlightening (4200 For our own work this design windows, each enlightened by RGB methodology reveals the fundamental led rails). This interaction is far more questions about design, its practice than a fancy and playful device to and concepts and thus is more create an attraction but the relevant than its distinction according involvement of everybody in to traditional disciplines and formats. architecture, public space and the In all our projects underlies this image of the city. For this reason it methodological and architectural was also important for us that people thinking, not architecture, at least not could snap a picture showing their as we traditional define it. ‘creation’, the enlightened tower Marco Mancuso: Have you ever had placed inside the Brussels skyline, in the chance to work in public spaces form of an electronic postcard that with urban audiovisual installations they could use as a greeting card to and interaction media design send their best wishes for the new projects? Can you tell me something year 2007. The entire project, this more about the Dexia Tower project communication chain, creates an in Brussels? exchange between the individual and the public space, the collective Manuel Abendroth: Most of our recent sphere, exploiting IC technologies, its projects deal with interactive urban processes and logics, to create a new installations and fixed interventions in and contemporary form of citizenship an architectural frame. One of these and urban artefacts. projects is ‘touch’ which was the most challenging project last year as it There are many ways to think about proposed to experiment on a huge light and design; one of these is to scale (a 145m high skyscraper in the consider light as information, be it on the level of a receiver, transmitter or

61 sender. From this viewpoint and from of our metropolis and what are the the terms we applied to it in the differences between you and the Touch project _ light design is the architects who works with digital design of communication and its technologies with a procedural representation in order to establish a approach such as Zaha Hadid, Nox, new urban sign involving each citizen Libeskind, Koohlhas and others? in its setting. In the Touch project the use of interactive media in an urban Manuel Abendroth: To answer this context allowed us to explore the question we first have to agree on a relation in-between the individual and certain definition of architecture. the collective. LAb[au] has a long From our point of view architecture history of experimentations in the and urbanism are structural and active use of IC technologies to functional disciplines involved in the conceive and create spatial processes spatial and temporal organization of but it was the first time we had the social, economic, political structures opportunity to do it at this scale. through which they also constitute a semantic system of signs and codes. All these aspects define them as organizational disciplines that process, analyse and structure data within spatial constructs while improving it with a specific significance – meaning. On this level it reflects and produces cultural, social codes.

In this relation ne w media, digital

. design will more and more take part in the construct of space / architecture, Marco Mancuso: Personally I am very as it already does in our daily life, a attracted by your activity of designers state were its conception directly and architects involved in planning includes the question of interaction the city urban landscape again using design, interfaces & software digital technologies. What do you developments, information think about media architecture and architecture These developments will what is your idea of public play a major role in tomorrow’s design installations like those showed during / architecture. For example the design Todaysart for example? How can of the ‘Touch’ project was only media work to change he perception possible due to our own hardware,

62 the 1.7 x 0.8 multi-touch screen, and explore new technologies in the software development. This construct of architecture and development allowed us further to urbanism, including interactive and layout the project for an outside and generative design, new urban use and shifted the communication channels and smart development from a technological materials… But most of these device to the design of an enlightened proposals aren’t realised by urban pavilion. Due to the fact that we architectural offices since they don’t could cover the entire conception and investigate these technologies on realisation process we could their conceptual and technological encounter the development with level, but rather as an added element more design and conceptual plugged onto a traditional considerations; actually it allowed us architectural design and which for to ‘design’ a coherent project, not a most of the cases are even designed technology, according to the by external teams. For example to contextual, technological and conceive a media façade involves the conceptual parameters. Therefore we question of the content and the think that interactive design is less a manner this content is formatted question of a specific technology but displayed and accessed, which is a rather the ability to encounter fundamental question when technology with conceptual, conceiving a media façade but which artistic concerns, fitting these are for most of the time left besides. technologies inside a broader Or to expand to another example the meaning. design of a library nowadays implies information design running from the conception of the backend system, the conception of a relational database, until the conception of the graphical user interface and the way they are displayed and accessed. This conception implies a series of decisions, each affecting the meaning of the system. These parameters and design potentials can only be understood when being involved in . this project development and Nowadays there are many interesting research phase. projects and design teams which One may find this reflection very

63 abstract but if you pay a closer their architectural practice. In attention to some ancient built consequence most of the interesting libraries you will discover that the examples are realised by people structuring of their content (books), coming from other fields than and displays ( shelves ), can affect the architecture. This missing involvement spatial structuring of a building and into nowadays fundamental thus directly influence the form = the architectural questions is for me the meaning of the building. Take for reason why so many of the so called example the city library of Asplund, ‘star’ architects design turn more and isn’t this a symbol of the renaissance more into the design of personal enlightening idea, in the centre of all phantasms without any relevancy for books stands the enlightened man? the ongoing transformations in our When looking to this example one society. According to all mentioned may understand that the structuring references you may imagine my of the books directly influence the profound conviction that architecture meaning of the building, but what can and has to play an important role happens if the books turns more and in these processes. more digital ? Do we have to give up the idea of the library as a public Of course in this discussion there is space? Will it only be a screen another point that raises question: are interface? I think when we still want digital design teams able to architecture to be part of the understand architectural and urban production of social and cultural issues. When seeing many interactive artefacts we can no longer conceive and digital installations produced in architecture without taking the last years we can question the information processes, relevancy of interactive and digital communication and computation, in design in the field of architecture; account when conceiving spatial and many projects leaks any significance semantic constructs. Architects have and most of the time interaction to work with IC technologies, design has rather an entertaining than experience their specificities and a representational or symbolic value. understand their processes to be able From this point of view digital design to conceive nowadays architecture. teams will have to encounter their Unfortunately for the moment there design, get aside from the are only few architectural offices technological gear, and face the which involve digital design within public realm and the relevancy and new forms.of public space.

64 production. It seems to us that the most fruitful experiences are festivals with which we can establish a partnership in order to develop site- specific presentations and projects, as we have been able with the festivals you mentioned. I think this basis is crucial to present big scale projects according to their specific modalities: spatial, conceptual, and technological . level.

