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Digimag35.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 Giulia Simi Koan01+ootchio: Landscapes From A Past Future ................................................. 3 Lucrezia Cippitelli The Cinematic Experience Of Boris Debackere ...................................................... 8 Annamaria Monteverdi Marianne Weems: Digital Divide And Theatre ....................................................... 18 Barbara Sansone Offf In Lisbon: Post-digital Saudade ....................................................................... 24 Alessandro Massobrio Sonar 2008: Advanced Music & Cinema Beyond ................................................. 28 Marco Baravalle Militant Art, Cultural Subversion ............................................................................. 32 Salvatore Iaconesi We Are Not Alone – Part 2 ........................................................................................ 36 Marco Mancuso Marc Garret & Ruth Catlow: Net Visions ................................................................ 40 Valentina Tanni All Rights Reserved. All Wrongs Reversed ............................................................ 49 Salvatore Iaconesi Degradarte @ Lpm 2008 ........................................................................................... 52 Massimo Schiavoni A Show On Friendship ............................................................................................... 58 Silvia Scaravaggi Confini Ttv .................................................................................................................... 61 Marco Mancuso The Wonderful Ideas Of Theodore Watson ........................................................... 67 Alessio Galbiati I’m Not David Lynch. Charlemagne Palestine In Milan ........................................ 77 Claudia D'Alonzo The Last Supper: Souvenir From Milan .................................................................. 82 Koan01+ootchio: Landscapes From A Past Future Giulia Simi Maria Grazia Mattei, from Studio Azzurro to Joshua Davis, from Forsythe to Fennesz and Mouse on Mars just to mention a few. The festival is an undoubted opportunity to reflect and sum up the situation of contemporary culture linked to new media. A specific space was reserved to audio-video performances, with the After three editions dedicated to overt intent to open a dialogue with great masters such as Cunningham, experimental and avant-garde Glass and Bertolucci, the fourth cinema. Thus, there was a whole edition of FUTURO PRESENTE festival series of site-specific works, as the opens up to the broader theme of the one by Mouse on Mars, based on the links between arts and new images of Herzog’s Fata Morgana or technologies: the legacy of the great the one by Christian Fennesz, whose experimenters, the dreams and performance rotated around Walter utopias of the greatest twentieth- Ruttmann’s Berlin: Die Sinfonie der century protagonists revised and Großstadt , one of the greatest developed by artists who employ the masterpieces in the history of cinema. latest technologies as lenses through In the wake of these artworks was which to observe and shape the also the young Italian duo world. koan01+ootchio (aka Massimo Vicentini and Salvatore Arangio) that, Around the MART and its striking during the last evening of the festival, dome, the festival gathered together presented Sci-fi Landscapes , a live many names of undisputed media tribute to sci-fi cinema and its importance, what with artists and ability to forcefully enter our critics: from Derrick De Kerckhove to imagination. 3 sci-fi cinema forced us to delimit the field of research somehow by identifying a specific theme. The “future landscapes” theme (views, sceneries, glimpses) always fascinated me. While at the school of fine arts, I attended a media course, held by Carlo Branzaglia, focusing on how sci- fi cinema and above all futurology had influenced the techno- . sociological development of contemporary society. This main I interviewed them to have a report on theme developed in two strands, how they welcomed the invitation to ‘interstellar space’ and ‘the city of the the festival and how they worked on future’. The in-depth analysis of these the project, which is their first work two ideas generated real antithetical together. polarities (city: syncopated, rhythmic, Giulia Simi: Sci-fi Landscapes which pyrotechnic, neurotic, noisy//space: was specifically developed for absorbing, dilated, melodic, droning) FUTURO PRESENTE helped you that later gave life to our live starting a dialogue with sci-fi cinema. performance. This dialogue gave life to an audio- As for the realisation modalities, we visual performance of great emotional divided the research on sources for impact. How was your idea born and areas of competence, meaning that how did you work? Salvatore (aka ootchio, Editor’s Note ) koan01: We can easily say that the screened sound materials and I dealt creation of Sci-fi Landscapes has been with video materials. We constantly quite hard, from the point of view of discussed the results of our concept and, most of all, of researches and ideas on how to put development. As you were saying, this them together slowly started to come work was born as a production for out. At the same time, we carried out FUTURO PRESENTE that, after the the more specifically technological original idea of an elaboration of research, pursuing the creation of a Lang’s Metropolis , took the form of a very strict relationship between the more extensive project on sci-fi unrecorded soundtrack and the real- cinema. The difficulty in managing a time video, so as to obtain a whole varied and boundless corpus such as series of situations where the video reacted precisely to audio impulses. 4 As the first results from both spontaneously. The first relation researches started to arrive and ideas concerns dates: even though Le turned into blocks, we started voyage dans la Lune can not precisely rehearsing them daily. After a month be placed within what we call of work or so, the first complete ‘Historical Avant-Gardes’, its dating outline came to light and, after many (1902) collocates it ideally at the changes and second thoughts, it took beginning of the history of avant- the finished form of the performance garde cinema. Metropolis (1927), you saw. instead, is placed at the end of this period, a short time before the lights of nascent Hollywood and the politics of the Third Reich caused the expatriation of the majority of directors who gave life to this art movement. The tribute to these two directors was unavoidable and due: Méliès is remembered as the pioneer in special effects and Le voyage dans la Lune is . the first sci-fi film; on the other hand, Lang’s Metropolis inaugurated some Giulia Simi: Avant-gardes open and of the main themes in science fiction close your show, which is totally (the automaton, the social control, the based, as far as images are concerned, city of the future), which constantly on editing and live re-editing of movie return both in literature (Orwell, Dick, excerpts that have forcefully entered Sterling, just to mention a few) and in our imagination. May we look at this cinema ( Blade Runner , Brazil , etc.). as at a tribute to the utopias of the Besides, the subjects of these two seventh art, born well before masterpieces are exactly the same we technological means allowed the decided to deal with in Sci-fi hyperrealism perspectives that sci-fi Landscapes , i.e. ‘the exploration of cinema have broadly employed? interstellar space’ and ‘the city of the koan01: The idea of setting the show future’. By setting the whole show within Le voyage dans la Lune and within these two movies, we want to Metropolis was an apt as well as say that the progresses sci-fi cinema obvious choice, meaning that many made in the last hundred years or so relations generated almost were already potentially present at the beginning of the twentieth 5 century. generation computers), new composers generated a very complex and unpredictable musical aesthetics, reaching amazing sound results. It was easy then to find a combination with the world of sci-fi cinema, for those very characters of complexity and unpredictability. Moreover, we had to express ourselves within an edition of the festival conceived around the relation between arts and new technologies. The tribute to those composers who Giulia Simi: We can find a tribute to entrusted large part of their aesthetics avant-gardes in sound too, since there to technological devices was almost are references to great music due. More specifically, I sampled experimenters of the twentieth many fragments with different length, century, from Berio to Xenakis. taken from the works of many Therefore, from a crossmedial point of contemporary composers and I view, new technologies can be seen overlapped them, making them as tools to develop the dream of new unintelligible and often obtaining a modalities
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