3

Programme 4

Preface 8

Smart miStakeS | conferences 12

Share Prize 2010 22

Sm_a rt miStakeS | exhibition 30 reality iS Out there | special project 40

JaPan media art feStival | guest event 42

PerformanceS 44 4 Smart miStakeS Smart miStakeS 5 PROGRAMMe inauguration conference Performance

FRI 15 WARM-UP 9.00 Pm ENIAC into the Wood p. 45

WARM-UP 06:00 Pm NICHOLAS NOVA WED 20 accidents and Failure as Fertile Creative ground for the Near Future p. 13

WARM-UP 09:00 Pm JAPAN MEDIA ART FESTIVAL GIO 28 Screening of selected videos from the 13th Japan media art festival p. 42 OPENING TUE 2 06:30 Pm regional museum of natural Science, via giolitti 36

07:30 Pm TEATRINO ELETTRICO DC12V p. 27

09:00 Pm SONIA CILLARI aS aN artiSt , i NeeD tO reSt p. 25

02:00 Pm CHRISTIAN ULRIK ANDERSEN ,TATIANA BAZZICHELLI , G EOFF 04:30 Pm ROBERTA BUIANI COX , and LES LIENS INVISIBLES Scientific visualisation: conquest of uncertainty? p. 14 WED 3 Smart mistakes, or Business as usual p. 13 05:15 Pm VALERIA GANDUS and JASMINA TEŠANOVI ć p. 14

03:30 Pm CHRISTOPHE BRUNO and SAMUEL TRONÇON artwar(e ) p. 14 06:15 Pm Kim Cascone the Failure of aesthetics p. 15

08:00 Pm Marko Batista Parallel Digital StruCtureS p. 46 09:30 Pm Giacomo Verde multi -r eVerSe p. 47

THU 4 03:00 Pm Les Liens Invisibles , r.i.O.t p. 40

02:30 Pm Mario Calabresi and Anna Masera p. 15 04:30 Pm Max Casacci and Wu-Ming 1 p. 16 FRI 5 03:30 Pm David Orban 06:00 Pm Edoardo Boncinelli Why numerous mistakes can and must be made in Creative mistakes p. 16 technology today? p. 15

11:00 am Fulvio Gianaria and Gianluigi Ricuperati p. 16 02:00 Pm Edoardo Bonaspetti, Chiara Figone, Salvatore Iaconesi, Giorgio Maffei, Oriana Persico and Dario Salani. moderated by Simona Lodi art Publishing 2.0: Next Steps in Publishing p. 17

SAT 6 12:00 am Antonio Caronia and Caden Manson p. 17 05:00 Pm Jurij Krpan the Difference between experiment and investigation in Contemporary art p. 18 06:00 Pm Stelarc Circulating Flesh: From third life to real life p. 19 03:00 Pm Alex Giordano the mistake in Social media marketing p. 19 SUN 7 04:00 Pm Siegfried Zielinski Variantology ― thinking experiment in times of instability p. 20 05:00 Pm Bruce Sterling the accidental life and Comic Death of the media p. 21 location: regional museum of natural Science, via giolitti 36, turin 6 7

HOW TO: HOW TO USE THIS BOOK Piemonte Share feStival 2010 the cover page and page 40 have been layered with software so as to introduce an expe - is produced by the Sharing, via rossini 3 – torino riential and relational dimension as well as process to the book, transforming the paper tel. 0039.011.5883693 | fax 0039.011.8170974 pages into clickable, interactive hypertexts. www.toshare.it [email protected] to browse inside the book, you can use: - a next generation mobile phone (for instance an iPhone or android Phone); - a computer with a webcam. artistic director Simona lodi graphic icons are scattered across the pages. centre an icon on your phone or compute - general manager r's screen and a series of multimedia contents linked to what you are reading will appear. chiara garibaldi You can even ask the author questions, or read the comments of others who have read the curator book and chat with them. luca barbeni coordination and Production to begin with: luciana corbo 1. check that the necessary software is on your mobile phone or computer. if it isn't, download the software free from: http://www.toshare.it/augmentedcatalogue communication the Sharing Press office adfarm &c hicaS 2. centre the icons you find in the book on your screen. Web design Salvatore iaconeSi interface web exhibition online antonio rollo 3. enjoy! traductions antonella emmi elena aime John rugman graphic layout luca barbeni here are just some of the icons you'll find in the book: Printed by tiPografia artale - Qrcode. these icons will take you to the book's website or other on-line websites where Proof-reader luca andriolo you can read additional text, listen to music tracks, view videos and images, and browse Setting chiara garibaldi geographic maps. Production assistant alberto cittone

Piemonte Share festival is an idea by Simona lodi and chiara garibaldi

- fiducial marker. these icons will bring graphic objects, including 3d pictures and anima - tion, onto your screen. Share festival is held in: Museo Regionale di Scienze Naturali via giolitti 36, turin

this catalogue is available under a license from creative commons. 8 Preface Preface 9

PReFAce Piemonte Share festival 6th edition arts and culture in digital age

this year’s 6th Share festival has broadened its cultural horizon to include the progressive thanks also to Professor giulio lughi for the opportunity of working with the Sociology of pervasiveness of the digital in mainstream society, while keeping its critical eye on technology media and communication School at the faculty of education of the university of turin. as sharp as ever. When we set off on this cultural and artistic odyssey, the digital arts were considered entirely experimental, and not integrated into the business side of the art world. thanks to Piero gilardi, orietta brombin and claudio cravero for their co-operation in today, media art is an important and accepted artistic language, attracting an audience of organising the events at the Park of living art, turin. growing proportions. until not so long ago, digital art was just beginning to be taken into consideration. today we talk about art in the digital age. Special mention should be made of fabrizio arcuri, mario martone and lorenzo barello for the strong working partnership built between Prospettiva2 and Share festival. Share feStival will continue not to celebrate technology, but rather to investigate it, showcasing projects that question technology's influence on culture, and looking into how, thank you to the director of the regional museum of natural Science, ermanno de biaggi, for better or for worse, technology pervades and has changed our lives. this is why Share for having hosted the Share festival for a second consecutive year. feStival this year is changing its official scope of interest (and subtitle), focusing on art and culture in the digital age, shifting the adjective digital towards age, when before it was paired thanks also to the people who worked with us to create the Youth museum programme – with art. this change of paradigm has been shaped by the growing pervasiveness of the Sergio ricciardone and roberto Spallacci from clubtoclub, and Silvio mossetto from digital in society ― a process that has just begun, but has already led to computers becoming musica90. an everyday object, on par with any other home appliance. finally, we would like to thank all the public and private institutions that year after year have this year Share festival is featuring a series of exhibitions, conferences, dialogues, workshops, given the Share festival their full support. screenings and performances focused on the topic of Smart miStakeS – to help broaden our minds, sharpen our skills, and inspire creative expression. chiara garibaldi and Simona lodi a cultural, social and artistic counter-strategy lies in the hybridization and creation of new with luca barbeni and luciana corbo spaces for communication via the unexpected, mutation and unintended use. today, using technology in unexpected ways means opting out of the dominant life paradigm, rooted in a certain strain of liberalism rather than in the liberty of knowledge. until just two decades ago, creative approaches to technology could only be found among artists and in the academic and military spheres. from a niche interest, today all of society is under its spell. the task of the Share festival is to shine a spotlight on these trends, outlining a scene in constant change.

like every year, the festival is hosting an exhibition of the large-scale art installations of the six finalists of the Share Prize, which this year attracted 270 entries from twenty different countries, on show in the wonderful exhibition spaces on the second floor of the regional museum of natural Science. the winner of the Share Prize 2010 will be announced at the inauguration of the festival, at a special award ceremony.

the programme includes a thematic exhibition on Smart miStakeS and an interesting workshop tied to this year's special project by the artists of les liens invisibles.

new this year is the special Symposium on Smart miStakeS , in which leading keynoters explore the artistic and cultural import of error in three main fields of interest: technological and media mistakes (the relationship between humans and machines, dysfunction, and transmission errors), biological mistakes (mutation, biodiversity and living art) and chance discovery (serendipity, random discovery, accidents and unexpected variance).

a special thanks goes to the Share Prize judges Jurij krpan, andy cameron, fulvio gianaria and bruce Sterling for the great skill and professionalism with which they assessed all the entries for the prize, and for having fulfilled the arduous task of choosing six finalists, selecting the winner and assigning the special commendation. 10 inStitutionS inStitutionS 11

maSSimo giordano guido bolatto rISegTionIe TPUiemZoInOte NcoI uncillor for economic develoPment torino chamber of commerce michele coPPola regione Piemonte councillor for cultural and Youth affairS the torino chamber of commerce, with almost 238,000 members, has always played a leading administrative and promotional role for business, offering a one-stop-shop for a the 6th Piemonte Share festival will be presenting a series of exhibitions, conferences and diversified range of business services. the chamber works to promote the development of performances that explore the theme of Smart miStakeS , or errors and chance discoveries, the local economy, promoting events and conferences and sponsoring initiatives of general giving us an insight into the history of error and the watershed moments in the history of interest. this commitment has underpinned the turin chamber of commerce’s support for humankind and creativity brought about by error, in the form of chance discoveries. the Piemonte Share festival since 2006. the focus of this year’s festival, and of our age of global emergency, is therefore centred the festival brings together a rich, wide-ranging programme of events, with a view to on the artistic and cultural import of error and chance discovery, on a creative approach to promoting growth and innovation in the visual arts, interaction and graphic design, the technology. internet, mechatronics and computer science. all fields that have found fertile ground for Piemonte Share festival, proudly sponsored by regione Piemonte, is a key event for the growth in turin and Piedmont – it is no coincidence that our region has the third-highest arts and subcultures tied to new media and digital technology, especially as the overriding ratio of r&d investment to gdP in italy. Piedmont is a crossroads where research encounters intention of the organisers is not to celebrate technology but to question it. highly specialised technology, innovative prototyping tools, manufacturing capacity and a like every year, the festival will be hosting an exhibition of the large-scale art installations business climate that together offer concrete opportunities for applied research. of the six finalists of the Share Prize, which this year has attracted entries from twenty in an effort to raise the region’s international visibility and promote new innovative industries, different countries, thanks to the wonderful exhibition spaces offered by the regional museum the turin chamber of commerce has launched a number of special projects, such as of natural Science in turin. thinkup, dedicated to the ict industry, and the brand new intomech project, for the and it is precisely in turin, the capital of a region constantly abuzz with change, european mechatronics sector. Youth capital 2010, that the Piemonte Share festival will continue to play a key role in encouraging experimentation in the arts with a focus on digital languages, and in doing so spearheading the promotion of science and innovation – also through smart mistakes, as the organisers of this year’s engaging festival have so expertly sought to show. fondazione crt

