Shortlist for Share Prize 2015


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Share Prize jury members Paola Antonelli, Captain Samantha Cristoforetti, Chiara Garibaldi, Jasmina Tesanovic and Bruce Sterling have chosen six works for display in Share Festival 2016.
The theme of this year’s festival is technology and media art suitable for private spaces. The
festival venue is the “Casa Jasmina” House of the Future at the Torino Fab Lab. The Share jury – comprised of an astronaut, museum curator, festival director, Internet activist and science fiction writer – met in the Casa Jasmina house, and selected six artworks that accentuate this unique venue.

In the ”HOUSE GUESTS” Living Room:

“Follower” by Lauren McCarthy (USA)
The large display screen in the Casa Jasmina main room will be the headquarters for this satirical web installation, in which volunteers will be physically “followed” around Torino by social-media stalkers whom they never meet. 

“3DPrinted Tourbillon Watch” by Christoph Laimer (CH)
This stately domestic timepiece accents the living room, since it is a functional Swiss clock that is almost entirely printed from plastic. The Laimer Watch is open-source hardware, so every working piece of it is open for inspection, on the web and in the home as well. 

In the ”HOUSE GUESTS” Kitchen:

“SafeCoffee” by Carlo Galli (IT)
Fine Italian coffee will be served during Share Festival from this looming device, which wittily combines an automatic coffee thermos with an urban surveillance camera. 

“Food-Data” by Tobias Zimmer (DE)
Share Festival will offer Italian snacks on these unique plates, whose decorative patterns are graphically generated from the leftover crumbs from previous meals.
The Festival will be creating some brand-new Zimmer plates from the edible debris of our festival

In the ”HOUSE GUESTS” Bedroom:

“Body Instruments II” by Jean-Michel Rolland (FR)
This Kinect-controlled music installation, placed in a corner of the bedroom, offers soothing bedtime music and also some healthy exercise. 

In the ”HOUSE GUESTS” Hall:

“Politics of Power” by Automato (PRC)
This new hardware installation by Automato, composed by Simone Rebaudengo (IT) Matthieu Cherubini (CH) Saurabh Datta (IND), allows guests to ponder the
implications of network politics within a household electrical network. Which of the eighteen
lightbulbs have seized electric power, and which ones are politically denied their chance to shine? 

Share Festival 2015/2016 also features eight curated works from “”, on display in chosen rooms throughout Casa Jasmina, plus tableware by digital architect Caterina Tiazzoldi,
panels, workshops, the Share Award and more.
Please join us!

Share Festival XI° edition
19th May – 28th May | Torino

CasaJasmina – Via Egeo 16 – Torino
Fablab Torino – Via Egeo 16 – Torino
Toolbox Coworking – Via Montefeltro 2 – Torino

House Guests


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Piemonte Share Festival announces the IX° edition of the Share Prize , an international competition that promotes and supports contemporary art in the digital age .

It will be hosted in Casa Jasmina and FabLab Torino in partnership with Officine Arduino e Toolbox Coworking.

The eleventh edition will be lead by the artistic director BRUCE STERLING, writer, journalist and critic of the new media.

” Casa Jasmina “ is a project in the business space of domestic electronic networking, or,”the internet of things in the Home ,” a new way of housing related to open source .

From 22th December, 2015 until 21st February 2016 many artists from around the world have sent their projects for the edition of the Share Festival2015/2016.

The prize will focus on the use of electronic art inside the private domestic space :” House Guests” . 

What happens when leaves the desktop screens, kiosks, and gallery installations, and becomes domestic art?

How can this provocative guest escape cyberspace and join the family?

When Internet art becomes “Internet-of-Things art,” how can it flourish in the kitchen, the bedroom, the nursery and the terrace?

How do artistic property relations change as homes are permeated with internet and social media? Is this “house guest” a friend, a renter, a squatter, an illicit lover entering by the back door as the surveillance cams look elsewhere?

When digital art enters private ownership — much like the family portrait cherished on the wall — who owns that art, who collects it, who maintains it?

How do the children inherit the art?

What new roles can be played by the artist, the gallery, the curator and the patroness?

Is art for the house best made in the house itself?

The artistic director will chair the international jury of the ninth edition of the Share Prize composed of:

PAOLA ANTONELLI, Curator of the Department of Architecture and Design at the MoMA, Designer and Architect

SAMANTHA CRISTOFORETTI, ESA astronaut and captain Air Force pilot, protagonist of Futura, the second long-duration mission ASI

JASMINA TEŠANOVIC, feminist, activist, writer, journalist, translator and filmmaker of Serbia

CHIARA GARIBALDI, architect, designer, founder and general manager of Piemonte Share

On March 4th the Share jury will meet to select the entries for Share Festival. This event will include a public appearance in the afternoon by Paola Antonelli and Samantha Cristoforetti at Toolbox Coworking at 5:30pm, where they will discuss  technology art, design and the role of Italian women in contemporary creativity.

There are few free places for the talk of the March 4, 2016, we will open this Eventbrite link at 12:00 the 2nd of March, you can reserve your seat.




Call for Share Prize 2015 – House Guests | Deadline postponed


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The deadline to subscribe to Share Prize 2015 has been postponed to February 21st 2016.

Piemonte Share Festival announces the IX° edition of the Share Prize , an international competition that promotes and supports contemporary art in the digital age .

It will be hosted in Casa Jasmina and FabLab Torino in partnership with Officine Arduino e Toolbox Coworking.

The eleventh edition will be lead by the artistic director BRUCE STERLING, writer, journalist and critic of the new media.

” Casa Jasmina “ is a project in the business space of domestic electronic networking, or,”the internet of things in the Home ,” a new way of housing related to open source .

From 22th December, 2015 until 21st February 2016 entries can be submitted for the prize using the online registration form at the bottom.
The prize will focus on the use of electronic art inside the private domestic space :” House Guests” . 

What happens when leaves the desktop screens, kiosks, and gallery installations, and becomes domestic art?

How can this provocative guest escape cyberspace and join the family?

When Internet art becomes “Internet-of-Things art,” how can it flourish in the kitchen, the bedroom, the nursery and the terrace?

How do artistic property relations change as homes are permeated with internet and social media? Is this “house guest” a friend, a renter, a squatter, an illicit lover entering by the back door as the surveillance cams look elsewhere?

When digital art enters private ownership — much like the family portrait cherished on the wall — who owns that art, who collects it, who maintains it?

How do the children inherit the art?

What new roles can be played by the artist, the gallery, the curator and the patroness?

Is art for the house best made in the house itself?

The artistic director will chair the international jury of the ninth edition of the Share Prize composed of:

PAOLA ANTONELLI, Curator of the Department of Architecture and Design at the MoMA, Designer and Architect

SAMANTHA CRISTOFORETTI, ESA astronaut and captain Air Force pilot, protagonist of Futura, the second long-duration mission ASI

JASMINA TEŠANOVIC, feminist, activist, writer, journalist, translator and filmmaker of Serbia

CHIARA GARIBALDI, architect, designer, founder and general manager of Piemonte Share

The jury will short-list the six works nominated for the award. Candidates will be invited to participate in the eleventh edition of the Share Festival, that will take place in Turin 19th to 28th May, 2016 in “Casa Jasmina” and FabLab Torino in partnership with Officine Arduino and with ToolBox Co-Working.

The names of the short-listed finalists will be announced by the end of March 2016.

The deadline to subscribe to Share Prize 2015 has been postponed to February 21st 2016.

Continue to subscribe!




Call for Share Prize 2015 – House Guests


banner home 

Piemonte Share Festival announces the IX° edition of the Share Prize , an international competition that promotes and supports contemporary art in the digital age .

It will be hosted in Casa Jasmina and FabLab Torino in partnership with Officine Arduino e Toolbox Coworking.

The eleventh edition will be lead by the artistic director BRUCE STERLING, writer, journalist and critic of the new media.

” Casa Jasmina “ is a project in the business space of domestic electronic networking, or,”the internet of things in the Home ,” a new way of housing related to open source .

From 22th December, 2015 until 14th February 2016 entries can be submitted for the prize using the online registration form at the bottom.
The prize will focus on the use of electronic art inside the private domestic space :” House Guests” . 

What happens when leaves the desktop screens, kiosks, and gallery installations, and becomes domestic art?

How can this provocative guest escape cyberspace and join the family?

When Internet art becomes “Internet-of-Things art,” how can it flourish in the kitchen, the bedroom, the nursery and the terrace?

How do artistic property relations change as homes are permeated with internet and social media? Is this “house guest” a friend, a renter, a squatter, an illicit lover entering by the back door as the surveillance cams look elsewhere?

When digital art enters private ownership — much like the family portrait cherished on the wall — who owns that art, who collects it, who maintains it?

How do the children inherit the art?

What new roles can be played by the artist, the gallery, the curator and the patroness?

Is art for the house best made in the house itself?

The artistic director will chair the international jury of the ninth edition of the Share Prize composed of:

PAOLA ANTONELLI, Curator of the Department of Architecture and Design at the MoMA, Designer and Architect

SAMANTHA CRISTOFORETTI, ESA astronaut and captain Air Force pilot, protagonist of Futura, the second long-duration mission ASI

JASMINA TEŠANOVIC, feminist, activist, writer, journalist, translator and filmmaker of Serbia

CHIARA GARIBALDI, architect, designer, founder and general manager of Piemonte Share

The jury will short-list the six works nominated for the award. Candidates will be invited to participate in the eleventh edition of the Share Festival, that will take place in Turin 19th to 28th May, 2016 in “Casa Jasmina” and FabLab Torino in partnership with Officine Arduino and with ToolBox Co-Working.

The names of the short-listed finalists will be announced by the end of March 2016.

Continue to subscribe!






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Thanks to the huge numbers of visitors, Share Festival is extending the Share Prize exhibition, hosted by the Temporary Museum in corso Verona 15/C, Turin, until 4th April.

We would like to thank the Temporary Museum and the artists participating in the exhibition for their permission.

Watch the video of the opening night of Share Festival 2014

Photos of the festival posted here:

Exhibition Share Prize 2014/2015 AUTONOMOUS
19 march – 29 marzo   Temporary Museum
Corso Verona 15/C, Turin, Italy
Wednesday  – Friday 3.00 pm  – 7.00 pm
Saturday  – Sunday 10.00 am – 7.00 pm


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Share Festival is off and running.
The opening night of the festival saw the winner of the 8th Share Prize announced, along with the special commendation.

The judges awarded the 8th Share Prize to the work Ethical Things by Simone Rebaudengo & Matthieu Cherubini, for being “a project that addresses a fundamental issue for the immediate future: How do machines make their own decisions?”

The special commendation went to LIA for Filament Sculpture: “it is exciting to observe this creative, Viennese art coder transpose her expressive work from the visual to the tangible plane.”

See the upcoming programme at

Saturday, 21st March
Casa Jasmina, Via Egeo 16, Turin
register at
6:30 pm Make your Open Re-Programmed Artwork—Workshop
tickets available at

Bunker, Via Paganini 1, Turin
10:30 pm #VS3WWW—Flash mob, by Vecchio Merda Danzband (USA–IT)

11:30 pm ULTRA MAGNETIC CRYSTAL BLEED—A/V performance, by Von Tesla and Sara Bonaventura (Treviso/IT)

12:30 am DEEP PROFUNDIS—Suite for dance, voice, brain interface and synthesizers. By Paolo F.

Tuesday, 24th March
Circolo Culturale Amantes, Via Principe Amedeo, 38 Turin
8:00 pm JAPAN MEDIA ART FESTIVAL—video screening
9:30 pm ANDREA DADDI—DJ set

Wednesday, 25th March
Circolo Culturale Amantes, Via Principe Amedeo, 38 Turin
8:00 pm ARTFUTURA FESTIVAL—video screening
9:30 pm ANDREA TADDEI—DJ set

Shortlist for Share Prize 2014

Once again, more than 250 artists worldwide have sent in their proposals for SHARE FESTIVAL 2014/2015, with the theme of Autonomous.
The SHARE jury of Jasmina Tesanovic, Irini Papadimitriou, Bruce Sterling and  Luca Barbeni have selected six entries for “Autonomous,” which takes place the Temporary Museum from the 19th until the 29th march.

Simone Rebaudengo & Matthieu Cherubini (CH, IT), Ethical Things, 2015

LIA (AT), Filament Sculptures, 2014

Stefan Tiefengraber (AT), User Generated Server Destruction, 2013

Agustina Andreoletti and Alice Rzezonka (AR,DE), Reflective Conversion, 2014

Paidia Insitute (DE), Paidia Laboratory: feedback, 2011-2014 

Ralph Kistler (DE), Social Netwalks, 2012

Ethical Things is a household appliance — a fan — that has its own autonomous ethics and spiritual values, and has to decide whether or not it wants to function.
Filament Sculptures is an autonomous 3D printer.  Instead of making copies or prototypes, it concentrates on the sculptural aspects of computer-controlled plastic extrusions, and makes 3DPrint art for the sake of 3DPrint art.
User Generated Server Destruction is a commonplace Internet server.  However, whenever it gets any traffic from human users, it violently slams itself with a large hammer, eventually committing suicide.
Reflective Conversion is a colony of mechanical mirrors who communicate by flashing lights at one another.
The Paidia Laboratory: feedback is an autonomous set of hacked computer game consoles that require no human users because they are playing themselves.
Social Netwalks  is a video, in which everyday people strolling through a city are divided up as if they were a social network instead of a real town.

Exhibition Share Prize 2014/2015 AUTONOMOUS
19 march – 29 marzo
Temporary Museum Corso Verona 15/C, Turin, Italy
Wednesday  – Friday 3.00 pm – 7.00 pm
Saturday  – Sunday 10.00 am – 7.00 pm

Call for SHARE PRIZE 2014 | Deadline Postponed

The deadline to subscribe to Share Prize 2014 has been postponed to January 9th 2015.
Continue to subscribe!

The Share Prize this year will focus on the theme for the 9th Share Festival, entitled Autonomous.

The jury, consisting of Irini Papadimitriou, Jasmina Tesanovic, Bruce Sterling and Luca Barbeni will short-list six nominees for the prize, who will be invited to exhibit at the customary Share Prize exhibition in Turin from 19th to 29th March, 2015.

The venue for the exhibition this year will be the new Temporary Museum, a project sponsored jointly by the Department for Cultural Affairs of the Regione Piemonte and BasicNet Group.
The names of the short-listed finalists will be announced by the end of January 2015.



Call for Share Prize 2014 – Autonomous

Now in its tenth year, Piemonte Share is proud to announce a new season of the Share Prize, the international competition designed to discover, promote and support art in the digital age.

From 8th November, 2014 until 6th January, 2015 entries can be submitted for the prize using the online registration form at the bottom.
This year’s theme for the prize sums up ten years of hard work and our hope for the future in one word: Autonomous.

Humans are surrounded by a distributed intelligence that tracks, profiles and assists us, seeking to pre-empt, analyze and bring about our dreams and desires and forming a complex, autonomous system. Software assistants, drones, cars that drive themselves and bots for high-frequency trading. As computing becomes more and more distributed, humans are no longer the only agents of analysis and action.
Subjects become profiles, filed and categorised in a vast system designed to extrapolate our actions and convert them into profit variables.
Where does the growth in potential stop and a technological circuit begin, in which our choices are increasingly driven by “emergent” considerations that act autonomously?
How are artists responding to a reality created by humans but only partially controlled by us? What principles lead people to rely on such systems? What fields do those who criticize them work in and how do they act effectively?

An international panel of judges, composed by Jasmina Tesanovic, Irini Papadimitriou, Bruce Sterling and Luca Barbeni, will short-list six nominees for the prize, who will be invited to exhibit at the customary Share Prize exhibition in Turin from 19th to 29th March, 2015.
The venue for the exhibition this year will be the new Temporary Museum, a project sponsored jointly by the Department for Cultural Affairs of the Regione Piemonte and BasicNet Group.
The names of the short-listed finalists will be announced by the end of January 2015.



Thanks to all

Dear Share Festival friends,
thank you for getting behind us once again this year.
The Share Festival continues to be a one and only event in Italy that is enjoying growing popularity with an ever wider public attracted by art in the digital age.

The 9th Share Festival — REAL TIME | REAL SPACE — played host this year to 15 artists, 6 panellists, 2 exhibitions, and 2 performances, for a total of 11 dates in 18 consecutive festival days.

This year we collaborated closely with the Cantieri OGR and the Regional Museum of Natural Science, as well as the Albertina Academy of Fine Arts, of course, building on and proving the value of networking with all the different people who joined forces to create a very special moment in Turin. Through their works, the artists explored a number of insights into real time and real space. At the conferences, panellists presented their points of view from different perspectives, converging on the fundamental need to empower people and culture to play a leading role in the innovative transformation of the society, communities and territories we live in. Key words such as real time, physical space, hybrid space, tactical media, sustainable production, ubiquity, data flows, and community set the stage for the issues discussed and debated at conferences by international panellists. The festival was an inspiration for all— for guests, artists, panellists and the public.
The leading role of the Piemonte Share Festival in terms of content and the cutting edge focus of its perspectives were also applauded by the local and national media, which dedicated significant space and flattering words in their coverage of the festival.

Download the REAL TIME | REAL SPACE festival catalogue in pdf.
See the photos on Flickr at
Visit our Facebook page at
Get the latest from Twitter at
Watch the videos at

Share Festival 2013 – Continues…

The Share Prize and Bosch Art Game exhibitions have come to a successful close, wrapping up the first part of this year’s Share Festival.

The winner of the seventh Share Prize, ½ Eighty Eight, by artist Nils Volker, will remain on display at the Albertina Academy of Fine Arts for the full length of the festival.


On 15th November, at 3 p.m. at the Albertina Academy of Fine Arts, two programmes of videos featuring the best of the Japan Media Arts Festival and ArtFutura will be screened.
The Japan Media Arts Festival is a global media art jamboree, celebrating the extraordinary works being produced in a wide range of fields, from animation and manga to media art and video games.
As of 1st November, the twenty-fourth edition of ArtFutura is on in over fourteen cities around the world, including Abu Dhabi, Barcelona, Bangkok, Buenos Aires, Montevideo, Lima, Liverpool, Sao Paulo, Rotterdam, Santiago and Turin.