Marco Mancuso: Finally, what are your I think more and more festivals are experiences with digital art festivals? looking for these long term exchanges Last year you worked with Club not only to face the complexity of Transmediale, while this year you have new media works but to follow and worked with Todyasart among the anticipate the artist works. In concern others; moreover, you are connected of the mentioned festivals one to Cimatici’s platform in Brussels. How important aspect is that they are led did you work with those partners, and by young teams with a motivation to how hard it was to deal with the huge explore and develop projects organization of those festivals and to broadening the classical context of a work in cooperation with other artists festival, and to research long term and sometimes to fit your works to collaborations as opposed to the very wide spaces as for men in standard, rather short, period of a e.space project which was showed in festival. Den Haag inside its City Hall?

Manuel Abendroth: It is obvious that there is at shift of generation taking place in the electronic music and digital media scene. New festivals are appearing that become more and more important for artistic exchange and mediation, replacing well established festivals; is it on the level of a more artistic than theoretic and academic focus or on their implication . as structures within artistic

65 For example to present a performance partnership idea we collaborate with such as the Man in e.space dance the Cimatics festival now for the fifth performance inside a public space like time proposing specific projects and the town Hall of Richard Meier in Den exhibitions to complete the festival Haag during the Todaysart festival focus in the field of digital design and isn’t imaginable without such an Club Transmediale offered us an involvement and anticipation. entire building to organise a two weeks collaborative design cycle Of course these experiences also ask a under the title of “liquid space”. All different involvement from our side these are very positive examples and and turns to very unique and a great reason why these festivals experimental forms which is only become more and more important possible when the festival team their field. knows our artistic concerns. It is very positive to see that all these mentioned festivals follow our work to be able to anticipate it. In this www.lab-au.com

66 Near Future Lab: Imagining A Possible Future

Giulia Simi

order to create new possibilities of interaction between man and machine. Using the pragmatic approach which usually characterizes applied science scholars, we could define their way of working “thought in action”. From the idea to the prototype, back to the idea, this time probably enriched with new aspects. A continuous movement between action and thought aimimg at building Trying to imagine new ways of devices which can help us imagine a interaction between body and more livable, sustainable and – why technology is clearly the great not – even funnier world. challenge scientists, artists and scholars have been engaged into in I interviewed Julian Bleeker and the contemporary world. Nicolas Nova, the founder of the project, in order to try to understand Is there a way not to disappear better both the theory and the physically when confronting the practice that characterize their work. digital world? Is there a third way that can overcome the dichotomy -which has not been solved so far – between an anachronistic “return to nature” and a blind trasformation of our body into ones and zeros? Maybe abit of imagination would be enough to get off the beaten track and stop being like trains heading for a planned destination.

Near Future Laboratory consists of a . group of researchers who is trying indeed to get off the beaten track in Giulia Simi: Let’s talk about the title of

67 the project: “Near Future Laboratory”. build for the market such as time. You It is immediately clear the importance get this constraint from the front of time as well as the new definition office to come up with something, as given to the concept of future, which part of R&D or design innovation, that has maybe changed with the can be channeled quickly to product introduction of new technologies. The development so as to have the return word lab reminds of something on investment line on next year’s related to research and financial books net out in a way that experimentation. We can thus say that will make investors happy. Academic you are a group of researchers trying R&D is just run through with to explore the possibilities of our challenges that make it difficult to future through technology and digital create “outside-the-box” innovations. media outside the bonds imposed by First is a horribly broken peer-review the market and this, in my opinion, is system, institutional politics that still what can somehow link you to the operate as if it were the 19th century, world of art. How has your project a glacial and costly system of begun? What was the question you publishing and knowledge circulation were trying to answer? practices, and little value placed on undisciplinary scholarship. It’s just Julian Bleeker e Nicolas Nova: The abysmal. project began because we thought there was an empty space between What we’re trying to do is encourage consultancies that were hired to build design innovation that does away things and consultancies that were with constraints like these. We have hired to think about what things no expectations or requirements that should be built based on trend we will make something that millions analysis and other such predictive of people will want, although who practices. We see an opportunity in a knows? The point is that we don’t design and research practice that make these kinds of assumptions; we operates between traditional long- operate quickly and economically; we term academic research studies and do not censor our projects based on short-term commercial product factors like the expected market of development. In between – 12 months consumers; we are committed to to 4 years – is a gap we call “the near circulating knowledge and insights future.” We think there are often quickly – within months, not years – unreasonable constraints within the using creative commons and not the design innovation and R&D practices feudal pay-for-knowledge of existing commercial enterprises to professional society journals and conferences, and so forth.

68 We use this notion of a near future time, rather than, say “mobile technology” or “digital games” as the catch-all for the kind of work we doThe near future is a blurry space that is almost, but not quite, but close enough to seem possible. On one hand, the near future is an upcoming moment of time that ranges from the next second to 3-4 years ahead. . Thinking about it is some sort of short term foresight: looking at or creating This is how the project began. As a an almost immediate period of time. positive reaction to the difficulties of Some people may call it “design” engaging in creative, insightful, fun because it’s about creating the next and innovative work with fewer of the “big things” or “disruptions” but this is constraints we have found in not the point here. The idea is rather academia and in the normal to generate interesting stuff with the commercial world. We needed some tools and tech we have today, some way to describe the space of sort of bricolage (to use a french possibility for the work we were word). For instance, instead of being interested in engaging. Using time as all hopped up on 3D renderings or the catch-all “idiom” in which we Second Life advertisements, our worked seemed right. It’s not just preference is to explore “low time in that we do projects that relate bandwidth” creativity such as Habbo to time – but that we are very Hotel. deliberately thinking about what might be, in some perhaps fictional On the other hand, the “near future” near future world. In a sense, we are refers to what is ignored or left aside “authoring” some little corner of the by what I call the “future near future in much the same way stakeholders”: mostly corporate that Bruce Sterling will write about a r&d/innovation labs/serious near future fictional world. Only, we’re designers/policy makers. The near not fiction writers – we’re fiction future is not an alternative world, it’s makers. Fiction makers constructing just there but observable from a artifacts of a near future world to help different angle. Envisioning it is a tell a story about the world we live in matter of examining the edges and now. fringes so as to articulate ideas, concepts and knots that do not