fondazione crt has once again assured its support for the Piemonte Share festival, now in its 6th big year. the event – focused this time round on Smart mistakes , or the role of error in historic breakthrough and discovery – builds a bridge between two worlds that the turin-based foundation has always held dear: art and technology. diverse yet complementary, these two fields are of equal importance for the social and cultural development and progress of our local territory, here in Piedmont and the aosta valley. Since its establishment, fondazione crt has dedicated a significant part of its funds to art, with over €332 million, out of over a billion euros, channelled into leading initiatives in the sector and the development of artistic projects. to ensure its ongoing and specific support fiorenzo alfieri for modern art, in 2000 fondazione crt created the crt foundation for modern and councillor for culture and the 150 th anniverSarY of italian unification citY of turin contemporary art, a specialist body vested with an institutional role within the foundation, and the mission of developing and promoting the cultural and artistic heritage of turin and now in its sixth year, Piemonte Share festival has confirmed its spot as a leading fixture on the Piedmont region. the contemporary arts torino Piemonte calendar, the annual autumn programme of events an important part of the foundation’s activities is also focused on technology. Since 1992, that transforms the city into an international stage for contemporary artistic expression. fondazione crt has invested a total of € 318 million, out of over a billion euros, in research this year, the festival is extending its focus on technological innovation and experimentation and education, two key sectors for the study and discovery of innovation technology. in to include society as a whole, and the progressive sway that digital creativity, and the artists these sectors, the turin-based foundation funds leading projects in the field and promotes working in the field, holds over our lifestyles. its own projects, such as diderot, master dei talenti, and lagrange. the goal of the Piemonte Share festival is therefore a very relevant one for our times: to reflect on technology and take a snapshot, through encounters, conferences, workshops and exhibitions, of a scenario in constant transformation. the magnifying glass chosen to investigate the scene this year is the theme of mistakes, understood as unexpected problems and moments of rupture with the past. Smart mistakes takes us beyond the purely celebratory comPagnia di San Paolo vision of technology and into the realm of chance discovery and creativity in the search for solutions. the compagnia di San Paolo pursues public interest objectives and activities of social illustrious international guests from different fields will be making their way to the regional utility, with a view to encouraging the civic, cultural and economic development of the museum of natural Science in turin to take part in a true Symposium to discuss their communities in which it operates. its geographic areas of priority are the city of turin experiences and share their visions of the contemporary world. in doing so they offer another and the region of Piedmont, along with the neighbouring liguria region and city of engaging occasion for insight on the contemporary arts torino Piemonte calendar, which genoa. the compagnia is also committed to works in italy’s south and acts as a once again this year, despite the economic turndown and thanks above all to the vivacious european foundation on projects of international scope, in partnership with other support and efforts of our local associations and institutions, we are proud to offer the turin large foundations the compagnia di San Paolo is active in the scientific, economic community and visitors to the city. and legal research fields, as well as in education, the art, heritage and cultural sector, and in promoting the health and welfare of disadvantaged groups of society. 12 Smart miStakeS - conferenceS Smart miStakeS - conferenceS 13

The conferences will be held in the conference room at the Regional Museum of Natural SMART MISTAKeS cONFeReNceS Science, unless otherwise specified.

curated by Simona lodi and luca barbeni Wednesday 20 october 06.30 Pm NIcOlAS NOvA accidents and failures as creative material for the near future nicolas nova presents his research about product failure, glitches, errors and technological accidents. the swiss researcher concentrates on how people experience them and how they ooPS . S omething Went Wrong ! can be a starting point for creating near future worlds. think for instance about creating prototypes and exhibiting problems within it to make them more compelling. or showing Smart mistakes, mutation, failure, dysfunction, discrepancy, accident, unexpected chan - something as it will work with the failures so anticipating them somehow rather than ignoring ge, chance discovery, the aesthetics of error, mass waste, project failure, abandoned pro - the possibility. What will not work right? What problems will be caused? What does it mean? jects, disaster, flaws, imperfections, glitches, misappropriation, side-effects, slip-ups, the conference relies on examples of failed robots, absurd aircrafts or the intentional flops. destruction of mobile phones and vending machines to show how studying these examples can be relevant in the design process. based on these examples, the talk will deal with two Just as henri frédéric amiel suggested, we embrace our own errors more than the truths issues: how can we include the exploration of failures in the design process? how to turn of others, which is why this year we decided to dedicate the sixth Piemonte Share festival failures and people? reaction to failures into prototyping tools? to the artistic and cultural import of chance discovery. Smart miStakeS is the oxymoron wrapping up the theme this year, focused on the history of error and the watershed moments nicolaS nova is a design researcher and writer who works for video game in human history that error, in the form of chance discovery, has brought. studios, networked objects/robots companies and telcos to help them designing their products. based in geneva, he works for lift lab and is the error has truly unique creative power, as it represents the emergence of a problem, which co-founder of the lift conference. in all its different facets demands attention, and which in turn elicits controversy, while it is controversy that generates solutions and innovation. this is why, in our age of global emergency, smart mistakes are of such interest. Wednesday 3th november 02:00 Pm Just as genetic errors are an agent for mutation and ultimately biodiversity, practical errors TATIANA BAZZIchellI, GeOFF cOx, chRISTIAN UlRIK ANdeRSeN drive creativity, as perfection would otherwise leave no room for improvement, giving harbour to dysfunction. in the art and culture of our digital age, does error still play the role of instigating and leS lIeNS INvISIBleS change and activating value? Smart mistakes, or business as usual Without error there would be no evolution. the panel investigates some of the interconnections between art, activism and business. Presenters examine how artists, rather than refusing the market, are generating cultural So why then are errors called errors ? and not latencies, or activators, or generators? trojan horses - social hacks, or smart errors - producing critical interventions from within. as the distinction between production and consumption appears to have collapsed, every in this year's Symposium on Smart miStakeS leading keynoters will be exploring the artistic interaction in the info-sphere seems to be a business opportunity. the definition creative economy is a perversion in this line of thinking. therefore, the creative intersections between and cultural import of error in three main fields of interest: technological and media mistakes business and art become a crucial territory for re-invention and the rewriting of symbolic (the relationship between humans and machines, dysfunction, and transmission errors), and cultural codes, generating political actions, attempts of social innovations, but also biological mistakes (mutation, biodiversity and living art) and chance discovery (serendipity, unexpected consequences and a deep level of irony. errors or mistakes demonstrate the random discovery, accidents and unexpected variance). the Share festival Symposium will permeability of systems, that these can be reworked, and more so, that radical innovation then continue with a series of dialogues between guests from diverse fields, called upon to requires modification of the prevailing business logic. exchange their views on cultural and social issues affecting the average man and woman on the street. chriStian ulrik anderSen is associate professor at aarhus university, and chair of digital aesthetics research center. he researches within the field of these tête-à-têtes between directors, musicians, writers, scientists, philosophers, artists, interface aesthetics and criticism. designers, lawyers, economists and entrepreneurs, alongside the more specific presentations, will expand the discourse on error into broader fields that are not specifically technological. the guests have been invited to tell their stories and experiences within the domain of tatiana bazzichelli is Phd Scholar at aarhus university. She is board member smart mistakes, opening the festival to conversation as a platform for sharing knowledge of the digital aesthetics research center in aarhus. She is the founder of the of contemporary culture. aha: activism-hacking-artivism project. She wrote the book: Networking. la rete come arte .

geoff cox is currently a researcher in digital aesthetics as part of the digital urban living research center, aarhus university. associate curator of online Projects arnolfini, bristol, adjunct faculty, transart institute, berlin/new York, associate Professor, university of Plymouth.

leS lienS inviSibleS is an imaginary collective of artists consisting of clemente Pestelli and gionatan Quintini. their works explore the invisible bonds between the infosphere, synapses and real life. See p.40. 14 Smart miStakeS - conferenceS Smart miStakeS - conferenceS 15

Wednesday 3th november 03:30 Pm Wednesday 3th november 06:15 Pm cRISTOPhe BRUNO and SAMUel TRONçON KIM cAScONe artwar(e) the failure of aesthetics artwar(e) is produced by the european Smir project. french curator caroline engel, also the californian musician and theorist of glitch music , that is the creative use of quality- artistic director of the Smir project for the city of embrun and the center of contemporary reducing interference in sound, looks at the state of the art in digital music. aesthetics have art leS caPucinS invited christophe bruno and Samuel tronçon to produce a specific failed, music software now enables real-time creation thereby turning electronic music project for the festival Smir in Piazza that took place in mondovì in July 2010. this conference composition into an achivement-oriented rather than a process-oriented activity. failure and will be the opportunity to present this evolution of artware since July. error have become a hollywood stylistic preset in music software, revealing how glitch has the aim of the project is to build a platform for computer-assisted curating and artistic risk failed to examine our relationship with digital technology or ask the right questions about management . it is an attempt to reformulate art history, performative and relational artistic the politics of digital audio. attitudes, as well as curating practices, by using very contemporary methods inspired at the same time from recent marketing technics, new breakthroughs in mathematical logic, post- kim caScone founded Silent records in 1986, worked on david lynch's twin marxist analysis and scale-free network theory. Peaks and Wild at heart as assistant music editor. he founded the .microsound list which focuses on issues concerning post-digital musics and laptop chriStoPhe bruno lives and works in Paris. his works looks critically at network performance. phenomena and globalisation in the field of language and images. award winner at the ars electronica festival in 2003, and at the Share festival in 2006.