On 16th November, come take part in a day-long programme of Share Festival conferences at the Albertina Academy, featuring a stream of international guests who’ll have their say on the theme REAL TIME | REAL SPACE. The conferences will take a critical look at the instant dynamics created by the emergence of an integrated reality. Conference speakers include Simone Arcagni, Matteo Azzi, Loretta Borrelli Rossella Maspoli, Eric Kluitenberg and Marleen Stikker.

If you can’t come, follow the conferences online, streamed here.

The festival will close this year with the audiovisual performance NHWT by Tez, to be held at the Lavanderie Ramone at 10 p.m.

For the video of the opening night and to see Pablo Balbontin’s photographs, visit

For programme information, click here

Conference Streaming

Act now on twitter using #share2013, your questions will be posed to the speakers.

16 nov – 4.30 pm – Accademia Albertina of Fine Arts of Turin
CONFERENCE Marleen Stikker moderator: Rossella Maspoli – Public Domain 4.0

16 nov – 5.30 pm – Accademia Albertina of Fine Arts of Turin
CONFERENCE Eric Kluitenberg moderator: Loretta Borrelli – Feelings in the Air













Opening – Share Festival 2013

30th October, 6.30 p.m.
Albertina Academy of Fine Arts of Turin
via Accademia Albertina 6, Turin

Dear Friends, the Share Festival programme is now online.
Like every year, the heart of the festival will revolve around the Share Prize, featuring six digital works of art exploring the theme REAL TIME | REAL SPACE.
The six works short-listed by the jury will be on show to the public from 30th October to 9th November 2013 at the Albertina Academy of Fine Arts, Turin. The six finalists are Lauren McCarthy, Komplex, Nika Oblak & Primoz Novak, Christine Sugrue, Myriam Thyes and Nils Völker.
The short-listed works are different spaces of representation of a non-stop stream, artistic practices that create critical visions of our space and time.

The inaugural night of the festival will also see the opening of the Bosch Art Game exhibition, featuring the six prototypes produced as part of the first ever international video game art competition organized by the Netherlands. Come and discover the virtual world of painter Hieronymus Bosch through the works of young European and American developers, and experience Bosch’s surreal imagery in a whole new way.
The Share Prize and Bosch Art Game exhibition will be on show to the public at the Albertina Academy of Fine Arts from 30th October to 9th November in Via Accademia Albertina 6, Turin.

On Wednesday, 6th November, Alessandro Bergonzoni will be holding a conference in collaboration with Assemblea Teatro.
On 15th November, two programmes of videos featuring the best of the Japan Media Art Festival and Art Futura will be screened.
On 16th November, come take part in a day-long programme of Share Festival conferences, featuring a stream of international guests who’ll have their say on the theme REAL TIME | REAL SPACE.
The big names include Simone Arcagni Marleen Stikker, Eric Kluitenberg, Loretta Borrelli, Rossella Maspoli, and Matteo Azzi.
The festival will close this year with the audiovisual performance NHWT by Tez.


Share Prize 2013: The Winner is…

This year over 250 artists submitted entries for the prize, now in its seventh season.
Six works have been short-listed by the judges Jasmina Tesanovic, Bruce Sterling, Simone Arcagni and Luca Barbeni, and will be on show from 30th October to 9th November, 2013 at the Albertina Academy of Fine Arts in Turin.
In a REAL TIME | REAL SPACE world, where data work in synergy with our location, filling it out in real time and multiplying the possible ways we can interact with the people around us and the physical world, what different forms can communication take?

The six finalists are Lauren McCarthy, Komplex, Nika Oblak & Primoz Novak, Christine Sugrue, Myriam Thyes, and Nils Völker.

The jury has declared the winner of the 7th Share Prize to be ½ Eighty Eight by Nils Völker. “It is a contemplative delight to see such precise elegance of motion carried out by humble black garbage bags. With its critical mixture of urban infrastructure and organic life, this expressive sculpture realizes concepts of time and space.”

The honourable mention is awarded to Lauren McCarthy for Social Turkers, “for her creation of an interactive drama on the theme of contemporary relationships. It critically addresses the dynamic action of network communication within real time and real spaces. This process, an online economic model put into a real place, shows the urgency of our need to confront the changes brought by social media.”

Share Prize 2013 – REAL TIME | REAL SPACE
30th October – 9th November Accademia Albertina of Fine Arts of Turin, via Accademia Albertina 6
Opening Wednesday 30th October 6:30 pm
Monday – Friday 10.00 am – 7.00 pm
Saturday – Sunday 3.00 pm – 7.00 pm
Saurday 9th November 3.00 pm – 11.00 pm

Share Festival 2013 – PROGRAM

The Share Festival is back on this year!
From 30th October to 16th November, we’ll be teaming up once again with the Regional Museum of Natural Science, and as part of its ‘ExtraMuseo’ programme will be presenting events at the Albertina Academy of Fine Arts, Turin.

Real Time | Real Space is the title of the 9th Share Festival.
With the virtual reality binge of the Nineties now just a drunken memory, the immaterial has gravitated back down to earth, cloaking us like an interactive veil. Today, our borders are our friends and the feedback time is one click. Clouds record data, then rain it upon the earth. Immaterial data work in synergy with our location, filling it out in real time and multiplying the possible ways we can interact with the people around us and the physical world.
What different forms of communication can exist between the immaterial world and physical reality? How have artists reacted to the space that emerges through a contingent, relational and context-dependent practice?

A warm-up to the festival was launched on 11th October as part of the Operae 2013 Festival at the Cantieri OGR, with the unveiling of the Orchestra Meccanica Marinetti Arcade. Angelo Comino has developed an all-new version of his robot orchestra, inviting the audience to take the conductor’s stand. The interactive installation will be open to the public until 3rd November.
The Share Festival will be throwing open its doors this year on 30th October with the opening of the Share Prize and Bosch Art Game exhibitions at the Albertina Academy of Fine Arts, Turin. An overwhelming 250 artists submitted entries for the Share Prize this year, now in its seventh season.
Six works have been short-listed by the judges Jasmina Tesanovic, Bruce Sterling, Simone Arcagni and Luca Barbeni, and will be on show from 30th October to 9th November at the Albertina Academy of Fine Arts in Turin.

Bosch Art Game is the first international video game competition to be organized in the Netherlands. Young game designers from all around the world were asked to take on the surreal imagery of Hieronymus Bosch, so as to explore and experience it in a new light.
Six prototypes have been selected and will be showcased at the Albertina Academy of Fine Arts, Turin, from 30th October to 9th November.

The Albertina Academy will also be screening videos all day on Friday, 15th November, featuring a double programme of films from two leading international festivals—the Japan Media Art Festival and Art Futura. Conferences on Saturday, 16th November will feature contributions from Density Design, Marleen Stikker and Eric Kluitenberg.

The festival will close this year with the Italian premiere of the immersive performance NHWT by Tez, at the Lavanderie Ramone on Saturday night, 16th November.



Bosch Art Game

30th Oct - 9th Nov | 10 am - 7 pm | Accademia Albertina of Fine Arts Turin Read more»

LPM 2013 | Cape Town – Extended Subscription

Live Performer Meeting will be from Novmber 13th until November 16th in Cape Town.

We remind you that through the CALL LPM is looking for live performances which include: live video, vjing, video theatre, video dance, interactive video installations, video mapping.

 Call for proposal PRESS RELEASE (links on the right):

 Social networks, posts to share:

Useful links for social networks

Picture selection + logo + banners* + press release

*ask for different size needed

Video promo LPM 2013 Cape Town

CALL FOR SHARE PRIZE 2013 | Deadline postponed

The deadline to subscribe to Share Prize 2013 has been postponed to August 30th 2013.
Continue to subscribe!

The Share Prize this year will focus on the theme for the 9th Share Festival, entitled Real Time | Real Space. This year, Share Festival will be shining the spotlight on how communications have become simultaneous and geolocalized in contemporary cities, sharpening its focus and critique onto the integration of digital networks in the urban environment.

The jury, consisting of Simone Arcagni, Jasmina Tesanovic, Bruce Sterling and Luca Barbeni will short-list six projects for the prize, who will be selected to take part in the 9th Share Festival, to be held in Torino from 8th to 17th November 2013, at the Regional Museum of Natural Science.  The names of the short-listed finalists will be announced by the beginning of september 2013.


Call for Share Prize 2013

Piemonte Share is announcing a new edition of the Share Prize, the international competition designed to discover, promote and support art in the digital age.

Entries for the Share Prize can be submitted from 20h June to 20th August 2013, by completing the entry form on the website The Share Prize this year will focus on the theme for the 9th Share Festival, entitled Real Time | Real Space.

This year, Share Festival will be shining the spotlight on how communications have become simultaneous and geolocalized in contemporary cities, sharpening its focus and critique onto the integration of digital networks in the urban environment.

Artists are not just aesthetic messengers but social agents, who use networks to change the way we think about media and relational space. The artistic practices they pioneer create critical prisms through which to view urban space. The artistic realm is overlapped with the physical, urban world to explore a new dimension in which art can redirect the social and political leanings of networks, communities and artists into performances.

Instead of taking humans into virtual space, digital technology has enhanced the way we interact with others and with the physical world. Today, the map is no longer a representation of the territory; rather, it incorporates it. How do people shape, and how are they shaped by, the integrated platform created between data and location?

An international jury will short-list six projects for the prize, who will be selected to take part in the 9th Share Festival, to be held in Torino from 8th to 17th November 2013, at the Regional Museum of Natural Science.  The names of the short-listed finalists will be announced by the beginning of september 2013.



Piemonte Share takes part in the Architecture in the City Festival

Piemonte Share is pleased to announce that it will be taking part in the City of Turin’s Architecture in the City Festival and Smart City Days programme. Its key contribution will come through its involvement in the concept project “DFAFS — From Futurism to a Sustainable Future”, developed by Studio Greengrass, retracing 100 years of creativity and industry, art and business, in Italy’s “industrial triangle” (Turin—Genoa—Milan), and through the “Smart City Manifesto” conference.

The Architecture in the City Festival will be opened with the inauguration on 27th May, 2013, at 6pm, of a multimedia exhibition at the Officine Grandi Riparazioni (OGR), designed and developed by Studio Greengrass and Koji Miyazaki, in collaboration with Quattrolinee and Action Sharing. The opening night will see the launch of the DFAFS project, taking as it starting point a series of insights into the development of the city of Turin, divided time-wise into Past, Present, and Future.

Action Sharing will present its productions from recent years (OMM—Marinetti Mechanical Orchestra and Cymatics) in the “Past” and “Present” sections, whilst in the “Future” section it will be launching a third season of Action Sharing. The new call for projects will focus on the concept of environmental sustainability. Thanks to the support of the Torino Chamber of Commerce and the Environment Park, the project will culminate in the production of multimedia works of art that leave a low environmental footprint and use renewable sources of energy. At the inaugural event on 27th May, the OMM—featuring two robot percussionists playing steel drums “live” under the direction of a performer—will perform the Italian debut of “The Hamlet Countdown,” the latest piece composed by Angelo Comino. For the entire duration of the exhibition, Cymatics will be on show to the public, the kinetic installation made of “music you can see and images you can hear,” conceived by Japanese artist Suguru Goto and produced in collaboration with local businesses in Piedmont.

On Thursday, 29th May, at 11am, the OGR will be hosting the “Smart City Manifesto” conference, featuring Simona Lodi, art director and founder of the Share Festival; Giulio Lughi, Professor of Communications and Digital Media at the University of Turin; Rossella Maspoli, architect and lecturer at the Department of Architecture and Design, Polytechnic of Turin; and Mirjam Struppek, researcher in Urban Media and curator. To help launch the cultural debate on sustainable cities, an interdisciplinary group is working on a Manifesto to set out what are the key concepts and guidelines for building a future we want to live in.
The working group revolves around the network of people involved in the Share Festival, which originally launched the project. People keen to work together on an initiative that can inspire and give a fresh spark to the Smart Cities movement by encouraging a more socially-aware, shared, practical, healthy, human and sustainable vision of the city, designed for people and communities.

Monday, 27th May – 1st June, 2013
DFAFS — From Futurism to a Sustainable Future” 10 am – 9 pm
Officine Grandi Riparazioni, Corso Castelfidardo, 22, Turin
Free Admission

The Connecticity by Salvatore Iaconesi & Oriana Persico

LEA Volume 19 Issue 1
Volume Editors: Lanfranco Aceti and Richard Rinehart
Editors: Ozden Sahin, Jonathan Munro and Catherine M. Weir

Connecticity, Augmented Perception of the City
+ Interview, Statement, Artwork

by Salvatore Iaconesi & Oriana Persico

We constantly re-interpret and transform the spaces around us.

The ways in which we constantly personalize the spaces which we traverse
and in which we perform our daily routines communicate information about
emotions, knowledge, skills, methodologies, cultures and desires.

This process takes place in digital realms as well, which start to ubiquitously
merge with cities.

Mobile devices, smartphones, wearables, digital tags, near field communication
devices, location based services and mixed/augmented reality have turned
the world into an essentially read/write, ubiquitous publishing surface.

The usage of mobile devices and ubiquitous technologies alters the understanding
of place.

In our research, we investigated the possibilities to conceptualize, design
and implement a series of usage scenarios, moving fluidly across arts, sciences
and the practices of city governance and community design.

The objective we set forth sees the creation of multiple, stratified narratives
onto the city, set in place by citizens, organizations and administrations.
These real-time stories and conversations can be captured and observed, to gain
insights on fundamental issues such as ecology, sustainability, mobility, energy,
politics, culture, creativity and participatory innovation processes.

These methodologies for real-time observation of cities help us take part
in a networked structure, shaped as a diffused expert system, capturing disseminated
intelligence to coagulate it into a framework for the real-time processing of
urban information.

Full article is available for download as a pdf here.

Volume 19 Issue 1 of Leonardo Electronic Almanac (LEA) is published online as a free PDF but will also be rolled out as Amazon Print on Demand and will be available on iTunes, iPad, Kindle and other e-publishing outlets.

Leonardo Electronic Almanac talks about Cymatics

Leonardo Electronic Almanac dedicated an article to the sculpture Cymatics by Suguru Goto.

Cymatics is the second production of the project Action Sharing, sponsored by the Torino Chamber of commerce.
Cymatics is a kinetic sculpture and sound installation that expresses the artist’s vision of nature through a series of symbolic elements that are used harmoniously in a technological context.
LEA Volume 18 Issue 3?Volume Editors: Lanfranco Aceti, Janis Jefferies, Irini Papadimitriou?Editors: Jonathan Munro and Özden ?ahin
ISBN: 978-1-906897-18-5?ISSN: 1071-4391
Reference: Simona Lodi and Luca Barbeni, “Suguru Goto, Cymatics, 2011 – An Action Sharing Production,” eds. Lanfranco Aceti, Janis Jefferies and Irini Papadimitriou, Leonardo Electronic Almanac (Touch and Go) 18, no. 3 (2012): 10-25.?&?Reference: Paul Squires, “Suguru Goto in conversation with Paul Squires,” eds. Lanfranco Aceti, Janis Jefferies and Irini Papadimitriou, Leonardo Electronic Almanac (Touch and Go) 18, no. 3 (2012): 28-29.

More information and the pdf of the article can be found here.

OPEN YOUR CITY – Thanks for Coming

Dear Share Festival friends,
thanks for coming this year in such strong numbers! Over 11,000 of you came in person to take part in events.
The Share Festival continues to be a one and only event in Italy that is enjoying growing popularity with an ever wider public attracted by art in the digital age.
The 8th Share Festival—OPEN YOUR CITY—engaged and captured audiences’ interest, featuring this year 20 artists, 25 panellists, 2 exhibitions, 1 special project, 3 performances, and 25 events in 12 consecutive festival days.
This year we collaborated closely with Paratissima and the Architects’ Association, as well as with the host museum, building on and proving the value of joint planning and networking with all the different people who joined forces to create a very special fortnight in Turin. Through their works, the artists explored a number of possible worlds to open our cities. At the conferences, panellists presented their points of view from different perspectives, converging on the fundamental need to empower people and culture to play a leading role in the innovative transformation of the society, communities and territories we live in.
Key words shaping the topics and debates addressed by our international guests included the commons, knowledge, tactical media, new media art, interaction design, mobility, connectivity, the green economy, awareness, interfaces, responsibility, the open city, ubiquity, community, data flows, citizenship, sustainability, and urban screens.
The festival was an inspiration for all—for guests, artists, panellists and the public. A project was officially opened to draw up a Smart City Manifesto, which over the course of the Share Festival was transformed into the Open City Manifesto.
The aim of the Open City Manifesto is to shed critical light on the dynamics that emerge in the intersection of social practices, urban architecture, open technologies and approaches to contemporary art. The idea is show how the growing importance of information systems situated in cities needs to be focused on enhancing not only production capacity but above all our social and environmental capital.
Is this the city that we want, imagine and hope for?
We hope that YOU will be inspired too!
Here we would also like to thank all the guests and artists who participated, but what we would like most is to hear from them and from you, the Share Festival friends, what inspired you all most at this year’s festival, by posting your comments on the Share Festival website.
The leading role of the Piemonte Share Festival in terms of content and the cutting edge focus of its perspectives were also applauded by the local and national media, which dedicated significant space and flattering words in their coverage of the festival.

We invite you to download the OPEN YOUR CITY catalogue here in PDF.

See the pics on Flickr at

Our Facebook page at

Updates on Twitter at: of follow us on #share2012

Videos at:

Art and Innovation for the Sustainable City

At Restructura 2012, at Lingotto Fiere from 29th November to 2nd December, Polight—the sustainable building and hydrogen industry cluster managed by the Environment Park—will be showcasing Piedmont’s sustainable building industry, in an exhibition space designed specially by Action Sharing, produced by VASS Technologies, and featuring Cymatics, by Suguru Goto.

For the occasion, Action Sharing has chosen to promote “Art and Innovation” by presenting Polight’s companies and sustainable building materials alongside Cymatics, by Suguru Goto, in what has become an increasingly synergistic partnership transforming artistic and business excellence into astounding works of art.

The combination of nature and innovation is proudly sponsored by the Torino Chamber of Commerce, with the support of the Regional Museum of Natural Science, the Environment Park and Vass Technologies.


Download the press release:

For more information:

The Playable City Award 2013




Watershed is very excited to offer artists and creatives from across the world a unique opportunity to make something wonderful using creative technologies. The 2013 award will produce a work which surprises, challenges and engages people in exploring the playable city.