69 resonate with conventional, inside- fantasy, utilitarian and non-utilitarian the-box business practices – we look situations. It’s made out of cardboard, for topics or social practice idioms dirt, duct tape, tubes, bad wiring and that have been left behind or vinegar waiting to be turned into a forgotten or lurk just below the playful and sustainable environment. surface. This might sound very William What is important here is not the Gibson-esque (“the future is already utopian vision but rather the idea that here, it’s just not evenly distributed”) the near future can be more but yes we do think the future is habitable, more playful and just hidden in dusty corners: the point is to different from the routine, tired old explore forgotten realms or look at activities today – simply if we want. things from a different or even And that is the laboratory aspect – we orthogonal angle. There is a quote we can make new things both because really like, which echoes that feeling: they seem intriguing or thought- when confronted for the first time to provoking. Niagara Falls , Oscar Wilde said “It would be more impressive if it ran the Giulia Simi: In the description of your other way”. projects you refer to “weak signals” of our digital culture which you focus and develop to create prtotypes for the near future. Can you give us some examples of what you would define, in this sense, a “weak signal”?

Julian Bleeker e Nicolas Nova: The “weak signals” concept emerge from the literature about foresight, long- range design and futures research. It evokes the notion of early instances

. about phenomena that may become important in the future. To some This is a good motto for the Near extent, it’s behavior, attitudes, Future Laboratory about how to do products or services of today that our research. Yes, we are observing announce the future. As William the social and cultural areas of our Gibson put is “the future is already technological world, but upside down. there, it’s just not evenly distributed” In a sense the near future would is which means that weak signals are also a place we’d like to inhabit, a here and can be found. The second mixture of today’s seriousness and step is to ask oneself critically if these

70 signals are important and relevant to an almost-future that is arriving: if yes . what might they announce? and Just to keep our work organized – should they be amplified? Doing there are actually way too many future research is not just about prototypes in progress now, which spotting trends, it’s also about may actually be a good thing in terms creating one’s own futures by of diversifying what we think about – amplifying certain signals. we divide our projects into themes. That is, taking into account not just One theme into which many things what one “sees” happening in these fall is “new interaction rituals.” Here weak signals, but also what one we are interested in how the ways we imagines could also happen or might represent ourselves in computer- be exciting to experience, and so mediated environments can be forth. I think this is the point at which shaped or modified in some way many intriguing ideas turn into through action that happens without “projects” that require commitments the usual computer setup of sitting in of time, money, programming, and so front of a screen, with a keyboard and forth. Many of these ideas come from a mouse. Where are the other a desire to experience some idea that, “interfaces” to our digital lives? Can perhaps, is based on intuition, or a my representation online, on the passage in a book (science-fiction or internet, in video games, as our not) or a joke or a bit of irony one Facebook representations, etc. be finds cropping up again and again in shaped by things other than button one’s real-world experiences. You ask presses while sitting down for hours in yourself – perhaps this little bit of front of a video game console or while social action I see out there, or browsing the dozens of social experience in my life – perhaps this software sites on which I have all tells a compelling story that other these different expressions of myself, people may be interested in my personal life and so on? experiencing themselves? We’re going about his in a very simple way. A few of the devices we’re building record physical movement in a variety of ways. One project turns you into a kind of “human joystick” so that your very broad movements, such as running the length of a football pitch – much broader than

71 moving a computer mouse or pushing post concerning the project “Slow a button – is required to play a video Messenger”, you talked about “making game you see on a small hand-held your own objects by yourself” and device. Another project goes even about hardware sketching as a further – the physical movement you cultural and political practice. It is might endure while going for a 4 mile something that reminds of Do It hike becomes a “move” in a different Yourself and the will to control the kind of video game. The same creative process, which is typical of physical activity might be what is many contemporary art currents. necessary to “charge up” a very Could we thus define your projects a peculiar new video game controller so sort of “hardware art”? that it has the “power” to allow you to play a video game. Then we have a Julian Bleeker e Nicolas Nova: We’ve variety of interface experiments to talked about it as Device Art which enroll “new partners” into interactions seems closer to social practice than – these are projects that allow us to hardware in our way of thinking. use digital networks and devices to “Device” somehow connotes purpose communicate with weather and pets. or suggests a purpose. There is also We’re very interested in this area of this idiom “left to your own devices” possibility – not just what new “things” which basically means – what you we can interact with, but also what would do on your own without the new paradigms for sharing constraints or on your own, with what experiences might be. Pets are you have around you. Device also has particularly relevant, as are other a kind of “special purpose” meaning to critters and the weather. it – something that has a specific action to perform, also a way to get something done, as in a plan to achieve a specific goal. It’s a richer way of describing these little assemblages we’ve been creating that are active in unexpected ways.

here’s also a political impulse that we’re investigating. On the one hand we’re interested in the kind of expressive power these devices have

. in their ability to shape how one experiences certain simple aspects of Giulia Simi: In a long and interesting the world. For example, with Slow

72 Messenger – how can we shape one’s social practice – meaning that they relationship to one specific friend or are more than just a static, inert loved one by unlocking a special component. They are embodiments of message from them simply by holding a variety of social forces and when we a messaging device for a long period make our own stuff, we can see all of time? That’s a very simple, plain, those factors and influences in play somewhat orthogonal experiment and then never really look at that changes the way people technologies the same way again. communicate in today’s digitally Wrapping all the aspects of the Slow networked age. It’s orthogonal in that Messenger project is instructive in this it does something quite unexpected way. It ties together this vague day given conventional assumptions dream on an airplane flight, some about technologies as sketches in a notebook, probes of communications utilities. On the other relevant prior art, some books on the hand, the process of taking that social character of time, the history of thought – a peculiar idea that popped the telegraph, interesting reports on into my head during a long-haul flight submarine communication (which is from Berlin to Los Angeles – and very, very slow because of the physics expressing it as an assembly of of radio transmission through salt “something” is quite instructive. What water) and the political issues we find engaging is actually associated with that and of course all experiencing the process of of the notes and specifications and expressing the design through its design requirements of the individual multiple stages of evolution and tying electronic components used in all these disparate bits together. constructing the actual Slow Messenger device.