Samuel tronçon is a philosopher. as a doctor of philosophy specialised in mathematical logic and the foundations of computer science, his research looks at social interaction, learning and meaning. his work is an interface between local social sciences and applied mathematics.

Wednesday 3th november 04:30 Pm friday 5th november 02:30 Pm ROBeRTA BUIANI MARIO cAlABReSI and ANNA MASeRA Scientific visualization: conquest of uncertainty? digital Publication errors and transformations: journalists make lots of mistakes, and not those who enjoy sci fi fiction, have certainly encountered two definitions separating the always the smartest of mistakes, but then journalists are only human. but in our global, genre in hard scifi and Soft scifi . the two definitions offer two different approaches to science digital era of great transformation and crisis, journalists are learning from their mistakes and and technologies. the researcher thinks that these two approaches equally reflect two reinventing journalism itself. types of attitudes towards certainty and the calculability of everything that can be submitted to scientific scrutiny. the two approaches coexist in the field of scientific visualization creating mario calabreSi , 40 years, has been editor-in-chief of la Stampa since april a series of interesting contradictions that might make us reflect upon uncertainty and its 2009. in 2009 he released la fortuna non esiste published by mondadori. in potentials. 2002 he won the angelo rizzoli prize for journalism, in 2005 the carlo casalegno prize, in 2007 the Premiolino award. roberta buiani is a researcher and a media activist. Since 2005, she has been studying the intertwining between the biological and the informational, in particular between viruses. Presently, she is living in cambridge (uk) where anna maSera , graduate in history from Yale university with a masters in she is doing a project on scientific visualization and microscopy. journalism from columbia university in new York, has been keeping a close eye on new digital media for the past fifteen years. for the newspaper la Stampa, she is the managing editor of the website www.lastampa.it.

Wednesday 3th november 05:15 Pm friday 5th november 03:30 Pm vAleRIA GANdUS and JASMINA TešANOvIć dAvId ORBAN Why numerous mistakes can and must be made in technology valeria gandus and Jasmina tesanovic, two intellectuals, and above all two women of the today? new millennium, actively committed to a number of social, cultural and political causes, explore the significance of our choices and actions in life as the consequence of serendipity, this italian musketeer of technological devices explains how important it is when developing of a force that sweeps aside individual volition and intention. technologically advanced goods to “fail soon & fail often.” the chance to fail is a privilege that has been hard won. technological, economic, social and individual failure should be protected and must lose the stigma attaching to it. Why can we and should we make valeria ganduS is a former special correspondent for the magazine Panorama. today she writes for the newspaper il fatto Quotidiano, for which she also numerous mistakes with technology today? because the cost of failure has never been so keeps a blog. She is the co-author, together with Pier mario fasanotti, of a low! trilogy of works on contemporary italy, seen through the magnifying glass of its crime news. david orban is an entrepreneur and visionary, whose vision lies at the crossroads of technology and society. he holds several positions through JaSmina tešanović is a Serbian writer, political activist and filmmaker. her latest which he works to promote the take up of technology, including advisor and release is the book my life Without me , an anecdotal autobiography. european director of the prestigious Singularity university. he is the founder of Startupbusiness, a social network aimed at enabling the italian start-up ecosystem. 16 Smart miStakeS - conferenceS Smart miStakeS - conferenceS 17

friday 5th november 04:30 Pm Saturday 6th november 12.00 am MAx cASAccI and WU-MING 1 ANTONIO cARONIA and cAdeN MANSON What is the cultural import of error in the creative process of a musician and a writer? the director and founder of new York’s big art group talks to antonio caronia, new media Presenting us with their own personal experience, the two authors tell of how error, inadvertent theorist and scholar in cyberpunk, about our information age, where errors, glitches and mistakes and imperfections have given rise to ideas that have proven fertile. a dialogue signal interruptions have become marketing strategies that lay bare the media-ization of our where literature and music provide a springboard to talk about how anomalies and little world. heresies can turn out to be key events in much bigger transformations. antonio caronia lives and works in milan where he teaches Sociology of maSSimiliano caSacci better known as max caSacci , is an italian guitarist, artistic cultural Processes and multimedia communication at the brera academy of producer and founder of the rock band Subsonica. he is also director of traffic fine arts, and aesthetics of new media at the naba (new academy of fine torino free festival. he is currently working, together with anti-mafia arts). he is also director of Studies at the m-node of the Planetary collegium associations, environmentalists, university students, dJs and exhibition-space of Plymouth. and on the activist project torino Sistema Solare. caden manSon is co-founder of the big art group, and editor and curator of Wu ming 1 is a member of the Wu ming collective of writers, active since the the website contemporaryPerformance.com. he has co-created, directed end of the 20th century. in 1999, under the name luther blissett, the collective and been set and video designer for eleven big art group productions. published the novel Q. Since 2000 the collective has published group works, solo works and strange, unidentified narrative objects , along with a memorandum on contemporary italian literature entitled New italian epic . friday 5th november 06:00 Pm edOARdO BONcINellI creative mistakes Saturday 6th november 02.00 Pm artiSSima 17 oval - lingotto fiere - via nizza 280/294- turin today a genetic mutation, that is a dna error, is almost always harmful, if not fatal. this is because every species has reached its equilibrium point, which is not perfection on earth, edOARdO BONASPeTTI, chIARA FIGONe, SAlvATORe IAcONeSI, but as close to it as we can get. if mutations had never occurred though, life would still be GIORGIO MAFFeI, ORIANA PeRSIcO and dARIO SAlANI; where it was at its beginnings, almost four billion years ago. everything, from the differentiation moderator SIMONA lOdI of millions of different species, to the appearance and disappearance of new life forms, and ultimately the appearance of our own species, would never have happened. all those changes art Publishing 2.0: next Steps Publishing – both positive and negative, though we usually see and focus on the positive ones – were new scenarios in art publishing, sweeping across crossmedia publishing, free-press, self- driven by the ongoing emergence of dna errors in all species. this is the raw material and publishing, print on demand, ebooks, augmented reality, multi-authorship and ubiquitous engine behind evolution. publishing – software layered upon paper, making pages clickable, expandable and interactive. not all the outcomes of these errors are compatible with life or even positive. it is the as the book explodes, the scattered pieces create new forms of expression, new ways of environment in which different species live that ends up selecting the outcomes that are publishing and writing about the world. most beneficial or the least detrimental. the mechanism through which this happens is extremely simple: some individuals have more offspring, others less, and some none at all. obviously the advantage will be had by edoardo bonaSPetti is the founder and editor of mousse magazine (2006), an the individuals that have more offspring, which will be more represented in future generations. international contemporary art magazine, and since 2009 the head of mousse Some mutations are slight and produce only slight or negligible effects. others generate Publishing, a specialist art publisher. he has been the mind and curator behind much more extreme effects, such as a change in the number of legs or wings, a change in numerous events tied to contemporary art and culture. neck length, or a proboscis where there was not one before.

edoardo boncinelli is a lecturer at the faculty of Philosophy of the vita-Salute chiara figone is the founder and editorial director of archive books. besides university of milan. he is a former director of the international School of artists' books and non-fiction, archive books publishes the magazine archive advanced Studies of trieste. he has provided a fundamental contribution to Journal, which brings together essays and articles on art, architecture and our understanding of biological mechanisms in the embryonic development politics. archive books also organises events at archive kabinett in berlin. of humans and higher animals.

giorgio maffei has worked for many years in figurative art and publishing. he Saturday 6th november 11.00 am is specialised in the antiques trade and has produced and curated antiques FULVIO GIANARIA and GIANLUIGI RICUPERATI exhibitions and publications. artists' books represent a parallel and revealing We live in the age of the risk society, having moved from the issue of wealth redistribution source of insight into the history of art. to the issue of sharing the unexpected, defined as a systematic way of dealing with the insecurities and randomness induced and introduced by modernity itself. this is, among other things, the golden age of spam, defined as undesired (well, not completely) and Salvatore iaconeSi e oriana PerSico are the founders of fake Press, an undesirable (with a few exceptions) residue – junk, lumps of impossibly and unbelievably experimental publisher bridging the divide between the immaterial of the digital sized electronic stuff. another form that the risk society takes. What are the consequences and books. the technologies used for creating new spaces for for culture and creativity? a ‘poetic’ reading of an anthology of spam will follow. action/communication and overlapping them onto our everyday reality, thus augmenting that reality, also create new possibilities for use and interaction. fulvio gianaria is a practising criminal lawyer. Since 2009 he has been chairman of the crt foundation for modern and contemporary art, committed to the development of new cultural projects to complement the dario Salani , between 1992 and 2003, wrote for numerous magazines and foundation's traditional mission of acquiring works of art for the gam and publications as an in-house journalist and freelance contributor. today he is rivoli castle. the developer behind Prinp - editoria D'arte 2.0 , an experimental next- generation publishing platform based on new forms of crossmedia publishing. gianluigi ricuPerati is a writer published by minimum fax, bollati boringhieri, laterza and rizzoli. he has been a contributor to the magazines abitare, domus, volume and many other italian and international publications. he writes for the newspaper il Sole 24 ore. he is curator at the rivoli castle's museum of contemporary art, and he’s involved in the project canale 150, www.canale150.it. 18 Smart miStakeS - conferenceS Smart miStakeS - conferenceS 19