Pushing the boundaries and encouraging experimentation, this international award sits at the intersections of technology and culture and will champion Bristol as an international hub for cutting-edge creativity.

The commissioned work will cross cultural contexts and will be toured. It will use technology in an integrated and interesting way. It will inject a sense of wonder and meaning into public space.

Find out more and how to apply here.

Share Festival 2012: soon report

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Take a look at the video of the opening.

Soon all the photos and the video report of the conferences will be online.
Meanwhile you can see some photos here.


Dancing Hands

30th Oct/11th Nov - 10AM/7PM - Regional Museum of Natural Science 09th/10th/11th Nov - 2PM/2AM - RAT - via San Massimo 7bis, Torino Read more»

Opening of the Share Festival 2012

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Share Festival programme is now on-line.

As customary, the heart of the festival revolves around the Share Prize, this year presenting six digital art works exploring the theme Open Your City.

On the opening night, the curtains will also be raised on two special film exhibitions, which will be screened throughout the festival. The photos of the opening.

Against the magnificent backdrop of the Regional Museum of Natural Science, Mirjam Struppek will be presenting Dancing Hands, a selection of short films in which hands silently speak to us, becoming the dancing symbols of actively creating, liberating and helping hands. Artists and designers tell us stories surrounding the image of this powerful tool and its meaning for life. The festival will also be screening a selection of videos from the Japan Media Art Festival.

The Share Prize exhibition and the two film screenings will be open to the public at the Regional Museum of Natural Science from 30th October to 11th November, 10 am–7 pm, in Via Giolitti 36.

Besides the screening video “Dancing Hands” will be visibile at RAT, Via San Massimo 7B, Turin.

On Friday 2nd November to celebrate the centenary of the birth of John Cage (1912–1992), Jasmina Tesanovic presented the film of Belgrade pianist Nada Kolundzija’s celebrated performance, while giving her own freely inspired Cage performance with the participation of the Share Festival audience. The Photos of the performance.

From 9th to 11th November, the Share Festival will be holding a series of conferences featuring international guests, who will share what they have to say on the topic of Open Your City. Guests include Simone Arcagni, Lorenzo Benussi, Carlo Boccazzi, Martijn De Waal, Davide Gomba, Jaromil, Eric Kluitenberg, Simona Lodi, Marco Mancuso, Alan Shapiro, Bruce Sterling, and Fabrizio Valpreda.


Share Prize 2012 – THE SHORTLIST

Share Festival is upon us!

Open Your City is the guiding theme for the Share Festival 2012. A theme that contains three key, simple and direct words, the pillars on which this year’s festival programme will be built. ‘Open Your City’ will also provide the blueprint for this year’s Share Prize.

Open is meant in the sense of being in the making, of being unfinished, experimental, transparent and boundless.

Your is meant as the direct participation of people who possess, own, use, occupy and command something that belongs to them. It identifies the person who plays a leading role in driving change—someone who takes action, steps in and gets involved; someone who makes plans, collaborates, transforms, brings together and acts as part of a community.

City is meant as the venue or theatre of action; it is the common good, the backdrop to changes underway. An urban space abuzz with social and technological ferment, made up of streets and roads, squares and parks and everyday locations.

Answering the call with great enthusiasm, more than 200 artists sent in their submissions for Share Prize 2012.
The jury, consisting of Simona Lodi, Mirjam Struppek, Bruce Sterling and Carlo Ratti, has selected the six finalists that will be presented from 30 October to 11 November 2012 at the Regional Museum of Natural Science in Turin:

Jonathan Baldwin , Tidepools, 2011

Julian Koschwitz, On Journalism #2 Typewriter, 2012

Mariano Leotta, SYN, 2011

Mark Shepard, The Sentient City Survival Kit, 2010

Stanza, Capacities Life In The Emergent City, 2009

VR/Urban, SMSlingshot, 2009

Be sure to follow our Share Festival programme updates on our Facebook page and on Twitter.

Future Cities – Planning for the 90 per cent

CONNECTING CULTURES AND CELESTE NETWORK are pleased to announce the three projects chosen for special mention in the FUTURE CITIES: Planning for the 90 per cent competition:

Municipal Housing Secretariat of Sao Paulo, Brasil with ‘Catinho do Céu Complex’

Ateliermob with ‘Working with the 99 per cent’

Interazioni Urbane with ‘Fil Rouge_urban project’

The selectors panel: Anna Detheridge, Joseph Grima, Richard Ingersoll, Fulvio Irace, Mary Jane Jacob.

The International competition FUTURE CITIES. Planning for the 90 per cent accompanying event for the 13th International Architecture Biennale 2012 titled “Common ground” was an important occasion for bringing attention to the most challenging aspects of planning a sustainable future for large majorities and minorities in ever expanding urban conglomerations.

Of the ten projects selected the jury has decided to choose in particular three projects:

Municipal Housing Secretariat of Sao Paulo, Catinho do Céu Complexin S?o Paulo Brasilfor its integrated approach to planning revealing a high level of collaboration between different actors. A highly articulated approach beginning with essential infrastructure, the enhancement of public spaces and all through the re generation project constant networking with local communities highlights an important aspect of all future planning: the coordination of processes and practices by administrations, professionals and residents working together.

Ateliermob, Working with the 99 per cent a participatory project in Lisbon Portugal based on a different approach which redefines the architect’s role. Ateliermob have envisaged for themselves a central function stemming from the attempt to answer a basic question: how can architects attempt to solve the many problems they see around them working for clients that do not have the money to pay for their services. The answer they found is to place themselves at the centre of a process in which the architect becomes mediator , fundraiser, creating an essential link between the public administration, the financial system and the community enabling the local residents without property or rights to achieve social status and dignity.

Interazioni Urbane, Fil Rouge_urban project The artistic project Fil Rouge works as a catalyst for change at a local level in the Primavalle district in Rome Italy.. It is based on several elements carefully curated and articulated by the group working together. Working in the field an initial reconnaissance and analysis of the area was carried out in order to identify the critical aspects of the area including abandoned spaces, missing sidewalks etc. Also very important is a constant attention and contact with residents and communication from the early stages with the administration, the community, passers by using a variety of different media including the simple but effective strategy of the continuous red thread.

Photos of the event:

See all 10 winning projects exhibited at the Magazzini del Sale Punta della Dogana, Venice, Italy, 27 August to 1 September 2012:

More information about the call Future Cities – Planning for the 90 per cent

A The BIG DATA opportunity: partecipate!


After joining forces to support startups Working Capital Accelerator and the TOP-IX consortium continue their collaboration.

Working Capital will be platinum sponsor of BIG DIVE event and provides three scholarships, to support the training of “DIVERS”. The contribution of Working Capital will cover registration fees and accommodation in the city over the four weeks, if necessary.

To apply for this scholarship you need to complete 2 steps:

1st.     Fill in the BIG DIVE APPLICATION FORM and make the request for a scholarship in the dedicated checkbox.

2nd.   Send your project (related to BIG DATA) by submitting it as a GRANT on .

The 3 candidates with the best ideas will be selected for WCAP scholarships.

Dig@ran, European Festival of Digital Arts

Dig@ran, unreleased Festival, will take place in the Aran Valley from Friday June 29th until Sunday July 8th.

During 10 days, interactive work arts as parties, dances and digital installations will invade the Aran Valley.
Come and discover these unreleased and innovative work arts this summer in the Aran Valley!

Geert Lovink presents his lastest book Networks Without a Cause

Geert Lovink presents his latest book Networks Without a Cause
Face to face with the author
13th June – 9 PM
Circolo dei Lettori

On 13th June at 9 PM, at the Circolo dei Lettori in Turin, Geert Lovink will be presenting his latest book Networks Without a Cause. Translated into Italian as Ossessioni collettive and published by Egea, the Bocconi University press, the new Italian release by the Dutch thinker and founder/director of the Institute of Network Cultures will be introduced by Vito Campanelli, followed by a discussion with Simona Lodi and Luca Barbeni within the framework of Share Festival 2012.

In its critique of social media, the book takes as its starting point the fact that the vast majority of Facebook users are too caught up in a frenzy of ‘friending’, ‘liking’ and ‘commenting’ to pause to grasp the consequences of our info-saturated lives.
Geert Lovink asks just what is it that compels us, as though it were a duty, to engage so diligently every day with social networks such as Twitter, Flickr and FourSquare. The book examines the collective obsession with online identity and image, connecting it with the fragmentation and information overload endemic to online culture. Nobody is spared as Lovink provides a path-breaking critical analysis of search engines, online video, blogging, digital radio, media activism and the Wikileaks saga.
Probing but never pessimistic, Lovink offers a critique of the political structures and conceptual powers embedded in the technologies that shape our daily lives.

On Thursday, 14th June, Geert Lovink will be in Milan for a Meet the Media Guru event to be held at the Mediateca Santa Teresa at 7:30 PM, and on 16th June he will be in Bologna for an encounter organized by the publisher Egea at the Centro Sociale TPO at 6 PM.

We would like to thank all the sponsors supporting this event, in particular the Dutch Consulate of Milan for having made it possible to organize the event in three different Italian cities.

Remediating Urban Space and The Invisible Pink Unicorn performance

The Apparition of the Invisible and Pink Unicorn – Pre-event to Remediating Urban Space: Exploring Design Responses.
5-6th June 2012, Plymouth University.
Venue: Room 206-207, Roland Levinsky Building, Plymouth University, PL4 6AA
Organizers: School of Architecture and i-DAT Plymouth University, UK

Remediating Urban Space Symposium.
Communication technologies remediate everyday urban life, resulting in subtle shifts in the spatial, temporal, scalar and material processes which are ‘all too often overlooked in conventional and binary approaches opposing the “virtual” realm of new technologies to “real” urban places’ (Crang 2007). We need to move beyond an artificially created dichotomy of a real and a virtual world as if the two were opposed. Instead, we must develop a new understanding of our activities and behaviour in the spaces of the city; since online and mobile socially networked spaces and real-world places are connecting and converging in numerous and complex ways. The challenge before us is finding ways to engage with these changes as designers.
The aim of the workshop is to consider more fully the multiple, subtle, and interdependent spatio-temporalities which together work to constitute ICT-based urban change. How do we start to create meaningful spaces that merge digital and physical interactions?
The workshop will examine and propose design responses for how to remediate urban space through a range of ICTs, locative media and smart objects.
It will draw on an interdisciplinary field of architecture, human computer interaction, geography, media studies, art and sociology to explore questions of how urban space can be conceived and inhabited when it is mediated, and the nature of these mediated experiences at an everyday level.
More info here

The Invisible and Pink Unicorn pre-event.
An atheist rave will be evoking the mystic apparition of The Invisible and Pink Unicorn by Les Liens Invisibles, 5th June at 10 PM, Royal William Yard, Plymouth, UK. Hundreds of devoted ‘pink believers’ will be taking part in this artistic ‘hacking action’ by the artists Les Liens Invisibles.
‘Invisible Pink Unicorns are beings of great spiritual power. We know this because they are capable of being invisible and pink at the same time. Like all religions, the Faith of the Invisible Pink Unicorns is based upon both logic and faith. We have faith that they are pink; we logically know that they are invisible because we can’t see them’ (Steve Eley).
Plymouth is the place where in 1620 a bunch of hopeful people came together to set off on the Mayflower, headed for a new world; it is also where Charles Darwin set off on the expedition that would inspired the book The Origin of Species and the theory of evolution. Today, while the world is shaken by another troublesome time in history, we’re headed for the same place where the Mayflower set sail, taking a leap into another dimension of Faith and Hope for the evolution of society — and where, one year after Her first apparition, the Invisible Pink Unicorn will be evoked by Her followers at the stroke of midnight on 5th June. They will of course be dressed in pink, aiming their smartphones in the direction of her coming.
After pilgrims and tourists joined to surprising effect for the apparition in St Peter’s Square in Rome in 2011, the goddess’ apparition has become a ritual that can be repeated every time Her faithful folk call upon her. Come and keep vigil for the Invisible Pink Unicorn with us! As the curators Simona Lodi and Gianni Corino say, ‘on the one hand, communication is about message transmission, but on the other it is a ritual performance that reinforces a sense of social and cultural affiliation.’
The performance is curated by Simona Lodi and Gianni Corino. It is part of the official conference programme Remediating Urban Space: Exploring Design Responses

Les Liens Invisibles is an imaginary Italy-based artist duo consisting of Clemente Pestelli and Gionatan Quintini. Their work is an eclectic recombination of pop net culture, reverse engineering techniques, social media subvertising, and any other kind of media manipulation. Since 2007 Les Liens Invisibles have been infiltrating global communication networks in order to join and expand the invisible connections between art, the mediascape and real life. Most of their artworks and online interventions have been internationally exhibited in galleries, museums (MAXXI Rome, New School of New York, KUMU Art Museum of Talinn) and at international art and media-art festivals (International Venice Biennale, Piemonte Share Festival, Transmediale). Les Liens Invisibles were recently awarded an honorary distinction at the Transmediale media art festival (2011).


Website of the Monument to the Invisible Unicorn

Video & photo documentation of the apparition

Website of the apparition

Watch the Pink Unicorn in the Augmented Space with Layar

In Memoriam of Andy Cameron

We at Share Festival were heartbroken to hear of the death of Andy Cameron. We met Andy Cameron for the first time in 2009, when Luca Barbeni introduced him to the Share crew. He accepted the invitation to be the guest curator of four seasons of the Share Festival with great enthusiasm, constantly bubbling over with ideas to contribute in so many different fields.

He was brilliant and full of ideas, with a wonderfully intuitive grasp of what is happening in this moment of world history. As guest curator of the festival, he focused it one year on Market Forces, offering a significant point of view on what was then called the ‘credit crunch’ and anticipating the crisis we are living through today three years before it happened.

The Share Festival brought out his critical spirit, which was just one of his many talents.
His AntiRom manifesto was a sort of riot against market forces, and we were delighted to hear his ideas and his conceptual way of criticizing the market. Often, when someone claims to hate the business they end up becoming the business; in Andy’s case, he was in the business but kept a healthy distance.

What really impressed us was his talent in understanding what was art and what was garbage. He had great intuition in this and we enjoyed working with him and appreciating that instinct of his (he would never be a curator or art critic). He was the chairman of the Share Prize in 2009, lending the Share Festival that year one of its most interesting exhibitions ever. He was a great worker with a great soul.

Now for some more personal memories of him. Having spent ten years in Italy he was really an honorary Italian — the only Englishman we knew who spoke Italian so fluently.
Language means culture, and he was warm and funny rather than cold and ironic in hishumour. He became a natural part of the famiglia!

It is so hard to believe that his huge, generous heart should have stopped working like it did. We miss him dearly. After first working together in 2009, we never lost touch and he would always get involved in the Share Festival.

There’ll be no more drinks with him, with his favourite glass of red, in Piazza Vittorio Veneto in Turin.

Condolences to Andy’s family and to the friends who loved that great man.

Andy Cameron was also a columnist for Creative Review.
Patrick Burgoyne, editor of Creative Review, has written a tribute to him covering his whole career.
This is the AntiRom manifesto.
Together with Richard Barbrook he co-wrote the famous essay ‘The California Ideology’, which can be found on Wikipedia
And this is Share Festival 2009, curated by him.

CALL FOR SHARE PRIZE 2012 | deadline postponed


The Share Prize, designed to discover, promote and support art in the digital age.
The contest is dedicated to artists that use digital technology as a language of creative expression, in all shapes and formats and in combination with analogical technologies and/or any other material.
The Share Prize this year will focus on the theme for the 8th Share Festival, entitled Open Your City.

Open Your City is the guiding theme for the Share Festival 2012. A theme that contains three key, simple and direct words, the pillars on which this year’s festival programme will be built. Open Your City will also provide the blueprint for this year’s Share Prize.

An international jury will short-list six finalists for the prize, who will be invited to take part in the 8th Share Festival, to be held in Torino from 30th October to 11th November 2012, at the Regional Museum of Natural Science.
The winner will receive a cash prize of EUR 2,500.00.
The names of the short-listed finalists (maximum six nominees) will be announced by the end of July 2012.


Cymatics at Smart City Festival

Opening May 30th at 07.00 pm
Open to the pubblic from May 31st until June 5th 2012 from 12.00 to 8.00 pm – free entry
Piazzale Valdo Fusi –  Turin
Cymatics by Suguru Goto

On occasion of Turin’s Smart City Festival Visible Cities, and as a warm-up to Share Festival 2012, Action Sharing is proud to present Cymatics by Suguru Goto. Cymatics is a kinetic sound sculpture that expresses the artist’s vision of nature, which harmonises a series of symbolic elements in a technological context.
Sound waves act on natural elements such as water, bringing it into motion to create harmonious environments. Cymatics creates environments that are both metaphysical and spiritual at the same time. A place where art becomes a bridge between the material and spiritual worlds, between technology and nature, the humanities and science. Water is put into motion, creating an environment in which sound waves transform the element into geometrical shapes. Music to be seen and images to be heard are the outcome of a creative tour de force by the artist, in his search to give a sensory representation of the complexity of human perception.

The interactive sculpture, produced in partnership with the LIM, will be powered by solar energy. This blending of nature and technological innovation is brought to you by the Torino Chamber of Commerce in partnership with the Regional Museum of Natural Science, the Environment Park, Vass Technologies and Gallo Legnami.

Suguru Goto is a composer, musician, inventor and multimedia artist, considered one of the most innovative representatives of a new generation of Japanese artists.
His works have been presented at leading international festivals, such as Resonaces/IRCAM, Sonar, ICC, Haus der Kultures der Welt, ISEA, NIME, STRP Festival 2009, the Venice Biennale and the Share Festival.

Action Sharing is a platform created in 2006 as the production arm of Piemonte Share, bringing together artists, engineers, computer scientists and local companies to develop research projects that combine art and innovation. Action Sharing is sponsored by the Torino Chamber of Commerce.

The installation will be opened at 7 PM on 30th May, 2012 in Piazzale Valdo Fusi, Turin, by Guido Bolatto, Secretary General of the Torino Chamber of Commerce, and Enzo Lavolta, Torino City Councillor for Innovation.
The work will be open to the public from 31st May to 5th June, 2012 in Piazzale Valdo Fusi, Turin, 12–8 PM daily.