This is an absolutely crucial aspect of the process for us. It’s not enough any more to have ideas that cannot be experienced “in the hand” or lived with in some fashion. This isn’t to say we privilege material over ideas, but what we mean is that the action involved in materializing ideas draws one into an incredibly rich world that . turns back around to inform the ideas you have. There’s also validation and We’ve learned that technologies are satisfaction that comes with crossing

73 back and forth between ideas and their expression and articulation into . something that you can point to and Giulia Simi: I believe that “Slow say – “this takes an idea I had and Messenger” is one of the most allows you to experience it, first interesting projects you have hand.” The digital culture we live in developed so far. There is a turnover nowadays, and within which The Near of the usual view according to which Future Laboratory finds itself technology has to create devices that circulating puts great emphasis on reduce communication time being clever both with one’s ideas and regardless of concrete bonds. On the in their expression – it’s good to have contrary, you created a device that expert Ninja skills for crossing back not only slows the process of and forth between thinker and communication, but also binds it to tinkerer with ease. our body movements (the message is Thinking as making – or thinking while not sent if we stay still all day long, for making is a way to invigorate and example if we remainseated in front make richer the analytic work that of a computer). Do you think it will be goes alongside of the construction of possible for technology to stop artifacts in the laboratory. We have a chasing the acceleration of time? Or strong sense that you will have a rather, will slowness always be an stronger basis for analysis, a more eccentric and somehow “artistic” view informed basis upon which to of reality? synthesize material into actionable Julian Bleeker e Nicolas Nova: It’s not reports, and an infinitely better unrealistic, certainly, if only measured appreciation for the meaning of these by your response. I can imagine that new social practices. There’s a certain there would be some people for validation and authority that comes whom this kind of interaction would from not just analyzing from afar, but be desirable in particular contexts. from engaging the practice deeply. There’s an intimacy to this kind of message sending and receiving paradigm that was what motivated the project. There are messages one may want to languish over – or messages from individuals that we would want to savor and take time receiving. We were trying to capture the deliberate, “writerly” character of

74 pre-digital communication, like letter assumptions in order to see what the writing. With pen and ink. experiences of communication in a different “anti-” universe might be Efficient, quick communication is a like. What can we learn about our product of power-politics. In order to existing social practices of exert one’s influence geographically, communication – instant messaging, it’s necessary to communicate one’s SMS, always-available styles of will over distances and do so in as presence online – if we do an little time and with as much efficiency experiment where the assumption is as possible. Slow messaging just the opposite. In this case, if we make doesn’t make sense in that context. communication much slower, what do And that simple necessity has soaked we learn about new ways of relating through most of our forms of and sharing with our friends and loved communicating, even when we are ones? We’re not necessarily assuming not particularly powerful. It just that this is the best way to becomes an assumption that communicate, for example. We’re not communication happens quickly – not making a new product or something because it cannot be any other way, of this sort. It is very much an but because it has become part of the experiment in design as a way to unquestioned “DNA of answer some perplexing questions communication” as a social practice. about the relationships we maintain through all these peculiar and compelling messaging systems.

www.nearfuturelaboratory.com

www.nearfuturelaboratory.com/2007 /04/04/old312/

www.nearfuturelaboratory.com/2007

. /06/25/left-to-our-own-dev- ces-hardwar- But, as in most of our projects, we -sketchingwhat-this-means/ want to work from unconventional

75 76 The Sensitive State Of The World To The World

Alessio Chierico

soundscape. A workshop f a week collected and edited audio-video material about the city and personal experiences of every participant, realizing an installation inserted in the context of the conclusive performance. The final event has seen the poetical-performance exhibition of Isabella Bordoni, alternated to the music of the violoncellist Ulrike Brand, at the Rocca Paolina. Between the several Italian reality that are entering the electronic and Isabella Bordoni is a poet, director and contemporary art world, this year actress. Her interest is for acoustic Perugia hosted some events that and visual events, for technologies deserve particular attention. sensible to memory and language and Performance, workshop, interactive for communication systems. Theatre, environment, exhibitions, radio, performance and media are the competitions, concerts, meetings, contexts she enjoy the most. From the festivals: this was “Le arti in città“, that middle 80′s, she works in the north showed between its protagonists Saul Europe, particularly inside the Saguatti, Murcof, Giovanni Sollima research centers of the new and Isabella Bordoni. technologies applied to arts, of Linz, Graz, Wien and in Germany. From 1985 The project of Isabella Bordoni to 2000 she’s fundamental part of together with Luca Berardi and Giardini Pensili, Theatre Company of Angelo Benedetti for “Le arti in città” particular relevance in technology and in Perugia developed in three parts. scenic arts ambit. She teaches Public spaces such as escalators and Videoart and Direction/Dramaturgy at elevators played the recording of the the Beaux Arts Academy in Rimini and conference “Simplicity and Chaos” by collaborates as professor at the Digital John Cage, held in 1992, and Environment Design master at the elaborated as poetry to build a NABA in Milan .