Saturday 6th november 05.00 Pm Saturday 6th november 06.00 Pm JURIJ KRPAN STelARc the difference between experiment and investigation in circulating flesh: from third life to real life contemporary art We are living in an age of excess and indifference. of uncertainty and ambivalence. of in order to provide a maximal support to the artist who is going to present their work at the prosthetic augmentation and extended operational systems. an age of organs without bodies . kapelica gallery, the curator encourages them to push the development of their idea as far of organs awaiting bodies. there is now a proliferation of biocompatible components in as it is neccesary to make their artwork complete in its aim. despite the optimal gallery both substance and scale that allows technology to be attached and implanted into the conditions that are created on purpose it my happen that the artwork itself does not succeed body. bodies are blurring. bodies are no longer fully alive (pacified and pierced with prosthetics) in its aim. for the gallery the possible unsuccess of the art project is as precious as the nor really dead (no longer needing to decompose). bodies are blurring. flesh is circulating, successful one while we are interesting in investigate the margins, borders and limits of art fractal and phantom flesh is proliferating. blood flowing in your body today might be circulating expression. in order to institutionalise this right to fail of an art project (and a program of the in my body tomorrow. an artificial heart circulates blood without pumping. a person is alive gallery too), we are fostering investigative arts as those who are constantly providing an but the heart does not beat. We can take the skin cell from an impotent male and reengineer insight in the state of the power of art questioning the social accepted understanding of art it into a sperm cell. more interestingly, the skin cell from a female body might be made into and culture role in contemporary society. sperm cell. organs are extracted and exchanged. organs are engineered and inserted. limbs can be reattached and reanimated. the face of a donor body becomes a third face this conceptual attitude is also crucial to understand the meaning of being contemporary, on the recipient. cadavers can be preserved forever with plastination whilst comatose bodies where artworks do not relate to artmarket of beautiful objects which are meant to please can be sustained indefinitely on life-support systems. cryogenically suspended bodies await and entertain the people but instead, the contemporary artworks are attributed to temporal reanimation at some imagined future. ova are fertilized by sperm that was frozen. Partially dimension where the art-topic is contemporary inspired from phenomena of latest living entities are engineered in-vitro. the dead, the near-dead, the undead and the yet to developments in social tissue and therefore the meaning of expression that artist are using be born now exist simultaneously. this is the age of the cadaver , the comatose and the and way of presenting this particular artwork are inherent to the topic itself. What Jurij krpan chimera . means with this is that the certain phenomena of tissue-engineering which is shaping the developments in medicine and therefore challenging the ethical values of ones human body of proliferating liminal spaces where what becomes important is no longer what it means to in a society, can't be presented appropriately by using oil-on-canvas technique (for example), be alive, but rather what constitutes being dead. the chimera is the body that performs but using the materials, skills and tools which are inherent to that certain biotechnological with mixed realities. a biological body, augmented with technology and telematically practice and is widely accessible to non-professional scientist easily. performing with virtual systems. the chimera is an alternate embodiment. the body acts in his lecture the slovenian curator try to explain the advantages and difficulties of with indifference. indifference as opposed to expectation. an indifference that allows contemporary investigative art practices, where artist are developing contemporary. those something other to occur, that allows an unfolding- in its own time and with its own rhythm. skills and technics which are cross-practice of specialists knowledge coming from different an indifference that allows the body to be suspended with hooks into its skin, that allows professional environments addressing the audience for which the art production with its an inserting of a sculpture into its stomach and that allows a ear to be surgically constructed uncany, imersive and participatory way of express things, is the unique veichle of non-linear and stem-cell grown on its arm. and perhaps what is now needed is not a Second life, but production of meaning. rather a third life . instead of avatars being prompted, a human body might be interfaced, accessed and actuated by its avatar. an inverse motion-capture system where a human having that kind of art production in mind, his lecture will try to explain certain meaningfull body becomes the host for an avatar, where a human body becomes a surrogate body, a differences between traditional art practices and contemporary investigative arts, where the prosthesis that manifests the movements and emotions of an artificial and intelligent entity difference between experiment and investigation brings attention on the production of meaning in real life. which is of crucial importance of kapelica gallery program. . JuriJ krPan lives and works in ljubljana, Slovenia. he conceived the kapelica Stelarc is an australian artist who has used prosthetics, robotics, vr systems, gallery – gallery for contemporary investigative arts. he curated the the internet and biotechnology to explore alternate, intimate and involuntary Slovenian pavilion at the 50th venice bienale in 2003. in September 2008 interfaces with the body. he is interested in the evolutionary architecture of he curated the presentation of the gallery kapelica in the featured art Scene the body and possible ways of redesigning the human augmented by implants section of ars electronica in linz. and exoskeletons.

Sunday 7th november 03:00 Pm ALEX GIORDANO the mistake in Social media marketing expressions such as viral marketing , social media marketing , buzz marketing and word-of- mouth marketing have moved from being the abstruse jargon of overseas marketing gurus to strategies of interest to multinationals, businesses and ngos. While at the same time old models of persuasion are being reiterated – techniques against which on-line audiences are fortunately and quickly learning to defend themselves. from a study of hundreds of failed case histories, the founder of ninjamarketing attempts to build the right model for working with social media. Who knows if even this time round it will be an error that saves us…

alex giordano , with his colleague mirko Pallera, founded in 2000 www.ninjamarketing.it, a blog/observatory on non-conventional marketing. he teaches Societing and Web 2.0 at the university carlo bo in urbino and serves as strategic planner for ninjalab agency. 20 Smart miStakeS - conferenceS Smart miStakeS - conferenceS 21

Sunday 7th november 04:00 Pm Sunday 7th november 05:00 Pm SIeGFRIed ZIelINSKI BRUce STeRlING variantology – thinking experiment in times of instability the accidental life and comical death of media Siegfried zielinski concentrates on the idea of alternation as a specific tactics to deal with a a bit about dead media technologies and what they reveal about accidents and unintended desastrous world. for this tactics he coined the term variantology . consequences in media technology. for four years bruce Sterling had an internet mailing list called Dead media Project . the history of media – especially european media – is full of the concept variantology is denoted by a neologism with the advantage that it does not strange accidents and comical mistakes. lend itself to the purposes of standardisation. it contains a paradox, which we encounter in other coinages, such as georges bataille’s heterology or michel foucault’s heterotopies : for instance, consider this wartime communications network which was based almost phenomena that are diametrically opposed, that rub each other up the wrong way, where entirely on an elaborate series of lucky accidents. there is friction between them or even mutual repulsion, congregate beneath a provisional in 1918, the british air force kept over 20,000 homing pigeons, handled by 380 pigeoneers. roof in such a manner that at any time they are able to drift apart again and operate the system was organized by colonel a. h. osman. he described the air force's pigeon autonomously. these are mixings of the type where re-separation remains conceivable and communication system: a constant option. the invocation of the logos in the concept serves not so much to establish or feign a unified systematic relationship, but more the ongoing irritation of the term’s inventors “a small balloon was constructed with a metal [release-] band worked by clockwork. to this and those who engage with the concept for a given period. band was attached a small basket containing a single pigeon with a message holder on its leg, and to each basket was attached a small parachute. the balloons were liberated in in contrast to the heterogeneous, with its ponderous oscillations in ontology and biology, favourable conditions of wind and at intervals automatically released from the special ring a we are interested in the variant both methodologically and epistemologically as a mode single basket with a bird. these were dropped into belgian and french territory when characterised by lightness and ease. as such, the variant is equally at home in experimental occupied by the germans, and in french and flemish a request was made to the finder to science and various artistic and media praxes, especially music. variations on or different supply intelligence information that was needed, at the same time giving the finder hopefulness interpretations of an initial theme are integral to the vocabulary and everyday praxis of and cheer as to the ultimate success of the allies' cause and promising reward for the composers and musicians. in a specific usage, the word variant means sudden changes information supplied." from major to minor (and vice versa) by changing the intervals, that is, diminution or augmentation of the third. now consider this. did the balloon work well? did the metal clockwork function properly? Was the pigeon healthy? did the small parachute function when the pigeon's cage was the semantic field to which the concept belongs possesses for us positive connotations in dropped? Was the wind favorable? Were the cages found before the pigeons died? Were principle. to be different, to deviate, to change, to alternate, to modify — these are alternative the cages found by people sympathetic to the allies? did those people know anything translations of the latin verb variare. to vary something that is established is an alternative valuable? Were they in a position to collaborate? Were they german double agents? did to destroying it — a strategy that played a prominent role and was favoured by many avant- the germans themselves find the birds? garde movements in the twentieth century. obviously, the concept also has associations and given all these possible malfunctions, was it still worthwhile to drop these pigeons in with a media format: long before the advent of cinema, variété, or the variety show, the hope of finding useful information? experimented with combining diverse stage praxes into an iridescent construct that only took shape for the space of a single performance. Yes, obviously it was. in fact, dropping pigeons from balloons was clearly a smart new- media idea, in 1918.

ruce terling Siegfried zielinSki holds the chair for media theory/focus: archaeology and b S has pubblished science fiction books, articles for magazines variantology of the media at the berlin university of arts. in 2004 he founded and essays. he collaborates with Wired magazine, he has a column on xl the research unit Variantology – On Deep time relations between the arts, since the first issue and he writes for the newspaper la Stampa, where he Sciences and technologies . zielinski is elected member of the academy of curates together with Jasmina tešanović the column globalisti a torino. arts berlin, the european film academy, and the magic lantern Society of great britain. 22 Share Prize 2010 23 ShARe PRIZe

the aim of the Share Prize is to discover, promote and support the digital arts. the competition is open to artists that use digital technology as a language of creative expression, in all shapes and formats. the cultural aim of the Share Prize is to make participation in the Share festival ShARe open and accessible to all artists. after a very interesting meeting and a professional, in-depth analysis of all the works, it is with great pleasure, that an international panel of judges announce the six incredible artists who have been short-listed for the Share Prize 2010.

JurY Statement Jurij krpan (ljubjana) - president andy cameron (london) fulvio gianaria (turin) PRIZe bruce Sterling (austin) established in 2007, the Share Prize is widely known in the world of digital arts. in 2010, two hundred and seventy artists sent in entries to Share Prize from all over the world. it was the Jury’s duty to examine these entries and select just six works for Share festival’s, six ambitious attacks on the electronic limits of artistic possibility. With judges from four countries, the selection process itself was a lively set of synergetic maneuvers as unique as the festival itself.

the Share topic of Smart miStakeS reflects an emergent world generated by social 2010 networks, synchronicities, strange disasters and happy accidents. only Share festival would bring torino a musical dJ set performed by a living bed of ants. fragility, entropy and the junk aesthetic reflects a global lifestyle of breakdowns and make-dos, embodied by the electrical theater, which is made of repurposed luzeS relaCiONaiS , eRNeSTO KlAR, uSa/venezuela household objects and zombie machinery.

