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Digimag10.Pdf DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Bertram Niessen Skoltz Kolgen, Audiovisual Duo ................................................................................. 3 Maria Rita Silvestri Rachel Greene And Contagious Media .................................................................... 8 Beatrice Ferrario The Other Tv Is Made Up With A Modem ............................................................... 12 Maria Molinari Copyzero X: Multiple Choice Licence ...................................................................... 15 Valentina Tanni Flickr Art: Database And Voyeurism ........................................................................ 21 Mariangela Scalzi Video Art Perceptive Codes ..................................................................................... 25 Marco Mancuso Thomas Brinkmann, Electronic Antistar ................................................................ 28 Alex Dandi Dj: Shaman Or Jukebox? ........................................................................................... 33 Domenico Sciajno Metamkine Look At Us: Live! Ixem 05 .................................................................... 36 Gigi Ghezzi Evolutionary Simulation Artificial Intelligence ..................................................... 40 Miriam Petruzzelli You, Robot ................................................................................................................... 43 Matteo Traversari The Dialogue Of Ics And Ipsilon ............................................................................... 47 Simona Brusa Material Girls ............................................................................................................... 50 Annamaria Monteverdi Big Art Group And The Infested Screen ................................................................. 54 Lorenzo Tripodi For A Democratic And Shared Net ......................................................................... 58 Teresa De Feo Do You Remember Our Beloved Commodore 64? ............................................... 61 Lucrezia Cippitelli Ethical Hacktivismo And Cuban Rhythm ............................................................... 64 Monica Ponzini Jesper Just, True Love Is Yet To Come ................................................................... 67 Alessandra Migani Resfest, Keep The Mind Curious ............................................................................. 69 Luigi Pagliarini Peam 2005 Report ..................................................................................................... 74 Marco Mancuso Tez, Meta Generative Artist ...................................................................................... 76 Tiziana Gemin Bioart, Between Ethics And Aesthetics ................................................................. 82 Tatiana Bazzichelli Netporn: New ............................................................................................................. 85 Skoltz Kolgen, Audiovisual Duo Bertram Niessen the sharing of their method “on stage” is not unanimous (and creates some perplexities also in who writes). At the same time, the impact and beauty of what they’re doing is unbelievable. As well as we can’t discuss the fact that their qualitative standard are higher than any other experimental electronic performance now available. I have spoken with them about that Skoltz_kolgen is a Canadian duo and about some other themes, composed of Dominique T. Skoltz and discovering that every new project is Herman W. Kolgen. Draft of one of the different from the previous, from the cases in which new media artists liveness point and for many other share not only artistic life, but also the aspects. First, despite the affective one. In Italy they are known appearances, the Skoltz_Kolgen, mostly because of their perfect and thanks to their predisposition of effective live and their audio-video writing their own software, are able to projects, even if their activity is work jointly both on the level of the extended to audio production, input audio/video random but linked experimental movies and graphic. one to each other, both on a bigger Their aesthetic consciousness, cold live component than what appears , without being glacial, and their from their work Flüux:/Terminal that lucidity in the construction of plans made them famous. So a great make them one of the most important example of new media artist that reality in the global panorama of work in a real meta level between audio-visual performances. Their electronic arts, who know how to super-cool universe are articulated work on software as well as on between cellular life, immaterial high- generative art, on audio-visual design and flows poetic. Who read the performances as well as on the interview to Rechenzantrum in the delicate relationship between ethic past number ( Digimag09/nov05 and aesthetic, and last but not least “Nuovo centro di elaborazione dati” ), on codes and virtual languages and 3 natural biological environment. that has biological references real and audio in this case is the creator of cells. In Ovskii everything is virtual, pure matrix on a PC black and white. Pixels moves thanks to audio dynamic and build patterns and synaptic forms. In our music we creats instruments able to work to micro-extreme levels in sound. With this type of interface we can work with microstructures of wave forms to create permutations . and reorganize their structures. We also develop scripts and randomizer Bertram Niessen: The visual able to inject information, composition of your works is randomization, or precise decision definitely complex. Beyond your into the sound. In fact it is possible to multiple influences (glitches, control every single aspect of the photography, architecture and sound and make some rules at the biology), we can always see a same time that make the interface recognizable mark. How do you create the sound. describe your aesthetical choices? Talking about the aesthetic, our goal Skoltz_kolgen: One of the thing that is to eliminate the distances between inspired us the most is micro- synthetic and organic. The fusion phenomenon, micro-evolution or between these two aspects is very micro-transformation of system. Their important as we are always searching inner organization, their rules, their to combine the systems, that is contaminations, their slow controlling (with sound, codes, data) permutations, their destructions or controlling our virtual micro-system in morphogenesis. This system can be combination with typically organic organic or purely synthetic for us. In system. Fluux:/Terminal, for example, we created wireframe structures that moves their selves. The sound can influence their normal evolution while time goes by. Audio in this case is the stimulating/disturber agent. In Epiderm we created a virtual ambient 4 . creative engine of the performance/installation, even if we Bertram Niessen: Lot of the artists always need to put some rules and who work with audio-visual aesthetical parameters first. We love performances give importance to the every project because of its own liveness component. Some others structure. In Ovskii is difficult to focus more on the construction of control the matrix in a perfect way, so environments, considering the live everything could happen and this liveness as a secondary aspect. What is part of the project. do you think about that? How much liveness is there in your work? Another important element is that in some way, we’re slave of the slowness Skoltz_kolgen: It depends from the of our computers so we have to nature of the project and its goals. compare with this limit, mostly live. Some have the performance as a Live in Epiderm it is difficult to have sharing of a particular environment the total control on all the genetic and emotional state with precision cells. But everything changes and specific direction. Some other as nowadays, so in our future maybe Askaa have randomness as the we’ll be able to do everything live. 5 or modulate the result through some deformation parameters. At this point, the result is nothing but the combination of audio dynamics added to our aesthetic decisions. This new visual influences our project, as a feedback, and stimulates the way we build new sounds using the first interface of Loefrek. It’s a sort of continuum between audio and video, . that influence each others. It’s a flexible tool. Bertram Niessen: Now much is important the programming of the instruments you use? Can you describe some of them? Skoltz_kolgen: Most of our projects need to work on developing technologies . We don’t care about limits that available software have. If a project need something particular that doesn’t exist, we create it. From this point of view, we have some . friends who help us out where our knowledge is not as good as we need. Bertram Niessen: The narrow But we develop our interface on our relationship between audio
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