77 to the comprehension and the answer. Operations of this kind are a real mystery. I use calling poetry.scapes a permanent project that includes events realized on different scales, sometime realized with interactive technologies. It’s about installations or events that create poetic proximity with places. Approaching a position or . experience it’s like taking a risk, it is elaborating spaces of knowledge Alessio Chierico: In your artistic where our experience doesn’t arrive. research you’re now interested in There are anyway some rules given by creating poetical environment that the experience, which honesty is the mix with the space: its structure, its first one. You cannot bluff what exists. history and people that pass or live The honesty I’m talking about is an there. Word, voice, sound and scene internship, a measure of our are the elements on which you knowledge, maybe even a geometric focalize your work. Which kind of condition that gives shapes a space. relation do you design between these Therefore, I think it’s all about creating elements and the space that host your relations between identities, made of creations? “emotional relationships”. And the Isabella Bordoni: Every artistical space turn into an emotional, research is founded on a place, no contradictory, exigent and hence matter if a theatre scene or a space “real” map. It is a space of truth limited to an action, a gesture, to one exposed to knowledge. You say, or more body, or the one open and “space that host creation”, and it is unpredictable of the public space. In correct because every space is this last case the work on spaces hospitable. The events I create are an contains more incognitos, some of experience that reciprocally situates which are part of the relation system and de-situates bodies and territories. that is created between event and Poetry has the possibility to con/fuse user, inside the mechanism sensible and understand the opposites. (N.O.T.: in Italian ‘con’ means with)

78 “yes” to listen to. This is the unexpected. The unexpected is the “yes” of a defeat that is not slavery but rather new look. When you don’t search for it, it arrives. It is the neuter more than the masculine and feminine, aversive creature that contains chains and cuttings, it’s a “space of relation”, subjected but not submitted. . Third passage echoes Third State , a Alessio Chierico: Defining and space that doesn’t express power or collocating your art, you talk about submission to power. So I’m “Terzo Paesaggio” as refuge for interested in thinking a certain diversity. Which particular importance passage as third place, between light does this location own? Which and shadow. I got a debt for this with poetical interests can it express? a little book, “Manifesto of the Third Passage” by Gilles Clément, which Isabella Bordoni: I’m interested in the talks about confused and no-named concept of “third”. Third is, some way, spaces. Reading it, I understood the the unexpected relation space that passage/territory Clément states as you give your work where dualism Third is exactly the artistic space I meanings divide. Third – subject or tend to. That’s probably the reason object – in a relation that opens to why during the years I renounced to dualism of collectivity and that brakes names, categories, definitions to a predictable equilibrium or dialectic. inhabit border and passage zones. It is the illness inside a wealth body; it is the immigrant inside the State; it is the trauma inside the existence; it is the doubt inside certainties; it is the question that goes beyond the answers.

All disturbing elements that delete the I from the ego and make it a wandering subject. But the idea of the “Third” is also the contrary of each of these elements. Somewhere there’s a .

79 Alessio Chierico: I find interesting the space of obsolescence. Old places are conception of “everywhere-place”, the forgotten residencies, the little almost a contraposition or better a memories and the look to the different prospective than the one childhood as passage and proposed by “no-place”. The “no- transformation place. They conserve place” has been one of the the memory of their past as characteristic symbols of the post- foreshadow of the future, as promise, modern culture; we could talk about as life triumph. Recognize them the sampling culture in art, the usage means giving back the laws of the of preexisting forms. Can the concept original life to every place. A poetic of “everywhere-place”, and the everywhere. So with “everywhere- poetical potentialities of the place” I mean an undefined and environment, be considered as inalienable time-space. presage of the passage to a creative re-evaluation inside the contemporary Alessio Chierico: Inside the context? environment themes, do you think a cyberspace such as the Internet has Isabella Bordoni: The concept of no- potential poetic qualities as every place first, and then the super-place physical space? Can it suggest the and sub-place, are fundamental to construction of a poetry.scape? understand the city, the society the contemporary art. In this prospective, Isabella Bordoni: I’m very connected the interpretations of Marc Augé, but to the Net and in general I’m very also Mike Davies and Foucalult, took interested to communication systems. place where the city is exposed, Poetic is everywhere, but rarely show where the urban body becomes mass, up. It is a slow work it contains a where the human body turns into utopia. Benjamin says that “The exposition and consumerism place. memory, similar to ultraviolet rays, Where the space completes itself indicates to everyone inside the life because of an excess of book an annotation that, invisible, as representation. Hotels, malls, cinemas prophecy, interpret the text”. The are plenty of social prospective sense. memory, the annotation, the invisible Understand them, make us I say that sometime my work breathe understand the exigencies of the inside the folds of the speech. I know nowadays life. I’m interested most of I’m part of a minority thought. I adore all by another prospective that I conducting the art in a state of named “poetic citizenship”, where the suspension and amazement. This two terms, citizenship and poetic, process asks to live a real experience move unite and disunite, in a common of senses, but also describes an

80 interior scene, being in the confusion, Isabella Bordoni: Writing has been my being lost. This way sensible First creative thing I made in my territories are investigated and reveal youth. I then grew in the ambit of their own enigma. If Internet is North European research, relating interpreted as third place, the answer immediately artistic projects with is yes; it is possible to go by in this communication technologies. I talk third place of the elsewhere. By the about projects such as ” La Natura way, it is the Net itself that allows the ama nascondersi” of ’92, “Realtime” of remote fruition, wanderer, multi- ’93, “Lost Memories” of ’94, “Horizontal directional and by the shared Radio” of ’95 or “Sphil” of ’96, authorial. Besides, I got the collective projects that saw me impression that the space of the Net protagonists with others, because is nowadays interpreted as here, as often the physical world interfaced immediate and as exposed. So it is the Net. I had the dramaturgic possible to build poetic platform on responsibility of the project, I had to the Internet, tools ready to compose create a poetical texture between the poetry.scapes, provided that here will word, the scene and the media. I lived be mediated with there. the Italian theatre from the middle 80′s, following the path opened with the multi-disciplines art. My theatre experience developed spontaneously in the reciprocal trespassing of languages, arts and technologies. I can’t think about a real distinction between aesthetic worthiness and the investigation of the language, as I don’t think a language can exist without aesthetic.