Web cinema shows its unique strengths with a crowd-sourced digital remake of 0h!m1gaS , KUAI AUSON, ecuador djiga vertov’s classic man with a movie camera . every shot of this seminal silent film is to be re-shot and displayed by internet volunteers — especially the turinese, whose cinema museum has become a world center for studies in cinema. maN With a mOVie Camera , PeRRy BARd, canada a gentler, more personal kind of interaction is represented by a responsive, towering ripple of misty light in the ambient architectural spaces of torino’s museum of natural Science. aS aN artiSt, i NeeD tO reSt , SONIA cIllARI, italy amid the airless vitrines of stuffed animals is a glowing, whirling, breath-propelled installation of digital particles, with the breathing artist herself performing in maCghillie_ juSt a VOiD , KNOWBOTIc ReSeARch, Switzerland darkness. our sixth fortunate mistake is a shambling, anonymous performer who will roam turin while remaining unseen by video surveillance. the power of network society DC12V , TeATRINO eleTTRIcO, italy manifests itself through complex effects, devoid of obvious causality.

these six artworks are haunted rather than intentional, generative as well as expressive. by making Smart miStakeS , artists can break walls, break windows, and break new ground, achieving unforeseeable effects impossible without asserting the universal right of both humans and machines to fail in the best way possible. 24 Share Prize 2010 Share Prize 2010 25

Winner honorarY mention lUZeS RelAcIONAIS , 2009-2010 0h!M1GAS , 2008 erneSto klar kuai auSon

luzeS relaCiONaiS (relational lights) is an interactive audio-visual installation that explores 0h!m1gaS is a biomimetic stridulation environment based on the audiovisual events produced our relationship with the expressional-organic character of space. the installation uses light, by an ant colony, which is being video and audio surveilled, archiving the ants' movements sound, haze, and a custom-software system to create a morphing, three-dimensional light- and sounds inside a digital matrix. a pair of turntables constantly reacts to the changes that space in which spectators actively participate, manipulating it with their presence and emerge from the colony, thus spinning vinyl records and producing scratching sounds, movements. the work functions as a living organism with or without the presence and similar to the original stridulations of the ants. ants stridulate, human dJs scratch. this interactions of spectators. When viewers step outside the projected light-space, the system creates a sound reactive space, which reveals the connection between scratching, as an begins its own dialogue with space by means of extruding and morphing sequences of aesthetical expression created by human culture, and the stridulation phenomena produced geometric light forms. and when viewers penetrate and interact with the projected light- by ants as a modulation mechanism for communication. space, a collective and participatory expression of space unfolds. luzeS relaCiONaiS amplifies ants represent a natural superorganism, an autopoietic machine, much like the human the three-dimensional fabric of space by making it visible, audible, and tangible to participants. society. nevertheless, the ant society stands out due to self-organization and the emergence the resulting aesthetic experience encourages an unending relational process of shaping of swarm behaviour. ants accomplish to generate bottom-up structures in order to solve space among participants. luzeS relaCiONaiS is a hommage to the work and aesthetic inquiry problems by means of a complex network of local interactions. the source of inspiration for of brazilian artist lygia clark. this sound-reactive installation is based on the functional resemblance of the turntable, as an artifact for sound production, with the stridulatory organ of certain highly evolved ants, luzeS relaCiONaiS is a sponsored project of the new York foundation for the arts. this as an artifact for social organization. project is made possible, in part, with funds from the new York State council on the arts. additional support has been provided by the generous grants from the greenwall foundation biomimetics, or biomimicry, is increasingly becoming a force of knowledge which is bringing and the experimental television center's finishing funds program. the latter is supported practices and theories of arts and sciences together. biomimetics can infuence and inspire by the electronic media and film Program at the new York State council on the arts. the creation of socially responsible art forms, with sustainable functional purposes for the environment and based on sustainable organic materials, that can as well originate and Photography: mario ladera enrich inter-specifc interactions. by nurturing the formation of bottom-up organisms inspired Programming assistance: Joon Y. moon by the successful art of nature and an artistic, yet experimental, application of self-organization, Production assistance: Josef bull, ryan hale open networks for ideas and cultural interaction between living beings emerge, which could thanks to: katharina rosenberger, flavio gaete, giampaolo klar, elizabeth klar, mark Stafford, balance the artifcial and the natural world in ways that cannot be predicted but experienced. anton marini, tom Swirly, bettina Johae, the Share festival staff.

erneSto klar was born in venezuela and now is based in new York. his kuai auSon was born in guayaquil, ecuador. he has been working as an artistic work explores the poetic potential of revealing and transforming interactive and visual artist in three cities, Quito, new York and cologne, the imperceptible. klar's works have been presented at eyebeam, file he has been a nomad artist bringing his artistic imagination inspired by festival in brazil, and the artificial light art museum in eindhoven, among the cybernetic emergence of ants into new territories. his artistic approach others. he is currently a faculty member at Parsons the new School for has produced 3 installations with ants: recurrent ant Dream #1 (2007), design in new York. 1.ant.ity (2007) and the biomimetic stridulation environment 0h!m1gas (2008-2009). 26 Share Prize 2010 Share Prize 2010 27

MAN WITh A MOvIe cAMeRA , 2007 AS AN ARTIST, I Need TO ReST , 2009

PerrY bard Sonia cillari

maN With a m OVie Camera : t he glOBal remake is a participatory video shot by people around aS aN artiSt , i NeeD tO reSt is a very intimate piece, an exhausting performance in which the artist the world who are invited to record images interpreting the original script of vertov’s man emphasizes the creation of her own work in front of the public over time. With a movie camera, upload them on her website, where software developed for this She’s lying still on the floor of the exhibition space. She’s exhaling through a very long cable, which project by John Weir, archives, sequences and streams the submissions as a film. as people departs from inside his left nostril and it ends at the center of the main screen suspended from the can upload the same shot more than once infinite versions of the film are possible. floor. a digital creature which she calls feather is entirely generated by her exhaling into it. during the performance, she’s exhaling around 14.000 digital elements and she can bring the digital vertov’s 1929 film was selected because of his intentions as a filmmaker to document daily feather into more than 6 different states of beings, from addition to resistance patterns of life. also activities. the film, subtitled an excerpt From the Diary of a Cameraman , traces a day the range of the carbon dioxide levels in the exhibition space is revealed by the feather, which might unfolding from sunrise to sunset using footage shot in moscow, riga, kiev, often using the lose its initial range of colors heading towards black in case of higher concentrations in the air she’s same shot more than once. for the remake, vertov's archive becomes the database, three inhaling. one can hear the fatigued sound of her respiration over time. cities translate to the world, the cameraman is everyone, the internet is the world stage. connecting the creation of her own work to my own breathing, it highlights the creation as a carnal the work explores the capabilities of the worldwide web to achieve global collaboration by act of experiencing and as the vital instinct that can bring the artist into a continuous state of excitement encouraging culturally diverse participation and by developing software which accepts input and frustration. being in control of her own work through her breath, and being that breathing is one from many sources (e.g. mobile phone, digital still camera, video, web cam). to ensure that of the few bodily functions which can be controlled both consciously and unconsciously, she needs uploads would not be from the usual places twelve foreign correspondents were to rest to find a symbiosis between her and her work towards a single unit-the piece. a psychological commissioned (brazil, lebanon, israel, columbia, Pakistan, russia, Serbia, Japan, china, and bodily stamina is needed to fight against the risk of hyperventilation, in which she might find korea, mexico, thailand) whose role is to spread the word through their mailing lists and to herself breathing consciously deeper or faster to control the behaviors of her digital creature. breath, organize the upload of scenes or shots that add up to a minimum of one minute in length. as the giver of life, represents keeping each other alive, a metaphor of interdependence between the artist and his own creation. in creating the database version vertov’s experiment marches into the 21st century raising issues about the nature of media production/distribution in the age of youtube. Supported by [ars]numerica (montbeliard, france), optofonica laboratory for immersive artScience and mondriaan foundation (amsterdam, the netherlands); year of production: 2009 dziga.perrybard.net the Performance takeS Place the 2nd november at 09:00 Pm, Second floor regional muSeum of natural Science .