It is now open call4roBOt, the ban of research for all the pioneers of digital arts, promoted by roBOt festival. To participate at the project and join the 5th edition of roBOt festival, you must nominate your work no later than June 24th, by filling in the online form.
The ban is reserved to audio-video works such as:
– Installations
– Videos and animations
– Performances
– Photography
– Design of auto-productions

The participation at the ban (and the relative admission at the festival) are free of charge.
The names of those who will be chosen to participate at the 2012 edition of the roBOt festival will be announced at the end of July.

On September 26th and from October 10th to the 13th , Bologna won’t be the same.
This is announced officially by the organizers of the roBOt festival, that this year reaches its fifth edition.

Through the preview of September 26 (in a prestigious location) and in the first half of October – from Wednesday 10th  to Saturday 13th – in the steady site of Palazzo Re Enzo, roBOt Festival will present the results of the 2012 research on the new forms of arts, experimentation and entertainment, all of which connected to digital technologies.

If it is true that for a festival the fifth is the maturity year, roBOt gets to the heart of the preparation, studying with its head down every single detail to arrive impeccable at this important test.

Further information about call4roBOt.

Live Performers Meeting in Rome

The eleventh edition of LPM Live Performers Meeting begins on May 31, 2012 in Rome.

LPM offers the unique opportunity to experience 4 days of audiovisual performances, VJing, workshops, panel discussion, product showcases presented by hundreds of VJs, audiovisual artists, new media professionals and thinkers from around the world.

This year LPM returns with a new location: Planet Alpheus in Rome, a multifaceted area of 3,000 square meters perfectly suited to accommodate the different souls of the Meeting. Part of the Meeting will take place at the Teatro Valle, a historic landmark in Rome which, since almost one year from the occupation, will host some installations, av performances and vj / dj set.

Again, this XI edition seeks to promote the practice of live video performance, thanks to a rich and unpredictable programme aimed at exploring different themes through new audiovisual languages, techniques and technologies.

The daily schedule of the event:
15:00 to 21:00 Workshops
15:00 to 16:00 Lectures and conferences
16:00 to 18:00 Presentations of projects and products
18:00 to 04:00 AV Performances and VJ / DJ sets

Vj, artists, designers, professionals and the general public will be involved in the manifold planned activities: from experimental audiovisual performances, architectural mapping shows, and DJVJ sets to workshops, roundtables, and presentations of products and hardware, with a special regard for Free and Open Source projects. Meeting areas devoted to the interaction among the hundreds of participants will be the corollary for the whole duration of the event.

more information:


New Opportunities for Creation in the Digital Age
Saturday 5th May 6 PM
Via Valprato 68, former Docks Dora warehouses

Simona Lodi will be taking part in Centenario Docks Dora, the first event to be organized by SAL—Spazio Ad Libitum to celebrate one hundred years of the Docks Dora complex. The centennial celebrations will consist of three days of events—Friday 4th, Saturday 5th and Sunday 6th May—including video-art screenings, panels on issues in contemporary art such as women & art and new technology, a collective exhibition and a night dedicated to new directions in electronic music.

Celebrations will kick-off on Friday, 4th May at 6:30 PM with the opening of three exhibitions: an installation by Assila Cherfi, produced by SAL; a collective exhibition organized by Spazio Ferramenta in the SAL exhibition halls, showcasing works by Trung Anh Vu, Edoardo Piva and Alfredo Vinti; and a one-man show dedicated to Gianluca Lombardo, organized by BOCS, Catania. A video screening organized by Filippo Maria Selvaggio will start at 9 PM, featuring documentaries by Marco Scotuzzi and Paolo Campana.

On Saturday, 5th May the exhibitions halls will open to the public at 3 PM. The first panel will get underway at 6 PM, focusing on the topic of New Opportunities for Creation in the Digital Age, organized by Marco Mastino and Carolina Dei Pieri, with guest speakers Alessandro Amaducci, video maker and lecturer at the Department of Fine Arts, Music and Performing Arts (DAMS) of the University of Turin; Inlandempire Project; Sandro Carnino, film director; Francesca Cirilli, photographer; Martina Coletti, curator; Irene Dionisio, philosopher and video artist; and Simona Lodi. After drinks and appetizers offered by SAL, the programme will continue with a second video screening starting at 9 PM, showcasing works by Annamaria Caparotta, Alessandro Lo Casci, Mapi Rizzo and Maria Rebecca Ballestra, and then a Sound Set by Flavio Scutti till late, organized by Inlandempire Project.

On Sunday, 6th May, the exhibition halls will again open their doors at 3 PM, before hosting at 5 PM the symposium Feminine and Personal. Everyday Creative Urgency, organized by Fiammetta Strigoli, with guest speakers Giulia Caira, Chicco Margaroli, Elena Pignata, Yael Plat and Agnese Purgatorio. After drinks and appetizers, a third video screening will get underway at 8 PM, featuring works by Ilaria Pezone and Irene Dionisio.

Admission to the exhibitions, panels and video screenings is free and open to the public. For the Sound Set on Saturday night, a cover charge of €5 applies.

For full details of the programme, visit the Spazio Ad Libitum website

The Visible City. TURIN 1988-2012


The Circolo dei Lettori and the International Book Fair join together to tell the tale of a changing metropolis.
13th April, 9 PM – Via Bogino 9, Turin.

It was twenty-five years ago that the International Book Fair was first held in Turin. Perhaps never as in this last quarter of a century has Turin been at the forefront of epoch-making transformations in industry, urban planning, art, cinema and music, extraordinarily leading the way in all fields. The very label that the city of Turin has always adopted so willingly-that of the “city-testing ground”-has become too commonplace and trite to be left unquestioned.
The Visible City is a series of seven dates-held at 9 PM at the Circolo dei Lettori, two Fridays per month from February till April 2012-preparing the ground for this year’s 25th International Book Fair. Each event brings together the faces and voices of change.

On 13th April, at 9 PM, the sixth date of the series will focus on Architecture/Urban Planning.
Chaired by Carlo Ratti of the firm Carlo Ratti Associati, with guest speakers Mario Botta, architect; Benedetto Camerana, architect and chairman of the National Automobile Museum; Augusto Cagnardi, urban planner and lecturer; Giuseppe Culicchia, writer; and Angelo Miglietta, secretary of the Fondazione CRT; as well as the firms Negozio Blu, Marc and brh+.
During the debate, a series of video interviews will be screened, presenting to the audience and guest s the point of view of a number of people from Turin’s art, craft and cultural scenes. Simona Lodi, artistic director and founder of the Share Festival will also be featured in an interview in true steampunk style-so don’t miss out on the night!

For the dates and the full list of guests see here.
Each event will also be streamed live online.

Back to the future

Conference : Simona Lodi "Art in Digital Culture and in the New Media Era. The Spread of New Organizational and Democratic Models" Read more»

Jasmina Tesanovic and Simona Lodi at SXSW 2012, Austin Texas

The European Tech Art Scene presented by Jasmina Tešanovi? and Simona Lodi. Special guest Bruce Sterling.

For the first time ever, Piemonte Share will be featuring at the SXSW Interactive Festival, through an appearance by Simona Lodi. Sunday, 11th March at 12.30 pm Texas local time (19,30- Italy), the artistic director of Piemonte Share Festival will be invited as speaker at a panel presented by Jasmina Tešanovi? on the innovative, intangible and provocative art scene in Europe, with special guest Bruce Sterling.

The discussion will start with a consideration of the structural differences between cultural production in North America and Europe, taking a look at emblematic examples of art works, with a special focus on the works that to date have won the Share Prize.
The XXVI SXSW Festival edition will be held in Austin, Texas, from 9th–18th March.

A key event for the international arts scene, SXSW is the biggest cultural festival in North America. Divided into three sections, held on consecutive weeks, the festival features a vast programme dedicated to interactive art, music and film, offering a perfect location to catch bands, premiere screenings and the latest from around the world.

The strength of this mega event over the years has been its ability to bring together mainstream productions and the independent scene, attracting to Austin for ten days musicians, film directors, artists and innovators of the likes of Bruce Springsteen, Willem Dafoe, Ray Kurzveil, Bruce Sterling, Tim O’Reilly, Stephen Wolfram and Jaron Lanier.

The week dedicated to interactive art is more than just a festival—it’s a hotbed for cutting-edge technology, where the most inspired minds in new, emerging fields present their websites, games, applications and amazing ideas.


Share Festival 2012 & Share Prize 2012

Partecipate to the 6th edition of Share Prize. The aim of the Share Prize is to discover, promote and support contemporary art in our global and digital age. The competition is open to all artists that explore issues concerning our society today, in which globalisation and the pervasive reach of technology and new media have become the object of artistic interest, against a backdrop of continuing, non-stop change.
The subscription to Share Prize will open on the 23th march 2012.

Cymatics wins artist in residence in Colombia

Cymatics by Suguru Goto

Cymatics by Suguru Goto won the program Red de Residencias Artísticas LOCAL of the National University of Colombia. The Japanese artist will be invited to spend a month at the University inside the program of Multimedia and Animation located in the Conservatory of Music.

The Red de Residencias Artísticas LOCAL program seeks to strengthen links between artists interacting with foreign artist residence programs as well as with international cultural management institutions: the university as an art node that facilitates dialog between artists, enhance projects through creation of interchanging proposals networks with other high level programs and institutions.

It is important for the residence that the resident artist might have a feedback with the original community and consequently strengthen links in between artists and spreading new artists interaction networks. The artist should be aware to the diversity of the social, political and cultural space of Colombia.

The other winning artists are Dan Popa, Orlan, Tom Watson, Carlos Cuevas Ceron, Alexander Nieuwenheus, Lucrecia Cippitelli, Stephany Loveday.

Cymatics at Waterman’s International Festival of Digital Art

Waterman’s International Festival of Digital Art
Watermans – 40 High Street, Brentford, West London, TW8 0DS
Saturday 7 January – Sunday 19 February 2012
Daily 12 noon – 9 pm, Free
There will be an opportunity to meet the artist on Saturday 7 January 2012

In collaboration with Goldsmiths, University of London, in 2012, Watermans will present one of the most ambitious collections of digital and new media art ever displayed in London.

Cymatics by Suguru Goto, produced by Action Sharing, represents Europe as part of Waterman’s International Festival of Digital Art.
A panel of expert judges has selected one installation from each of the five continents together with an additonal installation from the UK, to capture the depth and breadth of creativity working with this exciting art-form.

All six artists have been commissioned to produce work designed to explore the nature of interactivity in digital art. Each installation will only come alive when people interact with it. And so the invitation to everyone is to come and “Be part of the Art“.

Cymatics is a kinetic sound sculpture that expresses the artist’s vision of nature through a series of symbolic elements that are used harmoniously in a technological context.

Cymatics creates real spaces that are metaphysical and spiritual at the same time. A place where art is a bridge between the material and the spiritual, between technology and nature, and between the humanities and science. The result is a harmonic vision of the elements of nature, demonstrating the morphogenic effect of sound waves (cymatics).

The creative process involved building a synergy between music to be seen and images to be heard, so as to create a sensorial performance for the complexity of human perception.

Goto’s works have been performed at major festivals. In 1998, he was invited to perform at Sonar, Barcelona; in 2003, he gave a concert at the Pompidou Centre, in Paris; in 2011 performed at Share Festival and in 2009 his ’Robotic Music’ was shown at the 53rd Venice Biennale in Italy.

Cymatics is exhibited at Watermans as part of the International Festival of Digital Art 2012 with support from The Great Britain Sasakawa Foundation and The Japan Foundation.

Cymatics is the second project to be produced by Action Sharing, an initiative proudly sponsored by the Torino Chamber of Commerce.
Action Sharing is designed to create a platform for syncretic research, encouraging the convergence of art, innovation and science. Based in Turin (IT) and directed by Simona Lodi and Chiara Garibaldi, Action Sharing is the only project of its kind in Europe to give artists a team of robotics engineers, with specific high-level expertise, to produce works of visual art.

VersuS and RaiTunes, a musical journey through the emotions of cities

Travel through 6 cities, in Italy, Europe and the United States. A live performance capturing in real time the emotions of cities, in an open dialogue with music.

On January 5th 2012, on RaiTunes, the sounds of Alessio Bertallot meet the hybrid, neo-real worlds of Salvatore Iaconesi and Oriana Persico. The language of radio will be contaminated with the language of new media arts, generating novel forms of expression and narratives.

Starting at 11pm and up to 11:40pm, “VersuS, the real time lives of cities” will be showcased in an entirely new version created to interact in real time with the RaiTunes playlist.

This version of the VersuS project will be officially presented during the broadcast, in which listeners will be invited to a realtime voyage into music and the emotions of London, New York, Philadelphia, Berlin, Bristol and Milan.

Moving from city to city, Alessio Bertallot will lead the audience through the discovery of the music that originates in those places, expression of concrete and flesh.

Simultaneously, planet earth will revolve towards the cities: a plunging zoom will allow us to experience cities’ chitchat in front of our eyes; the messages which people, in that moment, are exchanging on social networks will be captured, analyzed, and shown over the places in which they originated, in a dynamic, neo-real, visualization, showing in realtime the sensations of the people which live in that city, transforming us into global eyes, in emotional voyeurs of the whole planet.

January 5th, 11pm – 11:40pm, on RaiTunes.

Realtime updates and dialogue with Alessio Bertallot and the creators of VersuS will take place on RaiTunes’ Facebook page.



This project on FakePress:

Who won? The cops or the robbers?

Dear Share Festival friends,
thank you for there being so many of you! Over ten thousand people visited the Regional Museum of Natural Science from 2nd to 20th November 2011, and over one thousand came to see the installation Cymatics, by Suguru Goto!

In response to the overwhelming appreciation shown by audiences for the initiatives developed by the local territory, the opening times for the installation were extended from 9th November to 20th November at the Regional Museum of Natural Science.

In all the public enjoyed eighteen days of exhibitions and three warm-up days, marking a notable exception to the general difficulties faced in recent times by cultural events, especially contemporary art exhibitions.

The 7th Share Festival – Cops & Robbers took the public by storm with its twenty-four artists, twenty conference speakers, two exhibitions, three special projects, two productions and twenty events.
The Share Festival proved an occasion to meditate on the emergence, in the background, of a social movement that is transforming the paradigms on which a digitalized, global society is based. In this context, the conferences were an opportunity to look at political issues revolving around the question of democracy and participation, and a critical understanding of the computerisation of culture and of shared social processes.

The line dividing legality and illegality when it comes to freedom of speech, news leaks, activism and appropriationism was overstepped in both directions by the works exhibited in the thematic exhibition “Cops & Robbers”, which won public acclaim for its clarity.

Those who saw the exhibition will undoubtedly have had the chance to appreciate that originals no longer count for more than their fakes, and that targeted communication strategies are a parody of their messages. As politics, new media and art converge, the roles of the cop and the robber, the good guy and the bad, the observer and the observed, the judge and the judged, have become interchangeable.
Now is also the time to thank our guests and hear what they, and you, Share Festival friends, have to say. So please leave your comments and feedback on our blog.

We invite you to download the Cops & Robbers catalogue here, in PDF

Discover what’s been said of us at (press review)

Watch the videos of the conferences at

And take a look at photos of the Festival here on Flickr
Please tag your own photos “Share Festival 2011″

Our Facebook page at

Updates on Twitter at:
official hashtag #sharefestival

And bookmarks at

Workshop augmented reality

Share Festival augments the skies of Turin.

The “Augmented Reality” workshop, held by Sander Veenhof and Bruce Sterling at the Quazza Laboratory, was a special Turin event introducing the city to augmented reality—what it is, the sectors it can be applied to, and the people who can make the most of the technology.

The term “augmented reality”, derived from “virtual reality”, was first used by Ronald Azuma in 1997 in A Survey of Augmented Reality. In that ground-breaking essay, augmented reality was defined as the possibility of augmenting the real world environment with virtual information by improving people’s senses and skills. An object is augmented if it combines the real-world environment and virtual data, if it is interactive in real time, and if it overlaps different information levels—images, sounds and text—onto three-dimensional space. That is, beyond the implicit metaphor of the term, it is not reality that is augmented, but the information we have on reality.

New career opportunities have thus emerged in connection with interaction design, which has applications in a vast range of sectors—from advertising and communications to urban modelling, the car industry, defence, education, gaming, archaeology, architecture, industrial design, building, law enforcement, emergency services, infotainment, edutainment, animation, the aviation and space industries, tourism, TV and media, periodicals, shopping, telepresence and control interfaces, as well as what may appear to be more bizarre applications, such as illusionism and the circus, taking stage magic up to another level.

The writer Bruce Sterling, a man no longer in need of introduction, explored the field, presenting his own unconventional perspective on the topic and his experience of the augmented reality course held at the Art Center College of Design in Pasadena. The collection of articles and videos posted by Bruce Sterling on his blog, and tagged “Augmented Reality”, represent a key online resource for the field.

Sander Veenhof was the “artist in residence” for the augmented reality app Layar. He presented the expressive possibilities of the medium and showcased his own technical skills, guiding participants in the creation of a new layer of augmented reality for Turin.

The Dutch artist was the co-author of the first augmented reality art manifesto with the collective Manifest.AR. The collective consists of Mark Skwarek (US), Sander Veenhof (NL), Tamiko Thiel (US,JP,DE), Will Pappenheimer (US), John Craig Freeman (US), Christopher Manzione, (US), and Geoffrey Alan Rhodes (US).

Intertwined with the world of smartphones, augmented reality uses mobile phone cameras and GPS to view the virtual data available for a specific location. Three specific browsers exist to access content through smartphones: Layar, Wikitude and Junaio. These browsers, however, are not like we browsers, where everyone can access the same sites. Instead, each browser is a platform for registered virtual content, which means that each browser can be used to access only the content registered by developers on the platform. That, for now, is a limitation.

The result of the workshop was the creation of “Share Festival” content for Layar, designed for visitors to Turin for the event. Launching Layar on your smartphone in Turin lets you see the Share Festival content. At a simple tap, icons appear all around you, showing you where you can eat or drink, where you can find free Wi-Fi, where the Regional Museum of Natural Science is located, where you can buy the best chocolate, drink a good bicerin… in short, a guide to the skies of Turin to make the most of your Share Festival experience.