. Alessio Chierico: The body is an essential expressive element in Alessio Chierico: How do you see performance and theatre areas. Which technologies and media related to conditions does the technologic arts with antique origins as poetry and development impose in relation with theatre? Which is their role inside your body? Which characters can the man- creation? Are they considered machine interface originate? following an aesthetic worthiness or is there intent to investigate inside Isabella Bordoni: When we talk about those languages as well? landscape/territories/scenes, we

81 inevitably find a corporal place. The different were the research areas that body is a glorious, changeable you investigated: poetry and machine, which already contains its landscape, childhood and time. Does interface, its communicative a natural conceptual relation exist prosthesis: the language. In my between time and experience of a city performance and writing experience I and those of a person? Which desired putting on scene an athletic emotional similarities link poetry of but also sacred body-language. As the landscape/place to the poetry of home and intruder, on one side the the person? body-language is quiet and contemplative, on the other side Isabella Bordoni: Everything exists kinetic and viral. Obviously it is not inside the knowledge. Person and about value that contradict, but once world, macro and micro-cosmos enter again about opening the conflict that one in the other, deeping the grill of third places own, about resonance the reciprocal looks. I call “look”, the and invisibility. I think that technology sensitivity the world has toward the brings fantastic. Not all the world. Absolutely, having a time and technology, but a technology that geography different to each other honor the man childhood, its poetical makes us who we are. You know, this memory. Therefore, a childish, is the invisible map we were talking imprudent, dreaming technology. about. I dedicated a Borges poem to this project: “ ”

Alessio Chierico: In your soundscape of public environment you worked using the technical structure that was already present, employing institutional systems with a certain pervading degree. Is there intent in that, or did you used those audio instruments only to “talk with the place voice”?

. Isabella Bordoni: An interesting Alessio Chierico: “Different nature”, aspect of the soundscape of Perugia , name of the workshop you directed, inside and outside the Rocca Paolina, refers to multiple stratifications of was the relation with a location that, Perugia , which see different époques as you said before, contains so many enter the same environment. And historical stratifications. The Roman

82 and Etrurian history, the medieval and the section managed by Moreno modern, and the contemporary one Barboni, where “Diverse Nature” has are the sign of the plural nature of this been hosted, perfectly fit the city. And then, the today design environment. It’s been all in one, multi-ethnic centers and peripheries. architectonic conformation, its use as It’s been a bet to work “with” the infrastructure, its technical Rocca Paolina, as the space was so equipment. Moreover, the re- fascinating, but also so difficult, that it semantic work has been interesting as was like working with a real body. well, if you think the music centre of Inside the Rocca antique streets and the entire mechanic transportation squares of the medieval Perugia are system, normally used for service found, but lifts and escalators turn announcements, alarms, and so on, this place into something more and has been used to create a poetic more controversial and beautiful, nerve, starting from John Cage work. connecting the low part of the city with the high part from 1982. The June 23 rd of 1992 John Cage Suddenly, when you step inside it, as presented the conference “Simplicity stranger, you think about “Parigi and Chaos” in Perugia , invited by capital of the 19 th Century” by Quaderni Perugini di Musica Benjamin, you think about the Contemporanea. I was there, technical age, about the “passage”, expecting for my daughter that would about the mutations of the first have been born in a while. I often industrial revolution, you fall in a thought about that brief but intense temporal “gap” of enormous strength. meeting and the phrase “everything will be good” and a cuddle. Fifteen years later, the recording, of what would have been for Cage his last travel to Italy a few months before his death, came back in the city as poetic pulsation. With those materials – mixed with my voice and words – I desired giving testimony and gift. So we’re back to those “affective relations” we were talking at the beginning. .

You can easily understand how the “flow” idea at the conceptual base of www.leartiincitta.it

83 www.ib-arts.org

84 Art Futura 2007: The Next Net

Barbara Sansone

slipping into everyday life. Yet it is to say that the title was a bit misleading for a festival more concerned in cinema and 3D standard applications rather than in a real experimentation.

On the occasion of the Festival, Marcel·lí Antunez showed for the first time his new performance, Hipermembrana, the next step of his project Membrana, where on the From 25 th to 28 th October 2007 stage there are actors, sensors, Barcelona witnessed the 18 th edition interactive videos, dreskeletons and of Festival ArtFutura, hosted as shouting machine. Reminding more a tradition in the stand of del Mercat de Boccaccio’s work than a Dante’s one, les Flores . The subject for this edition two famous Italian writers straddling was “The Next Net“: experts and the 13th and 14th century, the celebrities of the field tried to foresee performance leads the public in a the next developments of the web. hellish trip following a minotaur’ s orgy adventures. As usual the whole Although extremely interesting and structure is interesting and well well explained during the conferences organised, allowing video projections of the 1 st afternoon, actually the and sounds to interact with the actors theme was then put aside to make and Mr. Marcel·lí’s wonderful draws to room for spectacle effects, 3Ds and play a role in theAudiovisuale plot. During the videogames. Everything was as usual festival program Mr. conducted by experts able to offer Marcel·lí Antunez was dedicated the communicative and exciting showing of El Dibuixant, a exhibitions. Moreover everything was documentary film exploring his life accompanied by highly useful and works and told by the same actor information for the one who wants to while depicting a composition on a live consciously the technical wall. developments more and more

85 Yahoo! Research in Barcelona, where scientists look for algorithms able to explain the web in order to booster more complex researches. They look for a solution for classical problems in linguistics and semantics; they study the surfers behaviours, the web applications, data organization and classification. The final attempt is to find out the basis for the next net . which will help people organizing contents, understand their needs and Among the projects you could see easy connect them to information. there were a selection of Intros and This is what the net should be able to Demos (the majority of them offer through proper services. extracted by videogames) and 3D animation works, all of them of high quality, but none actually innovative or experimental. The conferences were distributed in the 3 days of Friday, Saturday and Sunday and organised for subject: The Next Net, Visual Effects and Videogames. As already disclosed before, the most fascinating day was Friday, starting with a conference hold by many authors. .

Juan Freire opened the “ball”. He’s Another interesting and pleasant professor for Marine Biology at the A speech was Enrique Dans‘ one, Coruña university and very active professor at the university of Madrid curator for a remarkable blog ( and collaborator for many nomada.blogs.com , in Spanish) communication media. His analysis is where he explores the net focussed on what kind of people use developments on a political, cultural internet, on the way and what they and economical point of view. look for, on the difference in perceptions of the growing Then it was the turn of Hugo generations who have grown up with Zaragoza, scientific researcher by these tools, on the phenomena

86 changing ads and economy. development of this social stage and he described what was happening After Artur Serra of I2CA and his there, what people are looking for: it intervention about Overmundo in would have been a more interesting Brazil, we can probably come to the analysis if only more deepened on the conclusion that Web 3.0 is already psychological and sociological point operating but it is not available for the of view. majority of the people, it is still in an experimental step and its objective will be organizing in a more useful and rational way user participation, beyond being more participative and representing a channel for other media. This will clear the way for who has to find and select information and services on the net.