PerrY bard was born in Quebec and lives in new York. She works Sonia cillari , italian media artist and architect, lives and works in individually and collaboratively on interdisciplinary projects for public space. amsterdam. her artistic investigation examines how patterns of She has exhibited at the museum of modern art nY, montreal biennial, consciousness, perception and identity emerge in such settings. reina Sofia museum madrid. man With a movie Camera: the global honorable mention at vida 9.0 (madrid) and Prix ars electronica, remake won two honorary mentions - ars electronica 2008 and leidts- interactive art 2007 (linz); art division excellence Prize at 11th Japan meesen technological award 2010. media arts festival (tokyo). 28 Share Prize 2010 Share Prize 2010 29

MAcGhIllIe_ JUST A vOId , 2009-2010 dc12v , 2009

knoWbotic reSearch teatrino elettrico

in the public performance project maC ghillie _j uSt a VOiD , urban sites are visited by a figure, DC12V is a non-conventional experience of the heart of matter. clad in acamouflage suit, who reveals neither the traits of an individual, or even of a person. here there is no accompanying music or soundtrack, but a continuous synesthesia in which the socalledghillie Suit was originally invented in the nineteenth century for hunting, and every gesture is magnified and split by a booming amplification system, multiplied and has been used as camouflage for soldiers in military conflicts ever since the first World War. commented on via television screens and live transmissions. Sounds are generated using itscamouflage results in the anonymisation and the neutralisation of the person who wears analogue instruments only, while recordings of movements, percussion, friction, the it in public. the figure oscillates between the hyperpresence of a mask, and visual redundancy. electromagnetic fields of various everyday machines, distortion and square waves are used it traverses the modern urban environment in which conspicuity holds ambivalent currency, to create a super-hearing source that materialises sound waves perceptible only to machines, wavering between cumbersome affirmation and visual arbitrariness. and not humans. the wearer of the ghillie Suit, macghillie, attains a multilayered ambivalent visibility: the active, physical object, the real star of the show, is completely distorted and modified macghillie, on the one hand is becoming hyper-present through the rather peculiar outfit, by the amplification system, and by the magnification and multiplication of shadows and which against a differently coloured background doesn’t serve as camouflage at all. on the video images, that it becomes the obsessive exaltation of the minute, where movement other hand, the figure as such can not be decoded by most of the passers-by. What is this? becomes a founding action and expressive need. the overlapping of live video images, the a tramp, a lunatic, an animal, someone who has missed helloween? most people confronted shadows of the objects and the sound plane creates a dialogue of hyperdistorted languages with this anonymised protagonist cannot solve these questions, and thus do not want to that converge and descend into an overwhelmingly mechanical underworld. see him. invisible, because he does not want to be seen. this is something very typical for a board-game theatre where the real driver of the action is electricity, which powers the an overregulated urban environment. a urban environment that gives space to everything mechanisms and ensures their enjoyment. the overwhelming presence of machines is held that is calculable but declares the rest non-existant. macghillie is the visual leftover that back by the purposefulness of matter, by its imperfections and defects, by the humanity of remains. macghillie’s presence in an ostensive encounter is merely tender affection, no the little stories that every mechanism has to tell, providing we can check that they work. obvious threat. he withdraws from any closeness. faint-hearted and yet menacing? macghillie this is live-media stricto sensu, where live excludes the use of sampling as the digging up is present, and absent, at any time, at any place. our blindness and numbness for the of past recordings of events that are replayed in the present. via amplification, distortion, unknown, the undesired and the unclassifiable in urban space assures his omnipresence. magnification and multiplication, small is converted into big, futile into necessary, objects into personages, and the board into a location: a desktop tragedy in one act for self-propelled the audience iS invited to Perform maC ghillie _j uSt a VOiD folloWing the ruleS Provided bY machines. the artiStS . the Performance takeS Place the 2nd november at 08:00 Pm, Second floor regional muSeum of natural Science .

knoWbotic reSearch (christian hübler, alexander tuchacek, Yvonne teatrino elettrico consists of massimiliano nazzi and emanuele martina. Wilhelm) was formed in 1991 and is based in zurich, Switzerland. the the duo was created in response to the desire to combine the artist group has been experimenting with urbanity, construction of sonorousness of machines with the emotion of live music. knowledge and political representations in mediatised public spheres. the project focuses on the expressive potential of everyday objects most recently, knobotic research have been investigating the construction brought to life by electricity, to create a totally real time audio-visual of meaning and communication in a series of test cases about the language, completely free of sampling and recordings. constitution of subjectivity under the conditions of an information society. 30 Smart miStakeS - exhibition Smart miStakeS - exhibition 31

the idea of error as bio-artistic mutation in a post-human sense lies at the heart of the Sm_Art Mistakes exhibition performance by Stelarc, who recently had implanted a third, soon-to-be-functional ear, Smart mistakes make fine art: glitch, activism, mutation, serendipity grown from stem cells. curated by Simona lodi Serendipity is a term coined to describe the making of happy and unexpected discoveries by accident. Serendip is said to be the former Persian name for Sri lanka. the word is creating a buzz in the world of new media. in their latest performance, eva and franco mattes call up the short-sighted demon that lies behind the search for authentic contact on the exhibition represents just the tip of the iceberg of art works that fall within the vast internet chat sites, where chance encounter does not always have a fairy tale ending. theme of error. the works have been divided into three sections – glitches & activism, focusing on the mark Shepard is creator of the Serendipitor, an application that uses geo-localised technology relationship between humans and machines, mutation in living and hybrid art, and the to take a closer look at the implications of pervasive digital media on our everyday lives. serendipity of chance discovery – so as to give the exhibition its cardinal points. Within this framework, recent works were selected by artists that use innovative languages, representing error is also building things that are project failures, such as michele bazzana's vehicles, art in today's digital and global age. where the unexpected always has the upper hand. his improbable constructions are taken to the limits of physical resistance so as to ignore, as he himself says, the views of those glitches are unexpected technical errors that, as mark tribe says, are one of the internet's who claim they cannot work, or cannot stay in one piece, sending things and people running fundamental aesthetic properties, an intrinsic feature of the relationship between humans ‘out of control’ until they finally implode and reveal their limits. and digital interfaces. a group of artists that has worked a lot with glitch aesthetics is jodi.org, a leading exponent of net.art. the central theme of all the group's work is interpreting it is the fine line between error, mistazke and strokes of genius that should inspire us. programming glitches on the internet and the electronic debris they leave behind. the origin of the term net.art (net dot art) takes us back to the early nineties when an illegible e-mail was sent to artist vuc ćosić, in which all that could be made out where two words separated by a dot: net.art.

their work, just like that of two other equally fundamental artists, eva and franco mattes, better known as 0100101110101101.org, also has an activist streak to it. the relationship between humans and machines is brokered by software which in itself contains cultural and ethical specifications, which is what the artists focus their critical eye on, from open source to copyright. the collective alterazioni video also comes from art activist background, as can be seen in the critical interest it shows in aesthetic scrap, amateur production, and the anxiety of on-line overload and system crashes.

glitch aesthetics are therefore underpinned by the assumption of machine dysfunction, transmission error, bugs, interference, disturbance and communication breakdowns. artists such as lia, miguel carvalhais, dextro, ant Scott and rosa menkman also work in this field, exploring errors in the relationship between humans and machines not from a technical point of view, but as a social paradigm of the cultural perception of error, and as an expressive outlet for software-art and generative art.

the processive nature of art in the digital and global age also harbours space for error as an element in the creative process. a core dump or the unexpected crash of a computer programme, for instance, can become the artistic material that new York based artist cory arcangel transforms into video art, simply by converting a computer memory into another medium: a temporal scan-based video.

instead nullsleep, aka Jeremiah Johnson, takes low-tech electronic game devices to alter video games, creating a file corruption process and 8bit aesthetic from the sampling of sounds and images from famous console games, such as those for gameboy and nintendo neS.

remaining in the field of video games, alison maeley, programmer and video game enthusiast, is particularly drawn to the strange relationship between art that exploits automatic, uncontrollable and completely unpredictable processes and portraiture.

harm van den dorpel speaks to the living world to create a dialogic flux and reflux between what happens on his computer screen, the internet and the real world. the relationship with biological material is built only visually, though it still retains all its mutant qualities. 32 Smart miStakeS - exhibition Smart miStakeS - exhibition 33

0100101110101101. org (it), NO FuN , 2010, on-line performance, video documentation corY arcangel (uSa), Data DiarieS , 2002, software, internet browser (courtesy of the artist) (courtesy of fabio Paris art gallery) in this classic piece of glitch art, the new York artist transforms a core dump into art. in know what chat-roulette is? think of a chat site. can you play roulette? combine the two computing, a core dump consists of the recorded state of the working memory of a computer and you get random on-line encounters where you meet up and talk to a complete stranger. programme at a specific time, generally when the programme has terminated abnormally, throw in this duo of prankster activists and what you get is the shock of your life, caught where e-mails, texts and images are stored in the memory of the computer. in these works, on video – people crying, screaming, shouting hysterically, laughing, urging encouragement. the material is provided by a computer crash. form is provided by the artist. then press only one person calls the police. no fun is the latest performance and blood-curdling 'play' and the computer memory becomes video art, all at a simple, proverbial click. cory provocation by eva and franco mattes, in which one of them simulates suicide on chat- arcangel has simply taken his talent for hacking one step further, transforming the hidden roulette, hanging stiff from the ceiling for hours. the performance was seen by hundreds of world of computer memory into a day-by-day diary. people simultaneously, people who took their chances to connect with complete strangers. the chats were recorded and the resulting video ended up on Youtube, which censured it. the serendipity of chance encounters can sometimes play horrible jokes.

alterazioni video (it), ViOleNt PaiNtiNgS , 2009/10, 2009/10, digital print on Pvc (courtesy of michele bazzana (it) PuSh , 2007, metal structure, drills, inflatable boat, electrical system fabio Paris art gallery) (courtesy of fabio Paris art gallery)

Violent Paintings are aesthetic scrap created by altering images found on-line on amateur everyday objects and tools, such a drill and an inflatable boat, are re-used for new, sites, a hotchpotch of home photography, pornography, hentai graphics, second-rate special unexpected functional – or dysfunctional – purposes. imagining a completely new and different effects and art classics. the result is a series of puzzles created by countless alterations use for an object underscores a true spirit of invention and discovery, where serendipity can progressively made by the members of the alterazioni video collective, who live in different sometimes play a key role. mechanical forces, paradoxical situations and reversals, improbable countries. the images are designed to disturb the viewer, to evoke the same sense of errors and physical resistance are the peculiar characteristics of bazzana's installations. exasperation felt in communication via chat sites, voiP systems and e-mail. technical errors the effort needed to start-up his machines is ridiculously disproportionate, based on a and dysfunctional contact between humans and machines are obstacles to communication power error or an organic dysfunction, inverting as a result, to alienating effect, the relationship and understanding. a look at how the overload of stop & start connections, world time between the importance of the result and the corresponding mistake made. differences and system crashes ultimately triggers the aesthetically violent explosion of relations between people. 34 Smart miStakeS - exhibition Smart miStakeS - exhibition 35

harm van den dorPel (nl), a nimalS SerieS , OStriCheS , 2008, digital print on canvas (courtesy Jodi (b/nl), NOt FOuND , 1998, software, internet browser (courtesy of the artists) of fabio Paris art gallery) NOt FOuND is a classic piece of net.art from the 1990s. the home page refers to “error 404 animals is a series of found and hacked digital images, in which the central subject – an or not found”, a standard message stating that the server has not found the page requested. animal in its natural habitat –is evoked, deformed, duplicated and transformed into something move the cursor over the browser's status bar and links to three sections appear – unread, totally different, simply by using digital filters and tools. a small owl dissolves into an artificial reply, and unsent – revealing an e-mail environment. each page provides space for a blue sky. a dog becomes a shapeless mass of black fur. an ostrich is transformed into message and a 're-' button to reply. Just like any mail client, users can write a message jumble of legs and feathers while helping it to hide its head in the sand. chance discovery and send it. Jodi's programme however rewrites the message in another window at the top and the serendipity of the web give rise to visual, instead of biological mutation. the result of the screen, without vowels, or without consonants, or as black text on a black background. is a bestiary alluding to an unnatural and bio-imaginative environment, so very different from the result is a string of guttural and hissing words, incomprehensible computer residue, our traditional natural sciences. useless waste, debris, an error.

