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Digimag26.Pdf 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) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Kurt Hentschlager. Feed: Visible Space Collapse ................................................... 3 Silvia Bianchi Synken: Audiovisual Transformations ..................................................................... 12 Francesco Di Orazio Sonarmatica 2007: Media Art And Fantasmagoria ............................................... 16 Silvia Scaravaggi Sonia Cillari: Body As Interface ................................................................................ 22 Giulia Baldi Sonar 2007: Electronic Music For The Masses ...................................................... 26 Marco Mancuso Sonar 2007, A Chat…to The Rhythm Of Music ...................................................... 34 Maria Molinari Decoder Island On Second Life ............................................................................... 39 Teresa De Feo Edoardo Kak: And So Artist Created Life ............................................................... 43 Tiziana Gemin Light Bulb And Surreal Art ........................................................................................ 46 Giulia Simi Challenge Of Networked Books: Gamer Theory .................................................. 49 Sara Tirelli Cultuur 2.0: Regarding Telematic Ecosystem ....................................................... 52 Lorenzo Tripodi We No Longer Get Lost As It Happened In The Past ........................................... 55 Marco Mancuso Software Art Space. Software Art ?!? ..................................................................... 58 Annamaria Monteverdi Ezio Cuoghi, High Education Of Brera 2 ................................................................. 63 Bertram Niessen Mark Coniglio: Building Blocks Isadora .................................................................. 67 Alessio Galbiati Sonarcinema 2007, Music For The Eyes ................................................................. 72 Kurt Hentschlager. Feed: Visible Space Collapse Marco Mancuso replicated many times all over the world up to its arrival, a short time ago, to the Sonar festival in Barcelona , Feed is the artistic and research project effectively enclosing the whole of the path, ideas, theories of one of the pioneers of the aesthetic and sensorial research on the relationships intercurring between sound and images. Feed, an audiovisual performance on Feed is, in todays panorama, the sensorial, spatialized, electronic artistic project that can represent a experimentation produced by austrin “reference model” and a “change in artist Kurt Hentschlager ( for the ones direction” of a whole scene, the that don’t know him, he, together multimedia audio-visual art scene. A with Ulf Langheinrich, is one of the scene that has not yet developed the two souls of Granular Synthesis) is, at potential offered by human this time, a project that is unique in its interaction, and that can start to genre, outside of the aesthetic and investigate, through Kurt technical languages currently spoken Hentschlager’s project, on the in the contemporary world of physical-sensorial-perceptive performances and multimedia relationships that artists can create installations. There’s really nothing to between the work of art and the discuss: opinions are in total audience. Because Feed is an artistic accordance among audience and project offered in the form of a live critics. performance playing on the loss of Whoever was able to “experience” the usual physicl-spatial coordinates, Feed (experience: this is its main on the continuous sollicitation of the significance) truly knows what I’m retina and on the direct relation that it talking about. Designed for the bears to specific areas of the human Biennale di Teatro di Venezia in 2005, brain, on the multisensorial, passed through Netmage in 2006 and synesthetic approach to sound and 3 2D/3D patterns that are stroboscopic lights will wrap the autonomously created by any single space beside you with a blinding, object present in the performance, on flashing white light, nd beautiful 2D the physical-sensorial immersivity and and 3D patterns will appear in front of on the resulting emotional you without the slightest effort. From stimulation, deriving from direct then on it will be we and experience and by the direct astonishment, for more that 20 (really establishment of a correspondence too short) minutes… between our body and technology. Marco Mancuso: Would you like to tell me the concept behind Feed project? We discussed in Montreal about the relationship between sound, light, audience physical perception, loose of tridimensional space. And we spoke about the way of relationship and signal neural trasmission beetween our retina and images in specific areas of our brain…. Kurt Hentschlager: Its probably fair to say, that Feed covers in one piece all In the end, Feed “simply” is an the subject matter that aesthetically experience to be had, to be lived, to and psychologically has interested me be used to be able to allow ourselves over time. Its at once a summary of to be astonished by our own reactions my long term research into immersion when faced with precise stimuli. I had and audiovisual composition, both in the chance of directly talking to Kurt terms of installation and performance, Hentschlager in occasion of the as well as an outlook of where I’d like Elektra festival in Montreal, and many to venture from here. were the questions that, inevitably, rose after the performance. Sit down, The piece has 2 parts, seemingly the relax, wait until the digital sound rises opposite of each other, the first one in volume, and when smoke starts to being classically frontal, a cinematic rapidly fill the room, until you can’t experience in the widest of senses, see anything, just relax, let yourselves non narrative (or barely so), displaying go to the loss of any three- a kind of sinister ballet of convulsing dimensional perception of teh space and sounding 3D bodies. The second surrounding you, and look around: the part then is the moment when the 4 perception of space, and for that always find this to be one of the major matter the classical cinematic set, frustrations, the need for vanishes in an instant, wiped out by a documentation of ephemeral and for massive injection of artificial fog. The that matter physical events, video projection is replaced by something that should be stroboscopic flicker and pulse lights, experienced by putting one self right creating an impression of complete into the event, but for many, e.g. immersion, a collapse of visible space historical, reasons is documented and and a familiar sense of perception. in the form of its documentation becomes something very different. So the second part of Feed is not documentable, because the visual impression unfolding is rendered in the brain, its not really seen, even though one seems to “see” it. Or rather, what’s actually seen through the eye and fed into the visual cortex is straight and “flat” high contrast flicker while the psychedelic 2D/3D patterns and whatever else individual . members of the audience believe to While the sound-scape of the first be “seeing” is visualized inside our part is mostly emanating from the brain. motions of the 3D characters on screen, in the second part it originates from the lights, from acoustic and solar pick ups channeled through a chain of effects and feedback. I try to create an equivalent in sound to the sublime quality of the tripping interferences phenomena in the second part. Its hard to describe what one actually . sees in the strobo-fog part, it also differs from person to person and it According to my research – which by certainly can’t be documented with a no means is exhaustive – what video camera. I love that because I happens is a clash between the 5 internal brain refresh cycle (of the temporarily subdue and reignite the visual processing parts of the brain) impression. Feed uses two and the external flicker cycles of the independent sections of strobes, stroboscopes. Once the fog part is which, when set to differing under way, the strobes fade in at frequencies, are creating about 8hz, from there, until the end of interferences on their own, all of the piece, they go up to a maximum which is constantly “frustrating” the of about 25hz. Normally, at the brain’s attempt to properly “see” and beginning of the fog part, people in thus constantly animating the brain to the audience will, in terms of brain ever new interpretations of the reality refresh cycles, have arrived in an alpha at hand. state, their brain, or more specifically their visual cortex, individually Generally the brighter the flicker and refreshing in between 8-13hz. Now the more filling one’s entire field of two things seem to happen, A) view, the more instantly the patterns Generally, stroboscopic flicker in a emerge. This relies for the most part range between 8-13Hz appears to on the very dense fog, which
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