Thanks to a special web page created by Sander Veenhof for the Share Festival, information can be inserted to augment the skies of Turin as simply as updating a blog—using the same interventionist model that Manifest.AR, of which Sander Veenhof is a part, and the Invisible Pavilion used for the 54th Venice Biennale. The same kind of initiative was run for the MoMA in 2010.

Through the Share Festival layer, Turin has discovered a new frontier right over it, a new interface to communicate with both locals and visitors alike.

Download Layar onto your smartphone and look up Share Festival.


Sander Veenhof focuses his work on new models of interaction and communication. Recent developments in augmented reality and mobile telephony have enabled him to exhibit his work at the MoMA in New York and at the Venice Biennale. He is currently exploring new ways of opening up virtual space to the public.

Bruce Sterling is a science-fiction writer, essayist and journalist. He is a veteran contributor to the Share Festival.

Share Festival 2011 – Cops&Robbers

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Take a look at the video of the Share Festival 2011’s opening.

Check out all the photos of the Festival and watch videos of the Share Festival 2011’s conferences.

SHARE FESTIVAL 2011 – Cops&Robbers


Share Festival 2011, 7th edition, Cops & Robbers is from the 2nd till the 13th of Novermber 2011 at the Regional Museum of Natural Science, Turin.

10 am – 7 pm
ticket 5€ – conferences and events free entry

Consult the program

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The theme takes its inspiration from the use of appropriationism, activism and plagiarism in art, which today has turned fakesmash ups and remixes into an avant-garde artistic stance that flirts with what customarily is the wrong side of the law. A theme that fits perfectly with the sort of ‘networking’ that, ever since its beginnings, has straddled the dialectical line between legality and illegality, between theft and giving, between openness and closure, between intellectual property and sharing, and hence between widespread participation and a position of dominance.

SMIR 2011 – Monregalese.doc


SMIR 2011
former church of Sant’Evasio, Mondovì
july 10th 2011, 11am

An exhibition of contemporary art, organised by Piemonte Share for SMIR, opens in Mondovì at the former Church of Saint Evasius.

Sunday, 10th July at 11am, the newly-restored church will be unveiled in all its former glory, marking at the same time the inauguration of the closing exhibition of SMIR.

Developed over a two-year period, the cultural heritage project focused on both the exterior and the interior of the building, transforming the former church into an exhibition space and cultural hub—not a post-museum, but rather an anti-museum, where art is connected directly with various aspects of the constantly evolving local socio-economic fabric.

The result is a platform for creative expression that adopts an innovative, open concept of the museum, reflecting contemporary developments in the production and circulation of art. Within this framework, the work of both the curator and the artist is shaped by the vocation to which the space is dedicated, transforming them into producer and experimenter.

In this way, the former Church of Saint Evasius, a gem of Renaissance architecture, located in Borgo di Carassone, was chosen to host experimental art initiatives that make use of new technologies.

SMIR—Multimedia Spaces for Innovation and Research is a project developed under Alcotra 2007–2013—the European operational programme for cross-border co-operation, involving the Marcovaldo Cultural Association, the City of Mondovì and the City of Embrun. Works on the old church have focused, so far, on the restoration of the roof and the sacristy, and on safety works for the façade.

Open until the 24 July, the exhibition presents three multimedia productions, produced by Piemonte Share: the installation Squatting Supermarket by Salvatore Iaconesi and Oriana Persico, the performance Into the Wood by Fabio Battistetti, and the Mondovì Web Archaeology platform by Antonio Rollo.

Exhibition opening hours
10th–24th July, Friday–Sunday, 2.30–7pm.
Admission is free.

Share Prize 2011


Piemonte Share is announcing a new edition of the Share Prize, the international competition designed to discover, promote and support art in the digital age.

Entries for the Share Prize can be submitted from 25th June to 20th August 2011, by completing the entry form on the website

The competition is open to both Italian and foreign artists.

The Share Prize this year will focus on the theme for the 7th Share Festival, entitled Cops & Robbers.

The theme takes its inspiration from the use of appropriationism, activism and plagiarism in art, which today has turned fakes, mash ups and remixes into an avant-garde artistic stance that flirts with what customarily is the wrong side of the law. A theme that fits perfectly with the sort of ‘networking’ that, ever since its beginnings, has straddled the dialectical line between legality and illegality, between theft and giving, between openness and closure, between intellectual property and sharing, and hence between widespread participation and a position of dominance.

An international jury will short-list six finalists for the prize, who will be invited to take part in the 7th Share Festival, to be held in Torino from 2nd to 6th November 2011, at the Regional Museum of Natural Science. The winner will receive a cash prize of EUR 2,500.00.

The names of the short-listed finalists (maximum six nominees) will be announced by the end of August 2011.

The entrants short-listed for the prize will be invited to take part in the 7th Share Festival, to be held in Torino from 2nd to 6th November 2011, at the Regional Museum of Natural Science.



LPM 2011 – MINSK


The tenth edition of LPM-Live Performers Meeting kicks off on 22nd september 2011.
LPM offers a unique chance to be involved in four days of av performances, vjing, workshops, panel discussions, product showcase which will bring together an amazing community of vjs, audiovisual artists, new media practitioners and thinkers
The 2010 edition at Brancaleone in Rome registered 301 artists from Germany, Italy, Netherlands, France, Israel, Switzerland, Poland, Taiwan, Hungary, United States, Austria, Greece, Brazil, United Kingdom, Spain, Czech Republic, Bulgaria, Portugal, Ireland, Norway, New Zealand, Turkey, Latvia. We exhibited 177 works,
amongperformances, workshop and showcases over 4 stages.
LPM maintain the 4-days formula, but this time different fields of artistic research will be presented heterogeneously; hundreds performance and artworks investigating specific themes will be performed and exhibited each day without the
constrain of one only daily topic. This way we hope to offer an insightful and surprising program, highlighting diverse artistic practices every day while fostering the sharing of knowledge by means of workshops, presentations and panel

LPM is not a festival, it is an opportunity of meeting other artists and learn about diverse artistic practices, get new contacts, develop brand new collaborations. For this reason we provide several spaces for discussion and sharing and we limit the duration of each performance to 30 minutes.
The subscription to perform at LPM is FREE. For further details on how to subscribe, see the “participate” section of the website.
Subscription is now open until 30th july 2011.
LPM is produced and organized by Flyer communication, with the support of the Culture Programme of The Education, Audiovisual and Culture Executive Agency (EACEA) of the European Commission.

The Invisible Pavilion | 54th International Art Exhibition | Venice Biennale


The Invisible Pavilion | 54th International Art Exhibition | Venice Biennale
– Preview: 1-2-3 June 2011
– Opening to the public: 4 June>  27 November 2011
Venice, Giardini and all over the world on the Internet

Press conference and a tour on 1 June at 5pm, Giardini (main concourse, in the shade near Belgium Pavilion). In partnership with Manifest.AR.

Curated by Simona Lodi and Les Liens Invisibles
The art, my friend, is flowing in the wind.

The Invisible Pavilion is a non-invitation, experimental, hallucinatory augmented reality experience that will run for the duration of the Venice Art Biennale as a squatted stage on which a performance flow of artworks will fill the whole area of the Giardini.
The main purpose of the project is to fill the augmented space of the Biennale with a stream of signs and symbols, in an attempt to emphasize the ebb and flow of art production in the “always-on” age.

Anyone with a smart-phone (iPhone or any other Android-based phone and Layar) will be able to move around the traditional pavilions in the Giardini area of the Biennale and see, through their phone screens, another immaterial/invisible exhibition.

For the entire length of the Venice Art Biennale (June–November 2011) a group of selected international artists have been invited to give their personal contribution to the project, by performing/posting multimedia pieces that should somehow reinterpret the public space of the Biennale and its symbolic aura in the field of contemporary art. The artworks will also be visible on the Internet, on the Invisible Pavilion website.


As Simona Lodi says in the curatorial text, “The Invisible Pavilion is a hallucinatory experience of rewriting the world, an encouragement to increase the whirl and flow of information on invisible r/Reality. The Invisible Pavilion contains a r/Reality that is open and spontaneous, drawn and analysed from shared data. The double r reflects its double connotation—the lower case r refers to the everyday reality that we all know; the upper case R to a proprietary name, the augmented Reality that is produced.“

Participating Artists

Artie Vierkant ? Costant Dullart ? CONT3XT.NET ? IOCOSE ? Jon Rafman ? Les Liens Invisibles ? Molleindustria ? Parker Ito ? REFF–RomaEuropa FakeFactory


Links and References

Download Hi-res pictures

In cooperation with Manifest.AR International Cyberartist Group


Simona Lodi, art critic and curator, lives in Turin. Since 1993 she has been a contributor to various leading contemporary art journals. Simona’s professional career spans New York, London and Turin—a city that has embraced the world of new technology and communication. It is in this context that the Share Festival–Art in the Digital Age, of which Simona is founder and Art Director, has found fertile ground to grow and develop.

Les Liens Invisibles is an Italian-based duo of internet artists, Clemente Pestelli and Gionatan Quintini. Most of their artworks—which include an online viral mass suicide performance, an hallucinatory petition service and a series of other works staged on popular social media platforms—have been exhibited internationally in galleries, museums (MAXXI Rome, New School of New York, KUMU Art Museum of Talinn) and international media art festivals (SHARE, Transmediale). Les Liens Invisibles recently received an honorary distinction at the Transmediale Media Art Festival (2011).

Digicult @ Subtle Technologies Festival Toronto


Subtle Technologies & Digicult present:
Curated by Marco Mancuso and Claudia D’Alonzo for Digicult
international project about digital art, design and culture

Thursday, June 2, 2011
7:00-8:00 pm (Festival Opening Reception)
8:00-10:00 pm (Screenings)
Innis Town Hall

Friday, June 3, 2011
lecture by Marco Mancuso

‘Hidden Worlds’

curated by Marco Mancuso

‘When the eye flickers (Quando l’occhio trema)’
curated by Claudia D’Alonzo (Univeristy of Udine, Digicult) and Mario Gorni (archivio DOCVA)

‘A Myriad of vibrant phenomena. The hidden worlds of audiovisual art-science’
lead by Marco Mancuso

Subtle Technologies Festival 2011 | May 28 – June 5 2001 TORONTO
Subtle Technologies is a gathering of artists, scientists, technologists, engineers and the general public. We share cross-disciplinary ideas, explore new technologies, showcase creativity and incubate the next generation of practitioners at the intersection of art, science and technology.

2011 marks the 14th year of our festival and organization. Our audience and visibility have steadily grown since 1997. We are well-known in Toronto and internationally as a unique venue for bringing together cutting edge science and art. Our events are attended by intellectually curious people from all parts of society—especially those with an interest in art, technology, science, engineering, architecture or design.


Hidden Worlds
Screening curated by Marco Mancuso for Digicult

The screening Hidden Worlds is a critical reflection upon the existing connection between audiovisual art, energy and science on the borders of cinema, video and digital.

The Hidden Worlds exhibition celebrates one of the most fascinating yet obscure territories of artistic audiovisual contemporary research: the relation between art and science. The video screening produces works that induce into a critical reflection on the existing relation between audiovisual contemporary artistic research (as regards to cinema, video and digital experiences) and applied sciences.

This project, dealing with different artistic examples which investigate new expressive forms for the representation of the sound-image relation, deliberately avoids focusing on the existing common aesthetics among them, as well as on a possible expressive language. It rather suggests an overview on specific systems for sensorial perception, and emotional mechanisms of “saturation”, achieved through the use of hybrid techniques, that today like never before expand the tradition of analog experimental cinema and digital audiovisuals.

A Myriad of Vibrant Phenoema
The hidden worlds of audiovisual art-science

Lecture by Marco Mancuso for Digicult
Between 1899 and 1904 the german philosopher and biologist Ernst Haeckel published a book of lithographic and autotype prints entitled Kunstformen der Natur (Art Forms of Nature), one of his best known works and a symbol of his zoological research and philosophy, centered on the observation of marine micro-organisms as well of various natural species and animals. The complete volume, consisting of over 100 lithographs, each accompanied by a short descriptive text, obtained a great success even among the non-specialist public and among some Art Nouveau artists, committed to find new models to be used in the nascent industrial design and in architecture.

From the first experiences on the field by Haeckel to theories of fractals and morphogenesis, dreams of genetic algorythms, studies on quaternions, perceptions of Moirè’s and optical effects, computational periodics achievements, recordings of electromagnetics phenomena, chemical-physical sponteneous reactions, cymatics observations on dynamics of sound waves and vibrations, it’s clear that Mother Nature is characterized at the root by a matrix of numbers and mathematical expressions involving a series of physical, optical, chemical-physical, electromagnetic and nanometric phenomena influencing its forms, species, colours, sounds.


When the Eye Flickrs (Quando l’occhio trema)
Screening curated by Claudia D’Alonzo for Digicult and Mario Gorni for Docva
Inspired by a 1989 film by Paolo Gioli with the same name, this screening reconstructs the historical and methodological path of the use of the Flickering technique, using a selection of works from the DOCVA and INVIDEO archives, as well as from works of a number of authors connected to the Digicult international network.

The “flicker” is a technique applied to a number of art forms, from the experimental cinema on analog film, light installations and environments, as well as video analog and digital audiovisual. This technique is based on a specific perceptive phenomenon. Our perception of moving images normally happens with a 24 frames per second frequency.

Claudia D’Alonzo
Graduated in Contemporary Art History, Claudia PhD student in Audiovisual Studies at the University of Udine (Italy). For several years, she has been interested in new media art, particularly in the audiovisual interactions allowed by electronic and digital technologies.

Marco Mancuso
Marco Mancuso is a new media art critic, curator, editor and teacher, expert of the impact of digital technologies on art, design, culture and contemporary society.Founder and Director at Digicult project and Digimag magazine, Marco Mancuso focuses his researches on the connection between sound, light, image & space, with an historical/theoretical point of view, among a cross-disciplinary territory crossing art, cinema, music, design, architecture & science.


Ciao a tutti, confermo la necessità di questo passaparola, aggiungendo che si tratta di informazione per ri-affermare i diritti costituzionalmente garantiti. Read more»

AHAcktitude ’11


Seminar on the Arts and Politics of Participation, April 2, 15.00h @ AHAcktitude 2011, Italy, Academy of Fine Art of Carrara, organised by Tatiana Bazzichelli, Loretta Borrelli, Simona Lodi & Vera Martini.

The next AHAcktitude 2011, the national meeting of the AHA mailing list, is taking place in the city ofCarrara, on April 1-3 hosted by the Fine Art Academy of Carrara. The program is very rich and participated. Conferences, debates, workshops and performances will involve students, artists, activists and professors.
On Saturday from 15.00-18.00, Loretta Borrelli, Simona Lodi, Vera Martini and I are organizing a collaborative seminar on the topic: Arts and Politics of Participation. All the members of theAHA: Activism-Hacking-Artivism network are involved and new participants are welcome.
During this seminar, we are investigation the meaning of participation in the context of capitalistic strategies in the field of networking practices and exchange.

Suguru Goto Action Sharing Winner

Suguru Goto

Suguru Goto (Photo: Nino Romeo)

Japanese artist Suguru Goto has been named the winner of the Action Sharing 2010 prize for his project Cymatics.

Now in its second year, the competition is organised by The Sharing and directed by Simona Lodi and Chiara Garibaldi, and sponsored by the Torino Chamber of Commerce. Its aim is to produce artistic projects with strong syncretic elements from contemporary art, representing the convergence of art, science and technology.

According to Guido Bolatto, Secretary General of the Torino Chamber of Commerce, “Action Sharing aims to reward the project that best builds on and combines the artistic and technological capabilities of the local territory, by creating an opportunity for contemporary art and innovation in the Torinese mechatronics industry to come together.”

Contemporary art that takes shape within technological spaces needs to create its own imagery and a hero, a myth to produce and identify with. Action Sharing highlights just such issues, thus contributing to the cultural modernisation of the local territory and the country as a whole.

Simona Lodi and Chiara Garibaldi have endorsed the judges’ decision, stating that “Suguru is the right artist for this competitive production initiative because he imagines a process that expresses a heightened awareness of the problems of environmental disharmony, presenting us with a vision rooted in Japanese philosophy, where elements representing nature and technology do not contrast or conflict, but instead coexist in mutual harmony.”

After having reviewed with skill and expertise all the entries submitted to the Action Sharing 2 Ideas Competition, the panel of judges – consisting of Guido Bolatto, Massimo Banzi, Federico De Sario, Bruce Sterling, Pietro Terna, and Andrea Tonoli – named Suguru Goto, and his project Cymatics, winner of the competition.

Special commendation was given to Andreas Muxel and Florian Gassmann for their project Lost In Space.

Jury Statement
Suguru Goto was found to have successfully interpreted the issues that have engaged the Action Sharing platform ever since its launch…(read more)

Download press kit

LPM 2011: extended call for artists


Are you ready to participate? The registration form is available online at LPM.Hurry and submit your project!
The deadline was extended until March 14!

We are collecting live audiovisual performance, VJ sets, interactive installations and proposals for laboratories and workshops by artists, professionals, researchers and fans of live video.
This year the focus is on specific research areas of live video. Read more:

From May 19 to 22 in Rome there will be the ninth edition of LPM.
And this year is doubled, with the edition of September in Minsk!

LPM – Live Performers Meeting is one of the live video events, audio-visual performance and new media art world’s most important. Participate in LPM is to be involved four days of performance AV, VJ, workshops, panel discussions and showcase products along with many VJs, artists, audiovisual, new media professionals and thinkers from around the world!

The 2010 edition at Brancaleone in Rome has 301 artists from Germany, Italy, Netherlands, France, Israel, Switzerland, Poland, Taiwan, United Kingdom, United States, Austria, Greece, Brazil, UK, Spain, Czech Republic , Bulgaria, Portugal, Ireland, Norway, New Zealand, Turkey, Latvia.