dextro (a), algOrithmiC ViDeOS , 44_0_ g21 B3_ N4_ COl 6_W3 B.mOV , 2009, software, video lia (a) | m iguel carvalhaiS (P) , lmlB03, 2003, director screenshot (courtesy of the artists) projector (courtesy of the artist) this piece of pure glitch art is the work of two leading software artists who produce self- in this series of generative software art, cult artist dextro gives serendipity a part in the generative art. here, software is not used as a mere tool but is applied as an artistic language, creative production of his work, in the form of the unexpected creations of animation just like the square used in kazimir malevi č's works is not a geometric plane figure but an programmes, which unleash the random factors at play in human/software interaction. abstract work. in this art work, glitch, or unusual and unexpected malfunction, is the When the artist begins programming the software to generate his works, he has no clear aestheticization of digital errors that are specially created by the artists to obtain a visual idea of what he wants to obtain. halfway through development though, something or other result and create an unpredictable element. the artists use glitch art to set into motion a will always pop out unexpectedly. Sometimes he accepts it; other times he wipes the code process for the reappropriation of error, enabling them to explore the artistic scope of clean of errors, eliminating it. the final software-art work is completely free of glitches and software's intrinsic properties. random effects. Yet the production process is based largely on unexpected outcomes. dextro works with non-linear equations which, when combined, always create something new and unexpected. 36 Smart miStakeS - exhibition Smart miStakeS - exhibition 37

aliSon mealeY (uk) uNreal art SerieS , 2005 (courtesy of fabio Paris art gallery) nullSleeP (uSa), Data SPillS – k iNDOm , 2009, modified game cartridge, nintendo nes, projector (courtesy of fabio Paris art gallery) unreal art, a project begun by mealey in 2005, is about convincing some twenty-odd ‘divine bots’, from one of the levels of the popular shoot-'em-up game unreal tournament , at the nullsleep is the alias of Jeremiah Johnson, an electronic musician whose style could best routes she gives them on the map are the best of all. Sometimes she succeeds, sometimes be described as post-cyberpunk: a combination of distorted synthpop, electro, and industrial she doesn't. produced with repurposed low-bit electronics. in 1999 nullsleep cofounded 8bitpeoples, a the route she gives them traces out the essential features of a human face, which then collective of artists interested in the audio-visual aesthetics of early home computers and becomes the field of action in which the bots race around for the level. video game consoles. using software written in Processing, an open source visual design language used by many his approach embraces the politics of appropriation, leveraged limitations, destructive process artists, mealey matches the actions of the bots to shapes and colours that pick up on the and data corruption. the result is a wall of digital noise driven by a heavy beat, expanding colour palette of the underlying image. the image can be screened in real time whilst it is and collapsing in a series of glitches and drones emanating from cheap plastic devices. created, or frozen at any given stage of its evolution and printed on paper or canvas. the result highlights all the complexity and ambiguity of the project. Seen close up, the image appears to be a sophisticated abstract composition, with every last detail worthy of admiration. Stand back, and a portrait takes shape.

roSa menkman ( nl), DemOliSh the eerie , 2010, video (courtesy of the artist) nullSleeP (uSa), BBB Chr BOX , 2010, laser-cut cardboard, six-piece polyptych (courtesy of fabio Paris art gallery) all technologies have their own intrinsic errors, congenital to the nature of the technology. rosa menkman is a dutch visual artist who focuses on visual artefacts created by accidents in bbb chr box (2009) the artist appropriates part of the graphics of a neS videogame in digital media (audio and video). her work is the result of glitches, compression, technical (bubble bath babes, 1991), presenting them on a series of laser-cut cardboard sheets. feedback and other forms of noise. although many people perceive these accidents as here the original game – a sort of tetris where the player has to arrange the bubbles created negative experiences, rosa menkman emphasises their positive outcomes. in this by an alluring topless ‘beauty’ – is transformed into a refined exploration of the modernist videoscape, she strives for new forms of conceptual synthesis (synaesthesia) of sound and fascination with the grid and its electronic counterpart (the pixel). video artefacts. the use of cardboard reveals a taste for poor materials and an interest in recycling, which thanks to the combination of these practices with her academic background, the artist is also evident in that artist’s manipulation of obsolete technologies. creates her abstract pieces within the scope of a grand theory, offering an in-depth analysis of glitch art in her the glitch manifesto . 38 Smart miStakeS - exhibition Smart miStakeS - exhibition 39

ant Scott (uk), glitCh SerieS , eNDemerOl , 2002, prints from hi-res digital images (courtesy Stelarc (auS), ear ON arm . lectio magistralis see p. 19 of the artist) this australian artist is interested in the evolutionary architecture of the body and possible these digital prints represent the best of ant Scott's 'pure glitch' phase. the images, which ways of redesigning the human augmented by implants and exoskeletons. his previous at first might appear bewildering, were created from computer crashes, software errors, works include suspending himself with a series of hook in his own skin, and he has performed hacked games, and megabytes of raw data turned into coloured pixels. the production with a third hand, with a virtual arm and with a virtual body. his works Ping body and Parasite process is driven by personal preferences in the choice of patterns and colours. his titles probe notions of engineering external, extended and virtual nervous systems for the body are often neologisms based on personal life events at the time of production. using the internet. recently he had a third, soon-to-be-functional ear implanted, grown from stem cells.

photo credit ear ON arm , london, los angeles, melbourne 2006, Photographer – nina Sellars

mark ShePard (uSa), SereNDiPitOr , 2010, gPS application for iPhones (courtesy of the artist)

SereNDiPitOr is an alternative navigation application for the iPhone that helps you find something by looking for something else. the app combines directions generated by a routing service (in this case, the google maps aPi) with instructions for action and movement inspired by fluxus, vito acconci and Yoko ono. the artist came up with the idea reflecting on how people increasingly rely on machines as a substitute for their own human capacities (such as memory, handwriting, and now navigation, for instance). Shepard decided to explore this trend from the point of city navigation – and how it had led him come across things he did not even know existed. how can we use these technologies in ways for which they were not originally designed? the next step will be to give people the chance to share their experiences with others on a website where routes can be shown, commentary provided, and photos taken along the way posted. 40 Smart miStakeS - SPecial ProJect Smart miStakeS - SPecial ProJect 41

here, real and virtual space interact so as to create a single social environment, made R.I.O.T. / ReAlITy IS OUT TheRe possible ever since digital space became an integral part of the city itself. the game is les liens invisibles therefore an urban hack, the reappropriation of public space via intervention directly on the curated by Simona lodi streets, squares and roads, and under monuments, porticoes and buildings. it is action in the collective digital sphere to create an unexpected gulf, cultural jamming, a guerrilla attack on communication in the global city. as a symbolic act, les liens invisibles' urban hack is the imaginary group of artists, consisting of clemente Pestelli and gionatan Quintini, known really an aesthetic overexposure, an exercise in the subversive use of augmented reality, as les liens invisibles, accepted Share festival's invitation to produce the Special Project which becomes unreality, a vision, an augmented dream in subcultural practices. it is less 2010 with their usual creative cheekiness. Specially designed for the sixth Piemonte Share about public spaces, and more about destruction, interruption and aperture, in an effort to festival, the project musters all the surreal and virtual imagination that lies at the centre of crack open standard mechanisms of closure. their work to invade turin's urban environment. at the heart of the event is an exhibition of invisible virtual sculptures, an imaginary exhibition r.i.O.t. / r eality iS Out there is a series of urban strikes that are invisible to the naked eye, that can actually be accessed via a reality browser available for the smartphone platforms but for that no less tangible than the so-called augmented realities that surround us every most commonly used (iPhone and android). the city of turin has been invaded by imaginary day – from Satnav directions and context-aware tourist guides, to all the various situations installations that will take up their posts in key spots of city life. the aim is to bring people in which technology provides extra levels of information (virtual and multimedia elements, together and guide them as they roam about the city in search of the installations. besides geo-localised data, and so on) which overlap our quotidian experience. deconstructing the aspects tied to virtual squatting in the territory, the event gives an ironic take on augmented natural association that has existed ever since the Stone age, between reality and the tools reality media, which instead of being used, as is normally the case, to help tourists on their we build to control it, riot turns this relationship on its head by using reality as a tool, a sightseeing tours, are a tourist magnet themselves, effectively alienating us from reality. means through which we move to explore a universe visible only on our smartphones, creating a sort of paradoxical tourism. the special project r.i.O.t. has been also a workshop for the students from Sociology of media held by prof. giulio lughi, at the turin university, in collaboration with cirma. the new project by les liens invisible takes as its starting point the theme of this year's Share festival 2010, smart mistakes/error, which the collective interprets as an alteration of http://www.realityisoutthere.net reality – a reality that thanks to technologies has been ‘augmented’. already in its project “google is not the map”, les liens invisibles traced out an imaginative journey across maps and territories of paradoxical inspiration, in the tradition of magritte, presented by google. les liens invisibles challenge the assumed equivalence between resemblance and representation, arguing the point that google maps is just a representation of the tangible world, which has nothing to do with the actual world. as the world slowly fades away into a multitude of self-representations, map-making, missing the mark of a real reference, loses all sense of meaning, becoming an abstract exercise. in thursday 4th november 03:00 Pm an effort to spread the word of this contradiction, or perhaps take a paradoxical look at it, regional museum of natural Science, second floor les liens invisibles explores the globe at various self-referential and techno-linguistic levels Encounter with Les Liens Invisibles R.I.O.T at http://google.isnotthemap.nets. explore the city and play reality iS Out there using your smartphone (iPhone or android). discover the invisible virtual sculptures that the artists have planted around town, in an imaginary exhibition that projects virtual objects onto the streets. Surrealist inspiration meets augmented reality.