The next host is Steven Johnson, renowned author of essays such as . Everything Bad Is Good for You or Emergence: The Connected Lives of On the second day it took place the Ants, Brains, Cities, and Software . His traditional exhibition of Vida, an interesting point of view take the cue international competition for from the theory of vanishing-point. Fundación Telefónica‘s life and According to this theory our interest artificial art, already at its 9 th edition. for a fact is inversely proportional to In the NextFun stand, opposite the its geographic or emotional distance. theatre, you could preview the As a consequence, although the pro winning movies of the last edition. of the web is that you can surf from Then it was the turn of three anywhere in the world, the web must celebrities of the artistic world. The also offer instruments for first speaker was Paul Verschure contextualising the contents and the analysing the performance opportunity to look for information Re(PER)curso , acted the previous directly tied to one’s own area, or evening by a dancer, a percussionist even the neighbourhood. and a synthetic character in a 3D On Friday the conferences ended with virtual world. Despite the long Dan Huebner of Second Life telling us technical organization of the the story of the birth and the performance, the lacks in aesthetics

87 and style let you think of a school Khronos Projector on show in the exercise rather than a mature work. stand NextFun. It deals with an other beautiful work consisting of a cube Jaume Pensa‘s works are definitively where there is a flexible screen made breathtaking . He is a Mediterranean of lycra projecting a picture from the genius always joining high tech to end to the beginning. This image is sensuality and beauty. One of his actually a video clip and you can most e xtraordinary creations is manipulate its time of show just Crown Fountain , a huge fountain touching the screen or directing a realized in Chicago and made of light at it. So pining candles can be blocks of glass and a thousand faces again entire and enlightened, rotten shot during two years. Jets of water watermelon can come back to be come from the open mouths of these fresh and juicy, traffic jam flowing faces, recalling mythological subjects. smoothly, a sunset can be again a A suggestive work, perfectly fitting dawn, everything happening just with with the city environment and based a stroke. Therefore the work offer a on a solid and well developed idea. touch-interface that allows you to The artist spoke about the difficulties manipulate the space-time variable at during the realization of the work and will. the reactions of the citizens, what he regards as a basic issue. The objectives of this work are: interactive cubism (i.e. the idea of painting playing with time), non linear narration, a 2D & ½ screen (that is to say offering new projection spaces, putting into question the idea that digital interfaces are fragible and therefore you mustn’t touch them – what on the contrary public are always willing to do-). In Mr. Alvaro’s mind this exploration through gestures has still to undergo further . developments in sound, dance etc. The audience feedback is essential The possible applications outside art also to Álvaro Cassinelli, a young are several: just think of medicine, Uruguayan physician and engineer architecture, geology, advertisement. now working as lecturer by the The afternoon was occupied by digital university in Tokio. He illustrated his animation and visual effects of 4D

88 cinema: Jordi Gironès who works by Framestore CFC (UK), explained some themes regarding the oncoming movie ‘ The Golden Compass’ ; Ben Hibon described his animation work paying particular attention to the short ‘ The Codehunters ‘, realised for MTV Asia and taking part to the 3D competition ArtFutura Show and at last, in a meeting lasted 2 hours, Debbie Denise, Buzz Hays and . SeanPhilips working for Sony Pictures Hosts and events in the festival, as Imageworks spoke about the history usual a rich event, were perfectly of 3D, showing some extracts from organised and of course they were Spiderman III, The Polar Express and much more than I mentioned. For Open Season . They also premièred further information I suggest to visit some shots of the latest Beowulf, the Festival website, where you can giving the public polarized 3D glasses. find a lot of clues, a blog and a long Sunday was spent for videogames: list of links. Little big planet, Heavenly Sword …

www.artfutura.org

89 Transitio Mx 02: Nomadic Frontiers

Lucrezia Cippitelli

but there’s also an official instrumental response at the use of new technology in artistic ambit (as Arcangel Costantini said to Digicult almost a year ago http://www.digicult.it/digimag/articl e.asp?id=719 ). Transitio festival is organized by the Centro Nacional de las Artes, the Centro Multimediae and with the collaboration of the Instituto Nacional de Bellas Artes. Six months after Interactivia 07, the New Media Biennale of Merida, and Mexico seems manifest for a some kilometers further north, in the proneness to productions and federal capital, the second edition of researches that involve technologies the Transitio Mx festival (12 th -20 th and media in context of procedural October 2007) finished, expositive but also social experimentations. No and explorative project dedicated to more technologies tout court but the video and the creative use of rather analysis of their impact inside technologies. local communities (artist, activists, production and expositive spaces). Transitio Mx developed in the Centro Theme of the festival, named Nacional de las Artes, in the Centro de Fronteras Nómadas, allude to the idea la Imagen , in the Laboratorio Arte and of a frontier as fluidity space, as in all the public spaces of the city in passage, as movement. The border the nearby of museums and artistic seems to be fixed, even if actually is institutions. A huge organization, that changeable as it assume shapes and counts tens of managers, producers, attitudes of who’s trespassing it, of press agents, artistic directors and who’s stopping by or who’s conference organizers, demonstrating penetrating it constantly taking each that in Mexico something is moving, time the opposite direction.

