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 Tatiana Bazzichelli Pcc. Pirate Cinema Reclaims The Cinema ............................................................... 3 Monica Ponzini Eric Singer, Music For Robots .................................................................................... 9 Giulia Simi Game Game Game And Again Game… .................................................................... 15 Maresa Lippolis Peer Production: The Wealth Of Networks ........................................................... 20 Motor Collective Author, Shared Memory ......................................................................... 23 Massimo Schiavoni The Revenge Of Nico & The Vascellaris .................................................................. 27 Tiziana Gemin Second Fest, A Great Event For Few… ................................................................... 30 Redazione Digicult Skoltz Kolgen: Silence In The Rooms ..................................................................... 34 Marco Mancuso Struttura Organica 2007, Computing Nature ........................................................ 41 Barbara Sansone Greenaway: Cinema Is Dead, Long Lives Cinema ................................................ 48 Marco Mancuso Thorsten Fleisch, The Fourth Dimension In Video ................................................ 52 Silvia Scaravaggi Alvarez-fernandez: Sound Amateur ....................................................................... 60 Silvia Scaravaggi Todo & Nada: Everything Or Nothing! .................................................................... 66 Silvia Bianchi The Lab Style By Modeselektor ............................................................................... 72 Silvia Bianchi Missil, Miss Mash Up .................................................................................................. 75 Pcc. Pirate Cinema Reclaims The Cinema Tatiana Bazzichelli www.piratecinema.no ), Paris , Amsterdam , London , Graz , Rostock not to mention Tarifa and Tanger. The statement at the opening of the local Pirate Cinema as well as the interview with Mikael of the Pirate Cinema Copenhagen explain that the idea of creating a citizen pirate cinema is the critical answer to a more and more restrictive cinema industry. Its main The Film industry’s war against pirates objective is to convey everybody what is a war against reality. These is the is considered as a collective good, manifesto of PCC-Pirate Cinema that is to say the right to copy and Copenhagen ( www.piratecinema.net hand out intellectual achievements, ), a project founded last year in the making them available and for free Danish national capital. and overcoming the old-fashioned idea of intellectual property. Il Pirate Cinema Copenhagen follows a lucky track first followed in Berlin in This is a strategy to fight against a July 2004 by Pirate Cinema Berlin , image control politics, a more and conducted by Sebastian Lütgert and more strict politics whose previous Jan Gerber. This lucky track is ones teach something. Let’s go back nowadays composed by many stone- to the 80s when the game industry networks of independent cinemas, claimed the impending end of the gathered with the common aim of videogame era because of the game making available and free all the films floppy copies. But even before that, difficult spreading and, above all, they were the days in which the use copyright protected films. Since 2004 and reproduction of music cassettes up today, the Pirate Cinema’s network meant the music industry’s crack. has widespread, giving birth to new Time showed it was not true and on projects not only in Berlin and the contrary the more video or Copenhagen , but also in Stockholm musical products were circulating and (www.piratbyran.org), Oslo ( spreading, the more the cultural 3 imaginary grew wider and requested It takes the place and the role (as other products of this domain. hero) played by the Ungdomshuset (literally: the young house, a building occupied by young people), settled in Jagtvej 69 and destroyed in last March after a heated long-day riot with the local police. Folkets Hus is in Nørrebro , that is also the neighboorhood of the Ungdomshuset. As well as this latter, the Folkets Hus has a long citizen tradition as it is part of the urban . renewal started in the 70s. This project’s goal was the creation of The Pirate Cinema’s several projects green areas and recreational facilities are a real reply and regaining for the local working class. During the possession and opening of new years, Folkets Hus hosted several channels for the free diffusion of collectives. Among them we knowledge. In this network the right remember the famous TV STOP (1987- of reproduction and availability to 2004) , an independent Danish TV information is one among its sender important for its activist soul. prominent aims. The network seems Now the Folkets Hus is the seat for to be very fruitful in the Scandinavian different groups, from the collective area, where projects like The Pirate TVTV ( www.tv-tv.dk ) to Radio 69, Bay (thepiratebay.org) or the and from dance and bio-cook Piratgruppen (piratgruppen.org), had associations to the already mentioned a favourable result. The first one is a Pirate Cinema Cph. free download platform for music, movies, software and games, whilst the second one is an independent collective project fighting for freedom in knowledge. So it should not surprise that the project Pirate Cinema Copenhagen found a seat in the Folkets Hus (that is literally to say the folk’s house www.folketshus.dk), in Stengade 50 . 4 once a month but once a week. We want only to show pirate movies and Tatiana Bazzichelli: How did the in our web site you always find a link Pirate Cinema Copenhagen come up? for the download of the new movies, so that people not present at the Mikael: Pirate Cinema Cph was born projection have the opportunity to last year, it was the summer 2006. We watch it. whoever comes here gets took inspiration from the Pirate free copies and of course they can Cinema Berlin , a very useful project copy the movie on their turn. We get both on local and international field. all the movies through file-sharing We thought that the “copy” could give channels, but actually there many interesting results, and so we thought other ways. to start an independent film making also in Copenhagen . We did want a For example once a year in challenge with the concept of Copenhagen it takes place the copyright and intellectual property, CPH:DOX, Documentary Film Festival ( deciding alone and with no www.cphdox.dk). In spite of its valid constriction what we wanted and program, it is usually strictly could see at cinema. We show only controlled by copyright. We have a “pirate-movies” obtained by file- look and search for anything sharing and p2p. That’s why we interesting and then we get it through regularly confront with issues such as filesharing. We try in this way to have free access and diffusion of cinema a mix between what actually happens contents, and their free distribution in the city and showed locally and and reproduction. For instance we use what we can find on the web. Of to give all people in the cinema a CD- course everything shown is for free. Rom with the movie at the end of the We try to gather the everyday coping projection in order to let a chain files and watching movies with the distribution. free reproducibility of contents. Everyday people copy materials, it is Tatiana Bazzichelli: In your manifesto no wonder. We just drag it into the you can read that the fight against light and make it an “obvious” process, copyright is the fight against control. reproducible on its turn. Everybody What are your weapons against can get the movies we own and s/he cinema industry? can copy them. It’s like broadcasting a Mikael: Our intention is to give “social event” derived from a praxis of continuity to this project, and this copying and reproducing pieces of means not gathering for pirate cinema knowledge and materials. We don’t ask people to bring CDs to get a copy 5 of the movie, we already dispose of months before the official ready copies available for the public, distribution. and we sustain this proposal with our own finances. Tatiana Bazzichelli: Lets consider the activist scene present in Copenhagen , drawing much attention after the Ungdomshuset closure. Where does Pirate Cinema has seat in this network? Does sharing spaces with other collectives and associations in the Folkets Hus is your political choice? Mikael: From one hand being in the Folkets Hus was a political choice, but . we have to say that at the beginning our project was born in a commercial Tatiana Bazzichelli: Which is the Pirate environment. Everything was pretty Cinema Cph’s program? Which are the good, although the group hosting us criteria for picking up movies? was a bit disappointed because they thought we could be an economic Mikael: What we