For questions contact us at

Follow updates on Twitter:

Presentation of the book “Until the end of Cinema”

On 9th march at 4.30 p.m. At the Auditorium Multimediale of the Laboratorio “Guido Quazza”, inside CIRMA, Luca Barbeni will present the book Fino alla fine del Cinema, edited by Clueb in november 2010.
In 1991 Wim Wenders directed Until the End of the World, where the explosion of communication media is reflected in the puzzle-pieces that make up the narration, in which each movie sequence is not necessarily tied to the next by cause and effect.
Just as Wender’s film is a cinematic journey into the depths of the human mind, taking us beyond the end of the world, the title of this book is an attempt to describe a series of cinema projects that take motion pictures beyond the cinema screen and experiment with non-linear forms of narration.
The works described can be situated along two vectors that expand in separate ways: the recombination of languages and the integration of story-telling into reality (via the screen).
Digital isomorphism has facilitated the recombination of languages, while the miniaturization of technologies and the pervasiveness of the Internet, or pervasive computing, have facilitated the integration of story-telling and reality.
Cinema as we knew it throughout the last century is dead, but today, in our digital age, it is the artistic form of expression that has been most contaminated by the technologies and media of our new ecosystem.
As a result of all this recombination, the frontiers of traditional cinema are being progressively pushed back, in the sense of overcoming the architectural limits of movie theatres. Given that, as Giuliana Bruno says, “it is thanks to architecture that a film becomes cinema,” it has yet to be seen whether we really can talk still about cinema, considering that the moving images can be viewed in a variety of ways, from the sides of buildings or from portable screens.
Fino alla fine del Cinema
4.30 pm, 9th march 2011
CIRMA – Auditorium Multimediale  del Laboratorio “Guido Quazza”

REFF – Remix the world! Reinvent Reality!


REFF – Remix the world! Reinvent Reality!
A Fake Cultural Institution, an A/R drug and the reinvention of reality

Furtherfield Gallery (formerly HTTP)
Unit A2 Arena Design Centre, 71,
Ashfield Road, London N4 1NY
Private View from 6.30pm Friday 25th February 2011
Exhibition Open
12-5pm Thu-Sat (or by appointment), 25 February – 26 March 2011

Directly from Italy, Art is Open Source and FakePress present the REFF project and REFF AR Drug.

REFF, a fake cultural institution founded in 2009, is in London for the first time to launch, promote and distribute its Augmented Reality drug REFF AR.

To celebrate the event, an exhibition will open from 25 February at Furtherfield Gallery, showcasing works by artists all featured in the new REFF book: Garrett Lynch, Rebar Group and Xname. A real-time
interactive map, created for the exhibition, will describe the life of REFF all over the world: 60 authors, artists, designers, architects, hackers, journalists, activists; dozens of actions; a live and real-time stream of information collectively produced by a worldwide community of re-inventors. The process is open: please contact us if you feel that your actions are reinventing reality and, thus, should be added to the visualization.

Visit the gallery, meet the founders of the institution, explore the new open publishing tool, encounter artworks and performances, enjoy freedom of access and expression. In other words…take the REFF AR Drug.

via Furtherfield

Face to Facebook – The story continues…


From Artist’s press release.

* Face to Facebook.
Face to Facebook is a project by Paolo Cirio and Alessandro Ludovico, who wrote special software to steal 1 million public profiles from Facebook, filtering them through face-recognition software and posting the resulting 250,000 profiles (categorized by facial expression) on a dating website called
The project was launched at Transmediale, the annual festival for art and digital culture in Berlin, on February 2nd, in the form of installation displaying a selection of 1,716 pictures of unaware Facebook users, an explanatory video and a diagram detailing the whole process. The website went online on the same day.

* The Global Mass Media Hack Performance.
On February 3rd a global media performance started with a few epicenters that after a few days had involved Wired, Fox News, CNN, Msnbc, Time, MSN, Gizmodo, Ars Technica, Yahoo News, WSB Atlanta TV, San Francisco Chronicle, The Globe and Mail, La Prensa, AFP, The Sun, The Daily Mail, The Independent, Spiegel Online, Tagesschau TV News, Sueddeutsche, Der Standard, Liberation, Le Soir, One India News, Bangkok Post, Taipei Times, News24, The Age, Brisbane Times and dozens of others.
It was a “perfect news” for the hectic online world: it was about a service used by 500.000.000 users and it potentially affected all of them. Even more importantly, it boosted our inherent fear of not being able to control what we do through our connected screens. Exquisitely put by Time: “you might be signed up for’s dating services and not even know it.”
At the end of the day Cirio’s and Ludovico’s Facebook accounts were disabled and a “cease and desist” letter from Perkins Coie LLP (Facebook lawyers) landed in their inboxes, including a request to give back to Facebook “their data”.
We can properly define it as a performance since it happened in a short time span, involved the audience in a trasformation, and evolved into a thrilling story. The frenzied pace of these digital events was almost bearable.

* The Social Experiment.
In the subsequent days the media performance continued at a very fast pace and what we still define as a “social experiment” was actually quite successful. Starting on February 4th the news went spontaneously viral: thousands of tweets and retweets pointed to the website or to articles and blog posts, often urging people to check if they (and their loved ones) were on the website or not. In a few days received 964.477 page views from 195 different countries. Reactions varied from asking to be removed (which we diligently did) to asking to be included, from anonymous death threats to proposals of commercial partnerships.

* Back to Facebook.
We approached the Electronic Frontier Foundation about legal counsel, but after a second warning by Perkins Coie, we temporarily put up a notice that is under maintenance. But they are not ok with that.
They want not to be reachable. And they even want the same for, the website where we explain the project. So basically their current aim is to completely remove the web presence of this artistic project and social experiment.
They missed out on Face-to-Facebook also being meant as a homage to FaceMash, the system Mark Zuckerberg established by scraping the names and photos of fellow classmates off school servers, which was the very first Facebook.
Furthermore, it’s a bit funny hearing Facebook complain about the scraping of personal data that are quasi-public and doubtfully owned exclusively by Facebook (as a Stanford Law School Scholar wondered analyzing We obtained them through a script that never even logged in their servers, but only very rapidly “viewed” (and recorded) the profiles. Finally, and paradoxically enough, Facebook has blocked us from accessing our Facebook profiles, but all the data we posted in the last years is still there. This proves once more that they care much more about the data you post than your online identity.

We’re going to reclaim the access to our Facebook accounts, and the right to express and document our work on our own websites.
And even if we are forced to go offline, will never go offline in the minds of involved people.

Face to Facebook data:

People who asked to be removed from the database: 56
People who asked to be included in the database: 14

Commercial dating website partnership proposals: 4
Other partnership proposals: 9

Cease and desist letters by Perkins Coie LLP (Facebook lawyers): 1
Other threatened lawsuits or class actions: 11

Anonymous email death threat: 5

TV reports: 3
Online news about (source: Google News): 427

Number of times “lovely faces” introductory video has been viewed on you tube: 31,089
Unique users on 211.714

Face to Facebook links (a few):

Fox news LA (video)

WSBTV 2 (video)

Tagesschau (video, in German)

The Age

Stanford Law School / The Center for Internet and Society

Face to Facebook contact:

CoS – Back from transmediale11



CoS, Consciousness of streams, featured project at the 2011 edition of transmediale, is an ubiquitous, emergent, global publication creating a realtime emotional map of the world.

CoS is a publication by FakePress created explicitly for transmediale11: it will continue after the festival and all software created/used is about to be released as open source, under GPL license schemes.

Some numbers for this cross-media book:

– 35000 authors,
– 4 continents,
– 5 workshops summing up to 24 hours of continuous education material,
– 1 location based noir story in which all participants have been killed (“murder in transmediale”),
– more than 230000 emotions forming a detailed emotional map of more than 300  locations around the world,
– 5 projects stemming out directly from the project’s life at transmediale.

This statistics have been calculated on the 6th of february, the last day of the festival.


CoS ( )

is a cross-media publication by FakePress (

created in collaboration with

transmediale ( )

and Art is Open Source ( )


Watch a video-report recorded in the CoS space the 6th of february by an exhausted xDxD.vs.xDxD at the end of the workshop’s sessions



Join the stream and experience CoS here

Face to Facebook at transmediale 2011 – Berlin


Yes, this is illegal:  Face to Facebook a project by PAOLO CIRIO and ALESSANDRO LUDOVICO

From Artists’ statement:

“Stealing 1 million Facebook profiles, filtering them with face?recognition software and then posting them on a custom?made dating website, sorted by their facial expression characteristics.

In an attempt to free personal data as Facebook’s exclusive property we spent a few months downloading public information from one million profiles including pictures. Immersing ourselves in the resulting database was a hallucinatory experience as we dove into hundreds of thousands of profile pictures and found ourselves intoxicated by the endless smiles, gazes and often leering expressions.

After a few weeks we had to face the evidence. All that people wanted was to attract new people, have more relationships, to express and receive love through their digital traits. But they were trapped by Facebook owning their data and restricting their actions with primitive privacy rules. They wanted more than just their restricted circles of “friends” and they wanted it quickly and easily.

Our mission was to give all these virtual identities a new shared place to expose themselves freely, breaking Facebook’s constraints and boring social rules.

So we established a new website lovely? giving them justice and granting them the possibility of soon being face to face with anybody who is attracted by their facial expression and related data. Now they are there, in full effect, free to keep in touch with a whole world of men and women and anything in between. And we accomplished our mission: the final piece of the free relationships interface is now running.

Mixed media installation of Face to Facebook:

Premiere of the installation with more than 2000 printed pictures of faces at the Transmediale festival in Berlin.

The Hacking Monopolism Trilogy:

Face to Facebook is the third work in a series that began with Google Will Eat Itself and Amazon Noir. These works share a lot in terms of both methodologies and strategies. They all use custom programmed software in order to exploit not without fun three of the biggest online corporations Google, Amazon and Facebook, exploiting conceptual hacks that generate unexpected holes in their well oiled marketing and economic system. ”

Authors’ biographies:

Paolo Cirio works as media artist in various fields: net?art, street?art, video?art, software?art and and experimental fiction. He has won prestigious art awards and his controversial works have been sustained by research grants, collaborations and residencies. He has exhibited in museums and art institutions worldwide. As public speaker he delivers lectures and workshops on media tactics.

Alessandro Ludovico is a media critic and editor in chief of Neural magazine since 1993. He’s one of the founders of the ‘Mag.Net Electronic Cultural Publishers organization. He also served as an advisor for the Documenta 12’s Magazine Project. He has ben guest researcher at the Willem De Kooning Academy in Rotterdam. He teaches at the Academy of Art in Carrara.

Face to Facebook

Press Release, 2 February 2011. Berlin. Face to Facebook - A project by PAOLO CIRIO and ALESSANDRO LUDOVICO Read more»

Orchestra Mecccanica Marinetti at Arte e Scienza in Piazza


On 6th February at 7 pm at Teatro Arena del Sole in Bologna, Orchestra Meccanica Marinetti by Angelo Comino aka Motor will be beating its robotic arms.

The show is part of the Arte e Scienza in Piazza programme of events, an annual initiative sponsored by the Marino Golinelli Foundation to promote scientific culture.

For the first time, Arte e Scienza in Piazza, also thanks to the performance of Orchestra Meccanica Marinetti, will be showcasing artistic works to highlight how art and science are interconnected.

Thus downtown Bologna will be transformed into a modern open-air stage for art and science to reveal their differences and affinities on the common ground of technology. Raising it voice, or rather its drums, on the matter will be Motor’s mechanical orchestra, on stage in full for Orchestra Meccanica Marinetti plays Nag Hammadi.

The performance represents the continuation of the joint project Opening the Door to Robotics co-ordinated by Enzo Marvaso, designed to introduce the subject of robotics to high school pupils.

Motor presented the artistic potential of robotics, drawing the enthusiasm of a young audience of over 500 students from four different high schools in the province of Turin.

Following the learning activities, Orchestra Meccanica Marinetti performed live in Turin at Teatro Ragazzi and in Ivrea at Teatro Politeama.

Orchestra Meccanica Marinetti was produced by the association The Sharing and the Torino Chamber of Commerce, the founders of the interdisciplinary platform Action Sharing, where artists, engineers and companies, along with scientists, economists, social workers and teachers, are brought together by technology.

The key objective of Action Sharing is to promote the engagement of art, science and technology, as a fertile ground for innovation.

In the business world, Orchestra Meccanica Marinetti was presented by the companies involved in the project at two leading industry events for the mechatronics sector, Mechatronic Connection in Turin and IMTS in Chicago.

Orchestra Meccanica Marinetti plays Nag Hammadi
6th February, 7 pm
Teatro Arena del Sole, Bologna – Arte e Scienza in Piazza
Admission is free
info: 00390115883693 –

Transmediale 11- RESPONSE:ABILITY


transmediale.11, the International Festival of Art and Digital Culture is taking place at the Haus der Kulturen der Welt in Berlin from the 1st to the 6th of February, 2011.
With the title RESPONSE:ABILITY transmediale.11 calls for joint reflection on how we live in relation with the
Internet today. The network is becoming at the same time an increasingly competitive resource and  the rise of social networks, the new quality of mobile communication technologies and real-time media are leading to the increasing live-connectedness and networking of our society. transmediale.11 asks what courses of action following the Web 2.0 era are possible for Internet users.

During the opening on 1st february at 18.30 at the Haus der Kulturen der Welt for the first time at transmediale a non-human digital personality will be participating! Special opening guest Derrick de Kerckhove will introduce his son, Angel_F (, a spyware entity born through the technological-sensual relationship between himself and Biodoll, the art project of Salvatore Iaconesi and Oriana Persico. Following the A/V performance: DUST by Herman Kolgen and the opening of the exhibitions spaces.


The festival is organized trough different platform including exhibitions, conferences, events, workshops and screening.
Curated by Ela Kagel, The Open Zone is an art-based social experiment with Free Culture and the Open Web. In the HKW foyer, a model city arises in which the strategic conditions of an open internet culture are examined, and which can be experienced by visitors. With Heath Bunting, Open Design City Berlin, Elizabeth Stark, collective, Ursula Endlicher, Christopher “moot” Poole, Evan Roth and many more.

The HacKaWay Zone, curated by Stephen Kovats, is a platform where the complex technological and societal systems are critically de- and re-constructed to reveal new and alternative realities. Partecipating  artists include Paul Vanouse, HONF, UBERMORGEN.COM, Ei Wada as well as Fair Use Trio.

SyncExistence is a video screening curated by Marcel Schwierin, where the main focus is a reflection on the ways in which twentieth century cinema contributed to promoting the sense of growing simultaneity, ubiquity and acceleration. With films and videos from artists including Lynn Hershman Leeson, Ho Tzu Nyen, Sergei Komarov, Wolf Vostell, Camille Verbunt, Ruben Östlund and the ArabShorts project.

This year’s performance programme LIVE:RESPONSE, curated by Sandra Naumann, hovers at the interface between the real world and the media sphere, liveness and reproduction, virtual and physical. With live performances from artists including Herman Kolgen, People Like Us, Cécile Babiole & Vincent Goudard, Eboman and Preslav Literary School.

Under the title BODY:RESPONSE – Biomedial Politics in the Age of Digital Liveness, curated by Markus Huber. the transmediale.11 conference investigates the increasing biologisation of the media and the hybridisation of virtual and real spaces.
With international experts including Franco ‘BIFO’ Berardi, Maurizio Lazzarato, Judith Revel, Alessandro Ludovico, Salvatore Iaconesi, Paolo Cirio, Les Liens Invisibles, Eric Kluitenberg, Derrick de Kerckhove and Jordan Crandall.
At the Awards Ceremony on the 5th of February 2011 at the Haus der Kulturen der Welt, the winners of three awards will be announced. transmediale and CTM (club transmediale) join forces to present the transmediale Award for outstanding artworks from around the world responding to the challenges of our rapidly changing digital technology and network-based culture. Among the artists nominated Share Festival support Les Liens Invisible that presented for the first time the project (htttp:// at Share Festival 2010.

The Vilém Flusser Theory Award promotes innovative media theory and practice-oriented research projects exploring current positions in digital art and culture. The Open Web Award will be presented, in collaboration with the Mozilla Foundation, for the first time. The nominated works, booki by Adam Hyde, Graffiti Markup Language by Evan Roth and THIMBL by the art group Telekommunisten will be available until the 4th February 2011 on the Mozilla Drumbeat Platform ( for a public vote that will determine the award winner.

Bruce Sterling & Jasmina Tesanovic present REFF

Bruce Sterling and Jasmina Tesanovic present REFF

Bruce Sterling and Jasmina Tesanovic present REFF

We will be together with Bruce Sterling and Jasmina Tešanovi? in Rome during the next few days.

Just back from Brazil, Bruce and Jasmina have been so nice to dedicate some of their time to help us out in spreading the news about the REFF Book, just published by FakePress and DeriveApprodi as the latest effort of RomaEuropa FakeFactory.

Bruce wrote the preface for the book, while Jasmina wrote a contribution telling the story behind the beginning of her experiences as a writer, among networks, war, anonimity and blogs. They are dear friends and represent interesting perspectives on the main theme of the book “the reinvention of reality”.

And we hope that you all will be able to get together with us for the event, or that you’d like to take a look at the materials that we’ll publish after it.

Here below the full info of the two parts of the event.


Bruce Sterling & Jasmina Tesanovic


REFF – The RomaEuropa FakeFactory book

Jan 14th. @ ESC – Via dei Volsci 159 (San Lorenzo) / Jan. 15th @ STRIKE – Via U. Partini 21 (Zona Portonaccio)

On the 14th and 15th of January Bruce Sterling (author of the preface to the book) and Jasmina Tešanovi? (author of the essay-interview “A goose in the fog. Story and evolution of a technological idiot“) present the book:

“REFF. The reinvention of reality through critical practices of remix, mash up, recontextualization, re-enactment”, edited by FakePress and DeriveApprodi.

Two dates dedicated to the practices and possibilities to reinvent reality offered by new technologies. The authors will join FakePress at two fundamental nodes of activism in Rome: ESC Atelier Autogestito (on Friday Jan. 14th) and the Spazio Pubblico Autogestito Strike (on Saturday Jan. 15th).

You are all welcome!


About Bruce Sterling. The author of the Mirrorshades anthology in 1986 contributed to the definition of cyberpunk. Sterling is the author of science fiction novels, pieces of fine journalism and world known essays. He collaborates with Wired magazine, has a dedicated column on XL magazine since its first issue and writes for the La Stampa newspaper from Turin in which he curates, together with Jasmina Tešanovi?, the column “Globalisti a Torino” (“Globalists in Turin”). In 2003 he has been nominated professor at European Graduate School, where he teaches intensive courses in Media and Design.

