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DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Kaiichiro Shibuya: Order And Chaos ......................................................................... 3 Silvia Bianchi Olyvetty: Processing Sound And Images ................................................................. 7 Giulia Baldi Design And The Elastic Mind ..................................................................................... 11 Giuseppe Cordaro The Dissonant Ecstasy Of Charlemagne Palestine ............................................... 14 Marco Mancuso Sonar 2008: The Feminine Factor ........................................................................... 22 Eleonora Oreggia Edoardo De Carli: The Permanence Of Knowledge ............................................. 26 Gigi Ghezzi Late Neopositivism And New Political Energy ..................................................... 36 Salvatore Iaconesi We Are Not Alone – Part 1 ......................................................................................... 39 Bertram Niessen Rudy Rucker: Let’s Give Flurb To The People! ....................................................... 43 Annamaria Monteverdi Videoelektra Superstar ............................................................................................. 48 Massimo Schiavoni Careful Evolution Researches .................................................................................. 52 Alessio Galbiati Ulf Langheinrich, The Useless And Fascinated Look ........................................... 58 Kaiichiro Shibuya: Order And Chaos Marco Mancuso 12k in terms of production, aesthetic, packaging and image), and recently had the opportunity to get in touch with his sound design art, thanks to the installation Filmachine presented by Club Transmediale 2008 inside Tesla halls. A fascinating and striking audiovisual installation, made by an open cubic structure, surrounded by constructions of speakers and columns of Led, from whom center Elektra is back. The Canadian the spectator is guided in an audiovisual art festival comes back for immersive flow of drones and lights. It its ninth edition in the habitual Usine uses chaos theories, cells automations C of Montreal. A series of international and logistic maps to re-create a artists will perform from 7 th to 11 th systematic non-rhythmic sound-light May ’08 with audio-video live that will flux. be judged in June Digimag edition. Emotional maximalism and aesthetic Between the rich setting of Elektra for minimalism, art and grace in an this year, I found very attractive equilibrate design with a synaesthesia Kaiichiro Shibuya audio-video live, on system that pushes the limits of one side because of its artistic and chaos. A rare tension, that his live in productive history musician, sound Elektra will surely give to the public designer and owner of ATAK label, on and that he openly talks about in this the other side because of its interview. collaboration with Exonemo, couple of Japanese audiovisual experimenters able to use digital tools and circuit bendings of different kind. I appreciated Shibuya work for ages, both as musician and ATAK producer as well (label that is leveled to the more well-known Raster Noton and 3 . Keiichiro Shibuya: I never thought my label as in terms of aesthetic or Marco Mancuso: Would you tell me communication strategy. ATAK is something about your performance in formed by individualities, well known Elektra 2008? You’ll perform with as specialists in their areas, so they Exonemo, so would you like to tell us work on their influences or how this collaboration was born and suggestions, while I just direct them. which is the concept and structure of For now, since I started ATAK in 2002, your audiovisual set? I’ve always been conscious on what I should have done after the reign of Keiichiro Shibuya: Exonemo and I the minimalism movement. At the started a collaboration a year ago, moment I’m working on the during an event for my label called concept/idea of “maximalism”, inside “ATAK Night 3″ , where Pan Sonic and my entire work. The name of the label Goem performed as well and it has ATAK derive from an error in the word been recorded and edited as DVD. “attak”, so it’s synonym that the label That partnership was awesome, so we want to evolve including an error on decided to collaborate again for this one side, attacking sound and the occasion. Sound and visual are potentialities of tones and rhythm. completely autonomous, so we’re never synchronized. There’s no specific concept in our live, even if we’re always conscious of the high resolution and “hyperness” obtained by the high density and speed of our data, that human beings are not able to perceive. Marco Mancuso: You launched Atak label in Japan, that follows lots of aesthetic instances, production values . and thematic interests of labels such as Raster Noton or K12. Each one of Marco Mancuso: I had the opportunity your releases has a splendid package to live the installation Filmachine at and design elements are always the CTM ’08 in Berlin, inside Tesla elegant. The structure of your label is halls. You worked with Takashi founded not only on musicians, but Ikegami in that occasion. This project also on designers, visual artists and started from an album, where you sound artists. present a series of abstract sound 4 tracks, created by algorithmic Keiichiro Shibuya: The flicker of the software such as Logistic Map and Led inside “Filmachine” are controlled sndchanger. You said that those by different parameters that are tracks are “dynamic non-linear managed for example by the decibel models, sounds that emulate chaotic of the sound, by the cells automation, system characteristics, schemes that by the logistic maps. These are in equilibrium between stability parameters are interpreted as sound and chaos”. Why did you decided to used for the composition or as data work on those concepts and how that allows the sound moving around much chaos concept is important in the space three-dimensionally. In your work? every moment we can choose what parameter to send to Led, using the keiichiro Shibuya: Takeshi Ikegami is a fact that the system allows multi-level well-known researcher of chaos and composition of sounds and optical complex systems. After a month since movements in a perfect way. we met for the first time, we started a project called “The Third Term Music”. Filmachine is the first work produced by our collaboration. Nothing is completely casual, but it is not a loop as well. It is a real system that uses chaos theories, cells automations and logistic maps to create the non- rhythm in a systematic manner. I can surely say that we’re more interested into technical component, before the concept or the aesthetical realization . of the project. Marco Mancuso: You work with the Marco Mancuso: How do you put Yamaguchi Center for Art and Media sounds and lights inside space in your as well, together with Sota Ichikawa, installation version? Who worked on that I interviewed in February, n. 32 of the stunning installation design? And Digimag, about Mapping Sound in general, how much is important in Installation project. Would you tell us your work the approach, not only as something about your role in the musician, but also as sound artist, project, and in general about your attentive to physical space and professional and artistic relationship immersive synaesthesia impact of the with the center? public? 5 Keiichiro Shibuya: If I should describe . YCAM center, I’d say it’s fantastic and nothing more. There’s a technical staff Marco Mancuso: Which are your with sophisticated skills and the audiovisual and music production center produces lots of sound plans for the future? installation works. I worked in this Keiichiro Shibuya: At the moment I’m very direction with dnA, on the sound working on two album at the same design of the installation Mapping time. One in piano with some electric Sound Installation. We can establish sound and the other one will be an intimate relationship with the totally electronic. I hope I can realize technical staff, while we create a new them both this year. Moreover, there work in the center, and this is very will be some concerts in Europe and important. At the moment we’re Filmachine will travel around some discussing about a new work for next museum. There are some artists that year. will produce for my label, but please I need to keep them secret. We have some astonishing names in the list!. http://atak.jp/ www.elektrafestival.ca/ http://exonemo.com/ 6 Olyvetty: Processing Sound And Images Silvia Bianchi common is their actual research on sound, which means a direct interaction with the object and its surface through the use of different supports, both durino production and live processing. Riccardo Benassi was born in Cremona but he had long lived in Bologna. He has been working with sound experimentation for years and Olyvetty is an audio visual a young artist of great