90 Transitio Mx is articulated on three platforms: an exhibition, a symposium and a contest.

The contest, as the announcement says, is opened to producers and artists that work with video, sound NetArt, installations, performances and scene arts, and has been switched into three prizes. Sigizia,

. won with Identity States by the French duo Brad Kligerman y Jamil The idea of the “wandering” frontier is Mehdaoui; Transitio, won by the born by the central idea of the American Matt Roberts with the exposition (one of the three platforms locative media cyclist project Cycles on which the festival is developed, as for Wandering; Transnational we’ll see) that wants to focus its Communities, won by the collective attention on the community. The idea formed by Ricardo Domínguez, Brett of the festival is to suggest a possible Stalbaum, Micha Cárdenas and Jason match between the geographic Najarro with their work Transborder frontiers – image totally in line with Immigrant Tool. our times, made of movements of vast communities to bypass the physical frontiers that divide them from the idea of a better life – and the disciplinary ones, which should be open, permeable and deconstructed to give space to hybrid projects and open works. As frontiers are opened, the communities who realize and share artistic practices founded on experimentation and hybridization of media are hybrid, open and oriented . to commixture. They’re wandering The expositive platform has been communities because they’re mobile, noteworthy without any doubt, as art realized in network is because of the huge quantity of omnipresent and delocalized, without projects and artists, and it has been a specific graphic position. realized in three sections. Síntesis

91 libre, managed by Eusebio Bañuelos, Im_polis, run by Ale de la Puente , Sarah Minter, Ricardo Rendón y Karla Rogelio Sosa, Iván Abreu, Karla Jasso. Villegas, proposed a series of It’s maybe the most important and performances (360 degrees, from challenging of the festival, with 29 Graffiti Research Lab in Mexico City invited artists and projects streets to A/V performances of expressively thought for the festival, Arcángel Constantini or Fernando among which Gustavo Romano, Llanos) and contextually their Young Hae-Chang Heavy Industries, documentation and filing in the Ricardo Miranda Zuniga e Lucas Memory Lab, who contains the Bambozzi. Im_polis means “inside the memory of all the processes that politic”, to reactivate the discourse of brought to the realization of some the insertion of the art inside the events. social life, using artistic works that often delocalize their work from the This way, the creativity goes through artistic context to the real one. every action of the mind, from the artist one to the critic or curator that create a speech using not only the verbal or written language but also the creativity. “Every practice – confirm the curatorial statement – artistic act or product is a way to relate with the world”. Performances and action generated and discussed inside museums are transported in the urban space and presented as parties, games, T.A.Z. as the old . Hakim Bey would say, to relate with a The program of the symposium has community of not specialized public. been rich of interventions by critics, (in).COMunidades, directed by thinkers, international artists, a mix of Laboratorio 060 (lc060.org), collective “think local and act global”, where the of pop-stars of the new-media think – as curators/artists/producers/organizers José Luis Brea – mixed to artists, critics that built a path of actions and and local academics to give space to a presentations in different locations of dialogue that resonated not only the city – not officially devoted to abstract but also concrete, giving contemporary art. voice to local projects such as Fran Ilich. Interesting the idea to divide the

92 symposium in two sections, where the paradigm (it’s necessary). The official discussions variegate among art and push to new media and technology politic, migrations, globalization, seems finalized to create a fresh media and decentralization with some image, young and new, parallel to the of the artists invited to Transitio, demands of the new Mexican critics and international thinkers. The governments (that conquered the other parr, oriented to the practice, power in 2000 after seventy years of proposed a workshop on open source Partito Revolucionario Institucional). programs and their usage for The usage of new technologies seems multimedia editing (from video to kind of empty, a bla bla bla of neo- text), filmmaking and even “open avant-garde notions mixed to some source tools for urban citations ad hoc of the strong communication”, realized by Graffiti philosophers, as Deleuze, Guattari, Research Lab. Augé and so on, and words of the new media ambit (interaction, Short parenthesis dedicated to the dissemination, globalized media ). confrontation with the national

93 curator committee of the three exhibitions and symposia (contained in the web site poadcast), and you’ll understand that the investment in such projects by the institutions is not a blind choice. It means pushing on local intelligencies and giving the possibilities to those.

. http://transitiomx.net/ But only a look to the interview of the

94 Link index

Florian Thalhofer And The Korsakow System http://thalhofer.com/ http://www.korsakow.com/%20

The Theatre Of Electronic Surveillance http://thebuildersassociation.org http://www.superv.org/ http://www.critical-art.net/ http://www.notbored.org/the-scp.html

Steal This Film 2: Share Alike http://0xdb.org mailto:[email protected]

The Gate: Open Considerations – Part 1 http://www.imal.org/ http://odysseyart.ning.com/ http://www.gazirababeli.com/ http://www.artificialia.com/peam2006/ http://www.0100101110101101.org/home/performances/index.html http://slfront.blogspot.com/ http://www.ecafe.com/getty/table.html http://www.domenicoquaranta.net/blog/

Vinz Beschi: Media Don’t Eat Children

95 http://www.vinzbeschi.it/ http://www.pinac.it/

Who Is Afraid Of The Dark? http://www.digicult.it/digimag/article.asp?id=717 http://www.johnduncan.org/

Quasi Objects Project By Lorenzo Oggiano http://www.lorenzooggiano.net

Duprass Duo, New Audiovisual Politics http://webmaildomini.aruba.it/cgi-bin/webmail.cgi?cmd=url&xdata=%7E2-ea 4726f493aae55b3aefc728f17e8bbcff9369eae2afe0d2cbc2dacfd4737400&url=htt p!3A!2F!2Fwww.duprass.com!2F http://webmaildomini.aruba.it/cgi-bin/webmail.cgi?cmd=url&xdata=%7E2-ea 4726f493aae55b3aefc728f17e8bbcff9369eae2afe0d2cbc2dacfd4737400&url=htt p!3A!2F!2Fwww.interval-recordings.com!2F

Polymorphic Intelligence: Part 1 Beijing, World Researches Politics Lab (au): Meta Design. Liquid Spaces And The Cities Of Tomorrow http://www.lab-au.com

Near Future Lab: Imagining A Possible Future http://www.nearfuturelaboratory.com/ http://www.nearfuturelaboratory.com/2007/04/04/old312/ http://www.nearfuturelaboratory.com/2007/06/25/left-to-our-own-devices- hardware-sketchingwhat-this-means/

The Sensitive State Of The World To The World http://www.leartiincitta.it/

96 http://www.ib-arts.org/

Art Futura 2007: The Next Net http://www.artfutura.org

Transitio Mx 02: Nomadic Frontiers http://www.digicult.it/digimag/article.asp?id=719 http://transitiomx.net/

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