About Jasmina Tesanovic.Feminist and political activist (Women in Black; CodePink) she is a writer, journalist, translator and film director. In 1978 she promoted the first feminist conference in Eastern Europe, “Drug-ca Zena” (Belgrade). With Slavica Stojanovic she designs and creates the first feminist publishing house in the Balcans, “Feminist 94?, lasting for 10 years. She is the author of “Diary of a Political Idiot”, translated in 12 languages: a war diary written during the 1999 conflict in Kosovo. Since then she has been publishing her works on blogs and other media, always connected to the Internet.

About REFF – RomaEuropa FakeFactory . Started in 2008 the project confronts the themes of critical, active and creative innovation in cultural and technological policies. With the publication of its book, REFF is the first instance of a novel form of publishing floating across augmented reality, ubiquitous publishing, innovative and accessible interfaces, emergent narratives, infoaesthetics and a new perspective on the world that surrounds us. REFF – Remix the world, reinvent reality!

The event is promoted by:

ESC []

in collaboration with :

STRIKE spa [], AOS [], FakePress []

More info on REFF: []



Jan. 14th – ESC (Via dei Volsci 159, Rome)

ore 18:00 – REFF. Story and evolution of a conflict, curated by FakePress

ore 18:30 – Interviewing Bruce & Jasmina, by Benedetto Vecchi ( “Il Manifesto”)

ore 19.00 – Free Talk, open discussion with the audience

ore 22:00 – DROMOSCOPE. Ambient, drone, glitch, abstract hip hop and techno, spatialized at ESC and progressively rising through a series of DJ/VJ sets

* how to reach ESC:

Jan. 15th – STRIKE spa (Via Umberto Partini 21, Rome)

ore 20:00 – REFF. Story and evolution of a conflict, curated by FakePress

ore 20:30 -Bruce Sterling & Jasmina Tesanovic FreeTalk. Open discussion with the audience

ore 23:00 – presentation of the new record by dj Gruff  “Phonogruff”

* how to reach Strike spa:

REFF – RomaEuropa FakeFactory, or the manipulation of reality


The degeneration of the media today has brought negative connotations to the concept of manipulation – connotations that in this case should be set aside. REFF – RomaEuropa FakeFactory is a book made to be manipulated, helping us to realise that reality is much more flexible than what we are generally willing to accept.
To begin with, the book should be situated within a much broader experience, where manipulation is not just another word for impenetrability and control, but rather a synonym for empowerment and understanding.
The controversy sparked this time round concerns intellectual property, with the announcement of the RomaEuropa Web Factory competition promoted by the RomaEuropa Foundation and Telecom, where the legal disclaimer transfers the intellectual property rights to all works entered to the organisers. As if this were not enough, remixed works and mash-ups were excluded from the competition. The “web” lost no time in its reply. Reactions culminated in the creation of a fake, a competition dedicated to the “Freedom To Remix,” to promote thought and action on the meaning of art, culture and creativity in contemporary society, on models for access, and on the relationship between intellectual property and new business models.
This kicked off a process that has become unstoppable, that through the efforts of all the people involved has become much more than a simple protest.
The whole story can be found on the website , but the point is that “the goal of REFF was and is to create a live process, to describe an ecosystem whose inhabitants can choose self-determination.” And in fact the book REFF – RomaEuropa Fake Factory is much more than a book. A first skim of the contents reveals a very accurate choral analysis of issues concerning intellectual property rights. The book is written as a dialogue between the authors and their guests – artists, designers, lawyers, politicians, and writers, presenting a sweeping panorama of views. The views voiced in the dialogues are those of Richard Barbrook, Tatiana Bazzichelli, Andy Cameron, Antonio Caronia, Stefano Coletto, Fiorello Cortiana, Marc Garret, Alex Giordano, Stephen Kovats, Simona Lodi, Luigi Pagliarini, 0100101110101101.ORG, Amy Francescini (Future Farmers), Flyer Communication (FLxER), Derek Holzer,, Steve Lambert, Les Liens Invisibles, Adam Somlai-Fischer (Architecture), Sosolimited, and many more.
As regards form, Bruce Sterling in his introduction to the book writes, “It’s quite an interesting book today, but, in retrospect, after half a century, this book ought to be entirely fascinating,” especially due to the augmented reality it offers through additional content accessed via fiduciary markers and QR codes. The book offers a new reading experience that goes beyond the page, giving readers more in-depth information on tablets and smartphones.
Finally, because the authors are convinced that art is open source, they have also released open source tools enabling anyone and everyone to create their own augmented reality publications with relative ease.
Remixing and manipulating, what was once the exclusive realm of music and pictures, now also belongs to the world of paper.
Follow the link below to see Bruce Sterling and Jasmina Tesanovic using the book.

For more information see:

Call Action Sharing 2 Postponed


The Sharing, in partnership with the Turin Chamber of Commerce, is announcing the second Action Sharing competition.
The deadline to subscribe has been postponed until midnight, 6th December 2010.

Action Sharing is an ideas competition for artistic projects that make syncretic use of mechatronic elements.
Area of key interest for The Sharing include: art, music, drama, performance art and dance.
The Turin Chamber of Commerce has sponsored the competition with a view to promoting the creative capital to be found in the Piedmont region, where art and technology are two strategic sectors for the local economy, as part of its commitment to supporting initiatives that promote interdisciplinary co-operation.

Artists are invited to enter projects that make use of the devices required by the competition (electric motor/linear voice coil actuator) in the areas of key interest stated above.
The aim of the competition is to identify and select artistic projects that can be developed in partnership with leading companies in the mechatronics sector, the Polytechnic University of Turin, and Regione Piemonte institutions.

The idea judged the best will win a prize of €1500*.
*one thousand, five hundred euros, including tax and social security contributions.

Download the Competition Terms and Conditions:

Fill the form:

Conference Audio Podcast


Listen to the streaming of the conferences:

6:30 PM
Regional Museum of Natural Science – Conference Hall, lower ground floor

conference held by Nicolas Nova – Accidents and Failure as Fertile Creative Ground for the Near Future


Regional Museum of Natural Science – Conference Hall, lower ground floor

>>>2 PM Round table conference with Christian Ulrik Andersen, Tatiana Bazzichelli, Geoff Cox and Les Liens Invisibles Smart Mistakes, or Business as Usual.

>>>3.30 PM Conference with Cristophe Bruno and Samuel Tronçon Artwar(e)

>>>4.30 PM Lecture by Roberta Buiani Buiani Creativity in Uncertainty: On the Obsession with Control.

>>>5.15 PM Dialogue with Valeria Gandus and Jasmina Tesanovic
>>>6.15 PM Lecture by Kim Cascone The Failure of Aesthetics.


Regional Museum of Natural Science – Conference Hall, lower ground floor

>>>2.30 PM Dialogue with Mario Calabresi and Anna Masera Digital Publication Errors
and Transformations


>>>3.30 PM Lecture by David Orban Why numerous mistakes can and should be made in technology today?

>>>4.30 PM Dialogue with Max Casacci and Wu Ming 1

>>>6 PM Lecture by Edoardo Boncinelli Creative Mistakes


Regional Museum of Natural Science – Conference Hall, lower ground floor

>>>11 AM Dialogue with Fulvio Gianaria and Gianluigi Ricuperati
>>>12 PM Dialogue with Antonio Caronia Caden Manson and Jemma Nelson

ARTISSIMA 17 – Oval – Lingotto Fiere – via Nizza 280/294 – Turin
>>>2 PM Conference with Edoardo Bonaspetti, Chiara Figone, Salvatore Iaconesi, Giorgio Maffei, Oriana Persico and Dario Salani Art Publishing 2.0: Next Steps Publishing. Moderated by Simona Lodi

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>5 PM Keynote Speech by Jurij Krpan The Difference Between Experiment and Investigation in Contemporary Art.

>>>6 PM Lectio Magistralis by Stelarc Circulating Flesh: From Third Life to Real Life.


Regional Museum of Natural Science – Conference Hall, lower ground floor

>>>4 PM Lecture by Siegfried Zielinski Variantology – Thoughts on Experiment in
Unstable Times.


>>>5 PM Keynote Speech by Bruce Sterling The Accidental Life and Comic Death of the Media.

The end of mistakes


Dear Share Festival friends,

thank you for there being so many of you! Over 10,000 people entered the Regional Museum of Natural Science between 15th October and 7th November, 2010.

This goes to show that the Share Festival is continuing to attract an ever wider audience of people interested in digital, generative and expressive art!

Music, theatre, exhibitions, multimedia, conferences and workshops coloured the traditional exhibits of the Science Museum.

The 6° Share Festival – Smart Mistakes took the audience by surprise this year, treating them to 30 artists, 35 conferences, 2 exhibitions, 1 special project, 5 performances and 25 exclusive events in six consecutive festival days and 3 warm-up days.

Thanks also to the Youth Museum programme of events, organised in partnership with Club To Club and Musica 90, with the co-operation of Prospettiva2 – Teatro Stabile di Torino, the Regional Museum of Natural Science and Your Time Torino European Youth Capital, we were able to really appreciate the strength and prove the value of organising events on-line as a team. The result was that lots of people came together to share a truly unique experience in Turin.

A lot of people have asked us why we chose mistakes as the guiding thread for this year’s festival.
The decision has to do with the fact that we see the festival as a sort of narrative, a story to be told. In every story, there is always a narrative expedient, a trigger that makes the plot unfold. And then there are always the good guys and the bad guys. In our case, the heroes are the artists, and the villains are the mistakes and hiccups they come face to face with along the creative process.
Through their works, the artists tell the story of this encounter – with technological errors, biological mistakes or moments of serendipity – and how things pan out in the end. Some win, others are seduced and change sides, joining the forces of evil (such as glitch art), while others again stand firm and fight, bearing the bruises of battle.

Everyone found inspiration to be drawn. All our guests, artists and conference speakers stuck to the topic of Smart Mistakes with unwavering loyalty.

Mario Calabresi, editor in chief of the daily La Stampa, admitted the cultural mistake of Italian media outfits (stressing how UNsmart it was) that did not understand the importance of new media, paying little attention to on-line publications until the figures and statistics brutally forced them to think again. Today, a newspaper might sell an average of 300,000 copies, but its same website will have six million individual users and 85 million web pages visited per month.
In Italy’s art scene and museum system, this same cultural mistake of not appreciating the artistic import of new media is still dangerously committed to this day.

In a world first, Wu Ming 1 revealed the smart mistakes committed on the main character of the novel Q, Gerrit Boekbinder. As a result of a rather curious error in researching the historic figure, the character’s nickname was translated as “Gert from the Well” and a story was created to explain how he came to get that name. In reality the name is a mistranslation, and the real nickname of the historic figure was “Gert of the Cloister”. The mistake underpins a series of episodes involving a well, such as when during a brawl outside a tavern Gert falls into a well, only to re-emerge beating his adversary with a bucket.

The right to fail was also given institutional backing by Jurij Krpan in his address. He stressed how in the field of art, and in particular those forms of art that investigate, explore and experiment, offering new perspectives on art itself, the role of contemporary art in society today is not to create pretty objects to please audiences and the market, but to construct a temporal dimensional in which the artistic subject refers to the experimental culture that lies at the basis of contemporary art. A leading example was given Stelarc at the festival, who has made bio-artistic experimentation and research the focal point of his work.

The geneticist Edoardo Boncinelli clarified with absolute simplicity the substantial difference between evolution and progress, explaining the fundamental role that copy error plays in the evolutionary process.

Instead Sigfried Zielinski bridged the conference on the future in our present by Stelarc and Bruce Sterling’s completely out-of-time address, weaving his way between North Korean architecture, Alexander Graham Bell, Mark Twain and Thaddeus Cahill to bring the Share Festival to a close with a lesson on the scale of mistakes.

It was not only the in-depth theoretical discussions and interesting perspectives opened up by the conference that attracted you though. In fact the activist edge of the festival also attracted curiosity and interest.

The project RIOT by Les Liens Invisibles on the streets of central Turin brought together a large audience along an imaginary itinerary of discovery, to uncover the immaterial sculptures that the artists had inserted in town squares around Turin.

We hope that YOU too have be inspired, as mistakes mark the emergence of a problem, which calls for solutions, and it is solution that leads to innovation.

The time has also come to thank our guests and hear about what they – and you, friends of the Share Festival – found most intriguing at this year’s festival.

We invite you to download the Smart Mistakes catalogue here, in PDF
( )

and to give us your feedback on the Share Festival blog.

The leading, avant-garde quality of the contents and perspectives showcased by the Piemonte Share Festival was also reflected in the attention and interest shown in us by local and national media, which dedicated without exception flattering words and key space to the event.
La Repubblica on 26th October dedicated Share Festival a huge full-page article entitled “Culture in the Future,” Torino Sette reserved the festival its cover and three entire pages for its inauguration, and leading national papers of all fields (from Nova 24 and Sole 24 Ore to Arte Mondadori, XL, Glamour, Flair, Left and Wired) talked about the various forms that our smart mistakes take. The Festival was given visibility in a wonderful full-page interview with Stelarc (complete with cover photo) in the daily Il Manifesto on 6th November, as the festival was nearing its end.

Press review here:

Conferences here:

Festival photos on Flickr at:

Our Facebook page at:

Updates on Twitter at:

And bookmarks at

Stay tuned!

Winner Share Prize


The inauguration of the 6th Piemonte Share Festival was accompanied by the announcement of the winner of the Share Prize 2010 and the honorary mention. The objective of the prize is to discover, promote and support the digital arts. This year around 270 artists submitted an equivalent number of entries for the prize, from 20 different countries.

An international panel of judges, consisting of Jurij Krpan (Ljubljana), Andy Cameron (London), Fulvio Gianaria (Turin) and Bruce Sterling (Austin/Turin), reviewed the works submitted by participating artists.

From the six finalists (Kuai Auson, Perry Bard, Sonia Cillari, Ernesto Klar, Knowbotic Research and Teatrino Elettrico) the judges selected Ernesto Klar winner of Share Prize. His interactive, audiovisual installation Relational Lights uses light, sound, haze and a custom software system to create fluid, gradual transformation, a three-dimensional light-space that the audience can interact with actively, manipulating it with their presence and movement.

Honorary mention was given to Kuai Auson for the work Oh!M1gas, based on the activity of an ant colony under video and audio surveillance, transforming the ants into DJs and creating a sound-reactive space which reveals the connection between scratching, as an aesthetic expression created by human culture, and the ‘calls’ produced by the ants as a means of communication.

On behalf of the judges, Bruce Sterling explained the decision saying:

The winner of the Share Prize 2010 is Ernesto Klar for his installation Relational Lights. In this work, a huge algorithmic complex is hidden behind a simple, elegant interface. This work of interactive art is a fantastic, world class work – congratulations Ernesto.

Our special commendation goes to Kuai Auson for the installation Oh!M1gas (pronounced hormigas). In this unique, ingenious work from Cologne, ants – social networkers par excellence – become techno musicians. An intelligent industrial design acts as back-up to the musical ants, which after touring several countries are now performing here in Italy too – good luck with your career Kuai.

Programme 11.7.2010


Follow the video streaming on


Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>4 PM Lecture by Siegfried Zielinski Variantology – Thoughts on Experiment in
Unstable Times.

Siegfried Zielinski describes the tactical approach that he calls Variantology. The idea is based on the concept of variance as a specific strategy for dealing with a world in constant change. The approach finds itself at home in both the scientific and artistic fields, where an initial idea, like a musical theme, is interpreted and varied over and over again to reach a desired result.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>5 PM Keynote Speech by Bruce Sterling The Accidental Life and Comic Death of the Media.
A look back, retracing the long road of the technologies we have abandoned behind us, to discover the accidents and hitches in the development of the media. A look at the mistakes of the past, in an effort to correct the technologies of the future.

Programme 11.6.2010


Follow the video streaming on


Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>11 AM Dialogue with Fulvio Gianaria and Gianluigi Ricuperati
We live in the era of the risk society, having moved from the issue of wealth redistribution to the issue of risk sharing, defined as a systematic way of dealing with hazards and insecurities induced and introduced by modernisation itself. What are the consequences for culture and creativity?

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>12 PM Dialogue with Antonio Caronia and Caden Manson
The director and founder of New York’s Big Art Group talks to Antonio Caronia, new media theorist and expert in cyberpunk, about our information age, where errors, glitches and signal interruptions have become marketing strategies that lay bare the “media-ization” of our world.

ARTISSIMA 17 – Oval – Lingotto Fiere – via Nizza 280/294 – Turin
>>>2 PM Conference with Edoardo Bonaspetti, Chiara Figone, Salvatore Iaconesi, Giorgio Maffei, Oriana Persico and Dario Salani Art Publishing 2.0: Next Steps Publishing. Moderated by Simona Lodi
New scenarios in art publishing, sweeping across crossmedia publishing, free-press, self-publishing, print on demand, ebooks, augmented reality, multi-authorship and ubiquitous publishing – software layered upon paper, making pages clickable, expandable and interactive. As the book explodes, the scattered pieces create new forms of expression, new ways of publishing and writing about the world.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>5 PM Keynote Speech by Jurij Krpan The Difference Between Experiment and Investigation in Contemporary Art.
Does contemporary art have the power to critique the socially-accepted role of art and culture? Taking this question as his cue, the curator of the Kapelica Gallery in Ljubljana argues for the importance of less successful art projects that investigate the frontiers and limits of artistic expression.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>6 PM Lectio Magistralis and Performance by Stelarc Circulating Flesh: From Third Life to Real Life.
We are living in an age of excess and indifference. Of prosthetic augmentation and extended operational systems. . An age of Organs Without Bodies. Of organs awaiting bodies. Bodies are phantoms. Flesh is circulating. The body acts with indifference. An indifference that allows the body to be suspended with hooks into its skin, that allows an inserting of a sculpture into its stomach and that allows an ear to be surgically constructed and stem-cell grown on its arm. Perhaps what we need now is not a Second Life but rather a Third Life. This Australian artist, renowned with international audiences for the unbridled use he makes of his body, is a cybernetic nomad. Stelarc presents his latest project The Ear On Arm, where the architecture of the human body is engineered with an artificial ear.

