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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 Bertram Niessen Mikrosolke, Anarchia Audiovisiva .............................................................................. 3 Silvia Bianchi Qubogas: No Audiovisual Performances ................................................................. 6 Alex Dandi Live Dj Set Vs Studio Dj Set ........................................................................................ 9 Luca Bergero Loren Chasse, Photographing Acustic Spaces ...................................................... 13 Beatrice Ferrario Inviting Horror: Join To The Fear .............................................................................. 18 Tiziana Gemin Reality Addicts: Transmediale 06 ............................................................................ 21 Elena Bianchi Vairani Robotmusic: Beyond The Life .................................................................................. 25 Gigi Ghezzi Regional Innovation Systems ................................................................................... 32 Miriam Petruzzelli Art . Exe ........................................................................................................................ 36 Simona Brusa Seamless 2.0: Inventing Integration ....................................................................... 39 Marco Mancuso Wj-s Project…web Emotions .................................................................................... 43 Valentina Tanni To Cure With Video Art ............................................................................................. 50 Marco Cadioli Second Life Art ........................................................................................................... 52 Miriam Petruzzelli Transmodal Intuition ................................................................................................. 56 Annamaria Monteverdi Vision Theatrical Machines ....................................................................................... 59 Massimo Schiavoni Fura’s Metamorphosis ............................................................................................... 63 Domenico Quaranta The Dumpster, Bitter Love At Internet Time ......................................................... 67 Fabio Franchino Esono: Procedural Thinking ..................................................................................... 70 Alessandra Migani Living Room Video Art .............................................................................................. 73 Monica Ponzini Anti – Apartheid Animations .................................................................................... 77 Mikrosolke, Anarchia Audiovisiva Bertram Niessen who, between screams and sweat sometimes literally seems to fuck with the instrument (which can be a mixer and a couple of broken record players, a piano or some slide projectors) and sometimes it seems she is about to take off. Their performance is an underground dirty and infected splinter, the sort with an unpredictable trajectory able Mikrosolke, anarchic manipulators of to carry you high towards lyric and narrations, were born from the acid spaces or to make you sink into meeting of Unz, Tatiana and MM . It is brutality so as to make your ears very difficult to explain (and bleed. We asked Unz and Tatiana to understand) what they do. First of all, tell us about their way of working, we must say there is not a focusing on their performances rather “Mikrosolke” recipe”. It is in fact an than on their techniques and improvisation project coming out of aesthetics choices. In their work it is in fun, sometimes sick, in building fragile fact quite clear that those aspects are (drenched too) bridges between audio of secondary importance and that and video worlds. what counts is their energy during lives. Mikrosolke’s performances are a new wave in the world of Italian audiovisual performances, lately worryingly oriented towards lounge- atmospheres fundamentally inoffensive. Their way to present on stage breaks the mould: to the cold posture peculiar to Tatiana’s and Unz’s laptop performers the unpredictable physicalness of MM (member of Mercoledì and Newtone 2060 too) 3 . created during the “solitary production. Bertram Niessen: How do you create your narrative path? Do you have an outline first or do you start working in lab and then develop the whole thing? I am really interested in understanding how you manage to find a balance between experimentation and availability Tatiana: Actually, I think there is not a true answer to the two questions, as our relation is casual, rather human . than collaborative. We haven’t fixed meetings, we don’t work constantly, Bertram Niessen: for instance, Unz’s we haven’t a project or an idea of choices in sound don’t meet career and we haven’t any logic everyone’s taste, but what comes out mechanisms of production. The can be enjoyed by “outsiders.”….. “Mikrosolke” entity itself hasn’t a fixed Tatiana: To me, we are not given to identity, but it lives in an absolutely know. indefinite time and space. I didn’t even know I was part of it until a Unz: I think I have the builtest part of stranger told me. The same is for the the three of us, the most controlled availability: we don’t care about it. and rhythmic one. The choice and the There is no difference between a creation of sounds are always happy customer and an unhappy one. connected to a private and emotional What comes out of our performances research on the project rather than to is always good. Actually, until present, techno-musical needs we have never presented a work twice. Bertram Niessen: How do you act during performances? I have seen MM Unz: I believe the truth is in the with Newtone 2060 and Mercoledí middle. We have an outline that can many times and I know it is not easy be changed but we must have some for him to control his exuberance starting points. Then the elaboration during his performances. How do you in lab and the combination of the make a deal? things is fundamental to approach the different ideas and points of view Tatiana: We do not. Each one of us 4 has something to deal with. It can be either exuberance, schizophrenia, anxiety or fear. We definitely have a very emotive and sensitive collaboration. I think the trick is to catalyze all the right way. In fact, we rather talk about our mood than our structure of our work. To confirm this, after years of relationship with . Mimmo and Nunzio, I am persuaded Bertram Niessen: It seems I we play well only when we have the understand that, with your new work same mental mood. We are not made on tango, you reshuffle the cards as for programming a performance, but far as techniques and technologies for playing when we feel it. As Mimmo you use are concerned. Could you tell says, we are not someone who can me about it? think about getting up and going to work on the morning, leading a Tatiana: I did it because someone told “normal” life. When we feel the need me I was becoming boring and as I to hide in a dark coin, the external had other things in mind I thought it reality disappears and we are no more was the right moment. In fact, it was able to do anything else. funny to do something new, including the change of roles we decided to Unz: Usually, we don’t make a deal, have, such as for Mimmo, usually a we let MM’s exuberance be set free, sound producer, become an image trying to follow the different waves producer. creating from time to time during the performance and trying to give enough room to what we arranged. After all, it is just a question of www.mikrosolke.org schedule and then there is always the mixer . 5 Qubogas: No Audiovisual Performances Silvia Bianchi between abstraction and figuration, with a work combining painting, digital collage, drawing on paper and graffiti. Their works recreate an abstract and imaginary world, made up of chaotic landscapes and explosive microcosms, savage gardens and surreal landscapes. Each illustration is made up of details and of a play of superimposition between colours where the elements are Laura Henno, Jef Ablézot e Morgan arranged and weighed in such a way Dimnet started their common to transmit serenity and calm. Their research at secondary school in Lille compositions draw a fragile and where they graduate in plastic art and poetic atmosphere, and the together start to approach the graphic refinement and the childishness of world. Their artistic path starts in their outlines recreate delicate and 2000 and leads them to be today an evanescent perception spaces. extremely established and internationally active team from the point of view of art and commercial production. They first presented live at Netmage 02 . In this Bolognese audiovisual kermes, they presented a live introducing a visual poetics able to unfreeze the standards of image in flash and of audio/video interaction, introducing regressive, playful, . distorted and magic visual imagery. Baover