leS lienS inviSibleS is an imaginary collective of artists consisting of clemente Pestelli and gionatan Quintini. their works explore the invisible bonds between the infosphere, synapses and real life.

r.i.O.t. / r eality iS Out there is a fun, interactive event and occasion to experience first- hand the alienation of our daily reality via the construction of an infinity of possible worlds. a desecrating collective shows no mercy in its manipulation and recontextualization of reality via an inverse process compared to the past, intervening in reality so as subvert the map. intervention will take place in symbolic locations around town, creating a hybrid event at the crossroads of digital art, urban space and hacking. the meaning of the work lies in its title r.i.O.t. / r eality iS Out there – which alludes to the possibility of a return to the exploration download on your mobile the download on your mobile the software of reality, and the overcoming of traditional antitheses between the real and the virtual by software to read this Qr-code: to see the augmented reality behind this using 'low cost' reality-browsing technologies. this time round it is augmented reality that http://www.toshare.it/ar_book fiducial marker: is in the artists' sights, or rather that which augmented reality promises. http://www.toshare.it/ar_book 42 Smart miStakeS - gueSt event Smart miStakeS - gueSt event 43

The 13Th JAPAN MedIA ARTS FeSTIvAl SelecTION guest event regional museum of natural Science

to mark its partnership with the Japan media art festival, Share festival is presenting on the big screen a glimpse of creative trends in video in contemporary Japan. the three-part screening will cover different aspects of video: entertainment, art and animation. the videos will also be viewable on a screen terminal every day from 10 am to 11 Pm on the second floor of the regional museum of natural Science.

the CaBle Car 0:06:44 claudiuS gentinetta / f rank braun While travelling by cable car to a place somewhere in the mountains, an old man treats himself to some snuff. et voilà! With every sneeze the cable car cabin falls apart more and more. the man, however, is far from accepting his fate, just like that.

miND Wall 0:04:00 toWa tei / miho hatori / n akamura takeShi let’s get rid of barriers in our mind and set ourselves free; let’s stop thinking; let’s surrender to the natural flow of life, like being in a child’s dream.

tONe ON eVery Day 0:03:51 nakamura magico / n akamura maSaYoShi / k aWamura maSaShi / h al kirkland What are the really important things for us in this world that is flooded with various senses of value? the answer to this song-like question should be the same no matter how much our civilization has evolved. this music video was done by editing video materials shot with webcams by cooperating fans, and conveys to us the feeling of connecting with people.

tOmiCa herO reSCue Fire 0:06:08 iwamoto akira this drama project aims to create a new hero for children who are the bearers of the future. the mission of the heroes is not to fight with their enemies, but to rescue people from disasters. the creators have established a work schedule that allows them to produce a weekly tv program with real vfx at motion movie level, thoroughly pursuing quality to release the program’s content internationally. 44 Smart miStakeS - PerformanceS Smart miStakeS - PerformanceS 45 friday 15th october 09:00 Pm regional museum of natural Science, second floor ENIAC into the Wood S e c N

iNtO the WOOD is an environment-themed electro-acoustic performance that uses wood as A its main source of sound for the creation of sound textures, rhythms and melodies. the resulting sound lays the foundations for building a new relationship between timber and humans: Wood is a living material!

iNtO the WOOD is a forest of sound, where the acoustic properties of wood take on the semblance of electronic music and ritual music. Sound is created in real time through the use of objects, wooden instruments (amplified by microphones and digitally adapted), and live nature recordings of mini 'tree hugging' performances and of forests themselves. M the performance unfolds within a wooden cube, where the artist manipulates plywood boards, branches and tree bark to make sound, against a video backdrop screening the story of wood from a visual point of view. the cube is the centre of the action. inside, the artist has his console, from where he controls and manipulates sound. the back and side walls are dotted with wooden objects, held up by elastics and shelves. R the research behind the work, begun in 2009, and fabio battistetti's involvement of set designers and visual artists (catherine chanoux, Silvia Poeta Paccati, emanuele andreoli, Serena Porrati and federica Pace) combine to produce a natural microcosm for the performance, where the artist acts, and in doing so interacts physically with sound.

O iNtO the WOOD is a concept by fabio battistetti. Set design by catherine chanoux. video by Silvia Poeta Paccati, emanuele andreoli, Serena Porrati, federica Pace and fabio battistetti, edited by emanuele andreoli. Produced with the support of Smir - Spazi multimediali innovazione e ricerca and the collaboration of Piemonte Share festival and the cultural association marcovaldo. Production partner: falegnameria fratelli volume. F R

e eniac aka fabio battistetti is an italian musician who works with electronic sound and has directed and has taken part in a variety of productions, live shows and multidisciplinary performances. he also deals with music in other ways, as a critic, radio dJ and columnist on new media. P 46 Smart miStakeS - PerformanceS Smart miStakeS - PerformanceS 47

Wednesday 3th november 08:00 Pm Wednesday 3th november 09:30 Pm regional museum of natural Science, second floor regional museum of natural Science, second floor MARKO BATISTA GIACOMO VERDE Parallel digital StructureS multireverSe

this intermedia performance, using modern technologies, focuses on audio modulations two huge screens provide the performer with his backdrop, one linked up to his laptop, the and visual structures that through heterogeneous environments and the subversion of other to a video camera. simultaneous data transfers from internet-based digital video communication systems enter the video camera is also linked to the laptop, and points at its screen. the field of artistic intervention. using various software solutions, the author intervenes in the laptop’s screen shows the interactive software eyecon, whose interface transmits the the creative process, thus forming digitally manipulated textures projected on three visual pictures captured by the video camera. screens. together with the sound spectrum, internet connection, computer components the assemblage gives shape to a new video music tool that places the performer, and his and small control objects they form an active infrastructure for live manipulation with arrived audience, within a very difference creative and perceptive context. digital packets and parallel signals relevant for creating an audio-visual composition. in this way, multi reVerSe inverts the relationship between sound and image, as it is the moving pictures that generate sound, and not vice versa. images are no longer a backdrop the whole performance exceeds the classical methods of creating audio-visual compositions, to music. Sound is no longer a soundtrack to images. instead, both combine to form a true, experimentally taking on the search for new means of expression in the field of art and unique audiovisual event that is different every time, as the environmental and emotional technology. the process of transfer in the intermedia structure can be described by distance context changes. shifts of coded packet signals on a time line and relevant statistical variations, which, however, lose certain pieces of information in data channels. and it is here that the author, through audiences normally see performers bent over their keyboards or mixers, without really knowing additional means, inventively intervenes in the codes of technology, exploiting missing or what they are up to – the performance might actually be a recording or set up in such a way imperfect elements, generating, joining and distributing them into separate compositional that live action counts little to nothing. by screening the software interface and the live video elements. images, audiences are given an insight into the kind of real-time creativity that is going on, augmenting the spectacular nature of the show. the objects chosen to make the music – broken circuits, iron chains, flotsam, burnt plastic, old valves – each have their own shape and symbolic value, creating the theme to be worked on and developed in each track. the video and soundtrack produced by each performance is recorded to create a digital memory, while at least one video frame is captured on a digital print, creating an analogue memory. multi reVerSe is part of the “SP - immaterial Solders Project, launched to create multimedia marko batiSta is born in ljubljana. together with miha horvat (son:da) he events where sound is generated by pictures. founded the multimedia group klon:art:reSiStance. Several projects Just like the human voice is created by the specific way our bodies are shaped, so each researching the field of digital image transformation processes, networking kind of image generates its own special sound, its own voice, thanks to digitalization. data, displaced sound-scapes and hybrid structures have been presented at drawing out the song of pictures is the creative field of action of the immaterial Solders festivals, galleries and different urban places. Project.

giacomo verde calls himself a “teknoartist”, while others call him an artivist. he has been working in theatre and the visual arts since the 1970s. Since the 1980s he has produced works through the creative use of low technology, such as video art, techno-performances, theatre shows, installations and learning workshops. he lectures at the fine arts academy of carrara, at the fine arts academy of macerata, and for the university of rome iii. 48 49

thankS to

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Presente sul mercato dal 1979, vi.ma opera nel campo delle tecnologie per impianti audio-video per la comunicazione. la vi.ma concentra la sua attività nel settore della comunicazione con la produ - zione di eventi e manifestazioni ad alto contenuto tecnologico, in italia ed estero, mettendo a disposizione risorse sempre più specializzate e tecnologie audiovisi - ve sempre più sofisticate. eventi: realizziamo soluzioni su specifiche del committente, anche creando un sistema integrato di servizi per le convention di alto profilo. imPianti: dal progetto alla realizzazione di sistemi audio video multimediali inte - grati, traducendo le esigenze del cliente nelle migliori e più avanzate soluzioni tec - niche presenti sul mercato. aSSiStenza: siamo vicini al cliente assicurandogli sempre la migliore efficienza delle tecniche installate. nell’ultimo decennio, la vi.ma ha acquisito la capacità di rispondere alle esigen - ze degli artisti che comunicano sfruttando le tecnologie audio e video, fornendo loro competenze ed esperienze anche nella soluzione tecniche di alcune installa - zioni all’avanguardia.

Per Piemonte Share festival, la vi.ma fornisce tutte le tecnologie necessarie agli artisti in concorso: videoproiezioni, sistemi audio, Personal computer, strutture tecnologiche, ecc …