Regional Museum of Natural Science – Second Floor, lounge zone
>>>8 PM encounter with Salvatore Iaconesi and Oriana Persico, authors of REFF.
Fresh off the press, this new book on reinventing reality through the critical use of remix, mash-up, recontextualisation and re-enactment techniques, published by DeriveApprodi and FakePress, will be launched in Turin. Join the curators and artists featured in REFF – including Antonio Caronia, Tatiana Bazzichelli, Alex Giordano, Jasmina Tesanovic, Bruce Sterling, Les Liens Invisibles, Simona Lodi and others at the Share Festival for a drink with the public. Exclusive to the Share Festival, the new book will be on sale at the Regional Museum of Natural Science in Turin from 2nd to 7th November.

Regional Museum of Natural Science – Second floor
>>>10 PM Performance by Fabrizio Vespa The Night of the Living Writers.
Music, visuals and Twitter, brought together for a night of DJs, VJs and writers all on the one stage.

Exhibitions on occasion of Contemporary Arts Night
Share Prize 2010
Sm_Art Mistakes
Special project R.I.O.T.
Selected videos from the 13th Japan Media Art Festival
Open to the public until 2 AM at the Regional Museum of Natural Science, second floor.

Programme 11.5.2010


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Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>12.00 AM Back at the Share Festival Pre-AHAcktitude, informal meeting of the activists and artists of the AHA: Activism-Hacking-Artivism community.
Founded in 2001 by Tatiana Bazzichelli, the mailing list counts around 700 members, promoting networking, artistic interventions (artivism) and social and political activism. In 2008 the AHA members gave rise to the AHAcktitude event: an open situation which, following the structure of the Italian Hackmeetings, is directly organized and managed by the community members, who can freely propose seminars and projects to Participation is free and open to everyone.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>2.30 PM Dialogue with Mario Calabresi and Anna Masera Digital Publication Errors
and Transformations

Journalists make lots of mistakes, and not always the smartest of mistakes… but then journalists are only human. But in our global, digital era of great transformation and crisis, journalists are learning from their mistakes and reinventing journalism itself.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>3.30 PM Lecture by David Orban Why numerous mistakes can and should be made in technology today?
IThis Italian SPIME musketeer explains how important it is when developing 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 numerous mistakes with technology today? Because the cost of failure has never been so low!

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>4.30 PM Dialogue with Max Casacci and Wu-Ming 1
What is the cultural import of error in the creative process of a musician and a writer? Presenting us with their own personal experience, the two authors tell of how error, inadvertent mistakes and imperfections have given rise to ideas that have proven fertile. A dialogue where literature and music provide a springboard to talk about how anomalies and little heresies can turn out to be key events in much bigger transformations.

Regional Museum of Natural Science – Conference Hall, lower ground floor
>>>6 PM Lecture by Edoardo Boncinelli Creative Mistakes
A leading geneticist talks about genetic mutations, that is DNA errors that today are almost always harmful. Today, all species have reached an equilibrium point in their evolution. If mutations had never occurred though, life would still be where it was at its beginnings, almost four billion years ago.

Share Festival 2010 – Video Streaming

From November 3th to 7th follow the video streaming of Share Festival 2010 – Smart Mistakes’s conferences on

For further informations about each conference see the Programme



>>>2 PM Round table conference with Christian Ulrik Andersen, Tatiana Bazzichelli, Geoff Cox and Les Liens Invisibles Smart Mistakes, or Business as Usual.

>>>3.30 PM Conference with Cristophe Bruno and Samuel Tronçon Artwar(e)

>>>4.30 PM Lecture by Roberta Buiani Buiani Creativity in Uncertainty: On the Obsession with Control.

>>>5.15 PM Dialogue with Valeria Gandus and Jasmina Tesanovic

>>>6.15 PM Lecture by Kim Cascone The Failure of Aesthetics.


>>>12.00 AM Back at the Share Festival Pre-AHAcktitude, informal meeting of the activists and artists of the AHA: Activism-Hacking-Artivism community.

>>>2.30 PM Dialogue with Mario Calabresi and Anna Masera Digital Publication Errors and Transformations.

>>>3.30 PM Lecture by David Orban Why numerous mistakes can and should be made in technology today?

>>>4.30 PM Dialogue with Max Casacci and Wu-Ming 1

>>>6 PM Lecture by Edoardo Boncinelli Creative Mistakes


>>>11 AM Dialogue with Fulvio Gianaria and Gianluigi Ricuperati

>>>12 PM Dialogue with Antonio Caronia and Caden Manson

>>>5 PM Keynote Speech by Jurij Krpan The Difference Between Experiment and Investigation in Contemporary Art.

>>>6 PM Lectio Magistralis and Performance by Stelarc Circulating Flesh: From Third Life to Real Life.


>>>4 PM Lecture by Siegfried Zielinski Variantology – Thoughts on Experiment in Unstable Times.

>>>5 PM Keynote Speech by Bruce Sterling The Accidental Life and Comic Death of the Media.

Opening Share Festival 6° edition

2nd November, 6.30 PM, Opening
Share Festival 6th edition– Smart Mistakes | Share Prize 2010
Regional Museum of Natural Science
Via Giolitti 36, Turin
This year we wanted to give you an extra treat and the chance to experience all the short-listed works for the Share Prize, with performances by Teatrino Elettrico – DC12V and Sonia Cillari – As an artist I need to rest to be held on the inaugural night of the festival.

They will be followed by the awarding of the Share Prize 2010.
When & Where
Inauguration –Share Festival 6th edition– Smart Mistakes | Share Prize 2010
Tuesday, 2nd November, 6.30 PM
Regional Museum of Natural Science, second floor

Opening Programme:
8 PM Teatrino Elettrico DC12V
9 PM Sonia Cillari As an artist I need to rest
11 PM Andrea Taddei Naturalistic Environmental Geometry

On 3rd November, alongside the jam-packed schedule of conferences, the performances Parallel Digital Structures by Marko Batista and MultiReverse by Giacomo Verde will be held in the evening at the Regional Museum of Natural Science.

And for those of you who can’t make it to Turin, don’t miss the LIVE streaming of conferences on the home page of our website.

Share Prize interview: Ernesto Klar


- Could you tell us about how you came to be interested in media art?

It happened while I was working as a musician in the nineties. At the time I was primarily composing and performing experimental music with my own chamber group (the Klaresque Ensemble). Towards the end of the nineties, I started to explore computer music, and it was then that I became very interested in the interactive, participatory, and generative capacities of digital technologies. I gradually stopped writing and performing music, and resituated my practice from performance-oriented works to installation-based works.

- Luzes relacionais takes inspiration from the work and interests of Brazilian artist Lygia Clark. At the same time I feel it develops your own artistic style, which we saw in you work Parallel Convergences, where the key element was an attempt to render the invisible visible and interactive. What do you think?
The attempt to reveal and transform that which is imperceptible has been a constant in
my work for some time now. It is an exploration that started in my musical work before I shifted towards new media art. “Luzes relacionais” continues that exploration in the way it challenges traditional models of perception, objecthood, and participation. But it is the latter that this artwork considers in more depth than previous works of mine. It explores the ways in which the individual and expressive human subject occupies a shifting and variable space in relation to others. Multiple viewers penetrate and interact with its three-dimensional light-space. What unfolds, then, is a collective and participatory expression of space. “Luzes relacionais” emphasizes our relationship with what Lygia Clark called the expressional-organic character of space. This is why the piece is a tribute to Lygia’s aesthetic inquiry, and particularly to her conception of the “organic line”. Now, besides the intuitive, sensuous, and playful nature of the interactive element, the artwork also functions as an autonomous entity without the interactions of spectators. Both randomly and at preset intervals, the system abruptly subverts the interactions of spectators in order to establish its own dialogue with space (and its occupants) by morphing sequences of light forms. The aforementioned expressional-organic character of space swiftly adopts a rather mathematical-synthetic quality. Suddenly, participants are reminded that the artwork has autonomy, and that the machine behind the system presides over the collective experience. Any sense of empowerment on the side of participants quickly dissipates, potentially coming back, whenever the system returns to its responsive mode.

- Your works always use minimal elements, such as light, lines, glitch music and dark space. What do you want to communicate with this audio-visual language stripped to the bone?
As mentioned before, I am interested in the threshold between the perceptible and the
imperceptible, and particularly, in the poetic potential of revealing and transforming that threshold. Through a subtle and yet at times radical manipulation of light, sound, and space, my artworks aim to frame experiences in which participants engage in perceptual immediacy through their bodily, manipulatory, and behavioral activity. Light is an ideal medium to explore this threshold, since it is what enables us to make sense of the three-dimensional world that surrounds us. And dark spaces end up being ideal presentation scenarios for my pieces, since they allow for a heightened perception towards the phenomena taking place within them. Sound too, from an aural perspective, is very important for similar reasons. In my audio-visual installations, I work primarily with noise, whether computer-generated or analog, along with other sound synthesis techniques and sound spatialization techniques. Space, visuals, and sound are constantly informing each other throughout my creative process – and they usually have a direct relationship in the resulting works. I should mention that I do not call my use of sound “glitch music”. I am actually a fan of this style of music – don’t get me wrong – but I do not think the way I work with sound relates much to it, or even music in a more general sense. And lastly, my preference for what might be considered an austere visual aesthetic with a grayscale palette emerges spontaneously throughout my creative process.

Sm_Art Mistakes Exhibition and Special Project 2010


This year, alongside the Share Prize, which we have already mentioned, the festival will be featuring the thematic exhibition Sm_Art Mistakes and the Special Project 2010 R.I.O.T. – Reality Is Out There by Les Liens Invisibles, both curated by Simona Lodi and on show at the Regional Museum of Natural Science.

The title of this year’s Share Festival and the thematic exhibition is Sm_Art Mistakes – an oxymoron, the encounter or collision of two diametrically opposed concepts, which encapsulates the role of mistakes in cultural processes. It is error that ultimately stimulates creativity – because perfection leaves no room for improvement. Error has truly unique creative power, as it represents the emergence of a problem. Whether technological, biological or tied up with chance discovery, mistakes are pointers to what requires attention, which in turn elicits controversy, while it is controversy that generates solutions and innovation.
The exhibition Sm_Art Mistakes presents a selection of art works and events that fall within this vast topic of enquiry. The exhibition is divided into three areas of dysfunction, broadening our minds and focusing our attention on the relationship between humans and machines, on technological and natural errors, and on chance, unexpected discovery. Within this conceptual framework, recent works were selected by artists that use innovative languages, representing art in today’s digital and global age. It is the fine line between error, mistake and strokes of genius that should inspire us.
The following artists will be featured in the exhibition:, Alterazioni Video, Cory Arcangel, Michele Bazzana, Harm van den Dorpel, Dextro, JoDi, Lia, Miguel Carvalhais, Alison Mealey, Rosa Menkman, Nullsleep, Ant Scott, Mark Shepard and Stelarc.

Les Liens Invisibles accepted this year’s invitation to prepare the Special Project 2010 with their usual creative cheekiness, producing a work specially designed for the 6th Share Festival.
The meaning of the work lies in its title R.I.O.T. – Reality Is Out There. This time round it is augmented reality that is in the artists’ sights, or rather that which augmented reality promises.
The city of Turin has been invaded by imaginary installations that will take up their posts in key spots around town. Visitors are invited to go out and track down the virtual sculptures, visible only through a reality browser, available for the most widely used smartphone platforms (iPhone and Android).
The game is essentially a digital hunt around town with the aim of reclaiming public space, played out on the streets, in the squares and around monuments and buildings.

Go to the Sm_Art Mistakes exhibition

Go to Special Project 2010 R.I.O.T. – Reality Is Out There

REFF @ Share Festival / Artissima

The REFF book makes its first appearance in Torino with friends from the Piemonte Share Festival!

Presented for the first time, the REFF book will be available and for sale at the Torino Museum of Science from 2 to 7 November.

On Saturday, 6 November, at 15pm Artissima (MEETING POINT, OVAL LINGOTTO FIERE) will host a special roundtable discussion on new forms of publishing, “Publishing Art 2.0: Next Step Publishing – New Scenarios of Art Publishing”.

FakePress will be presenting the REFF book as an exemplary form of cross-medial publishing and catalogs.

Participants include: Dario Salani, publisher; Giorgio Maffei, libraio antiquario; Edoardo Bonaspetti, founfer & directot of Mousse Publishing; Chiara Figone founfer & directot of Archive Books; Salvatore Iaconesi, Fake Press Publishing.

Moderation: Simona Lodi, art director Share Festival.

Following the round-table discussion, come join us for an aperitivo starting at 19.00 on the 2nd floor of the Museum of Science (lounge area,) together with the REFF curators and artists participating in the Share Festival including ….and many others.

We’ll see you there!


REFF. The reinvention of the real through critical practices of remix, mash-up, re-contextualization, reenactment

Foreword by: Bruce Sterling

Published by DeriveApprodi & FakePress

From the foreword, by Bruce Sterling:

“Right now, the behaviors and activities commemorated in this book are bizarre. Very. They are so peculiar that they are inherently difficult to describe, because they come from the outer reaches of an emergent network-culture.

I could write an entire book about these ideas and practices, a book that would be science fiction, architecture fiction, design fiction, a technical manual and also a manifesto for network economics. That book would be rather like this book, only less entertaining.”

More info on:


Share Prize Interview: Teatrino Elettrico


Teatrino Elettrico has been selected for the Share Prize 2010 exhibition, that wil be presented from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin.

- What was the idea that first inspired you? What mistakes did you make and what have you learnt from this project?
What we wanted to create was live media, produced completely live. Sound and visual amplification is what we use to make small parts of everyday electrical goods explode. The lack of physical substance in live media produced by laptop is what drove us away from digital code and digital controllers. The challenge also lay in finding something powerful and explosive using small, familiar, everyday objects that otherwise appear harmless.
Error plays a fundamental role in this project. Working with analogue signals is limiting for us in practical terms, but it lets objects surprise us so much more, through the imprecision of a mechanism based on approximation and unpredictable factors at the design level. Here audio and visual languages are used synaesthetically. The performance is a lot like channelling a flow of independent forces that we somehow manage to direct. The result is an unpredictable and completely random object, which we can only sit back and watch alongside the audience at the moment it is created.

– You have described DC12V as a desktop tragedy in one act for self-propelled machines. What do you mean by that?

We used this description because it highlights the juxtaposition of the anti-heroic nature of the desk where the objects are taken from in daily life, and the epic excitement that the objects unleash in our performances. We use the great evocative power of the objects in a narrative torn and ripped to shreds, in a crescendo that feels a lot like a descent into hell. What we create is a wild, distorted message with lots of noise, sometimes too much noise for the message conveyed, which is blown apart once its physical limits are reached.

- DC12V is an audiovisual performance that in our immaterial age takes a series of common objects and technologies and places them on centre stage, creating an intense live experience thanks to the use of microphones and cameras. Could we see it as a live ecological show that reuses objects that are otherwise forgotten and ignored?
Recycling and self-production belong just as much to our lives as to our art. We try to reuse the devices we find and collect, as though they were natural materials. It is very practical working with objects that otherwise would just get thrown away. It gives you a freedom that expensive equipment would never allow. It is definitely about bringing back to life otherwise dead and buried devices, though we tend not to give the process excessively ecological connotations. We are more attracted by a certain aesthetic, which at the same time denotes a certain distrust of the future and of human progress. We use technologies that we can access easily. We have no positivist belief in sustainable evolution. It’s more just the fun of fiddling with the bits and pieces that survive the ongoing catastrophe of production.

REFF is back. The book

Il libro del REFF - copertina

Il libro del REFF - copertina

Almost two years after its creation il 2009, the REFF – RomaEuropa FakeFactory is back with the publication of its book, published in Italy by DeriveApprodi & FakePress:

REFF. The reinvention of the real through critical practices of remix, mash-up, re-contextualization, reenactment

Foreword by: Bruce Sterling

Over 30 contributions ranging from critical articles to interviews; a catalog of 30 works exploring the themes of remix in an extended way; the special mentions of the 2009-2010 contest; a new experience of reading integrating the digital and paper dimentions trough the use of Augmented Reality and tagging; an open source tool for creating ubiquitous, cross-media publications, by FakePress.

From the foreword, by Bruce Sterling:

“Right now, the behaviors and activities commemorated in this book are bizarre. Very. They are so peculiar that they are inherently difficult to describe, because they come from the outer reaches of an emergent network-culture.

I could write an entire book about these ideas and practices, a book that would be science fiction, architecture fiction, design fiction, a technical manual and also a manifesto for network economics. That book would be rather like this book, only less entertaining.”

REFF. An example of an artistic, cultural and political act. A truly Augmented Reality, a multi-strata object that entices to be discovered, read and used with more “sense” up to the performative one. A new prototype of publication, beyond the e-book.


This book is licensed under the Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.



Title: REFF. The reinvention of the real through critical practices of remix, mash-up, re-contextualization, reenactment

Foreword: Brue Sterling

Curated by: Cary Hendrickson, Salvatore Iaconesi, Oriana Persico, Federico Ruberti, Luca Simeone

pagg: 288 (con inserto di 30 pagine a colori)

Pubished by: Derive Approdi & FakePress

Ustita del volume: Novmbre 2010

ISBN: 978-88-6548-012-0


This book chronicles the intense experience of REFF, the RomaEuropa FakeFactory, told through the contributions and works of the wide network of artists, intellectuals, journalists, teachers, lawyers and activists who participated.

The fake competition RomaEuropa FakeFactory ( was an act of artivism, in favor of free culture and non-proprietary rights for authors. This network confronted the themes of art and hacking, political activism and technology, copyright and intellectual property and extended to access, cultural politics, crowdsourcing, open source models, peer-to-peer economic governance and the reinvention of the real.

The story begins with the section “VOICES”: a collection of more than 30 theoretical works on the themes of Free Culture, remixing as creative practice, the re-contextualization of urban spaces and knowledge sharing from international scholars such as Richard Barbrook, Andy Cameron, Stephen Kovats, The Yes Men, 0100101110101101.ORG, Jasmina Tešanovi?, Massimo Canevacci Ribeiro, Antonio Caronia.

A catalog of the works presented by 32 artists, writers, designers, hackers and architects from all over the world follows in the section entitled “VISIONS”. These contributions give a voice to the unexplored scenarios of contemporary reality representing the worlds of innovation, appropriation and a continuous artistic and political reinvention bringing to light examples of new production models based on freely available contents, knowledge, connections and the possibility of reproducing, remixing and arranging contents, forms and objects; new technological practices, new forms social interaction; new opportunities for building unedited, self-determined imaginaries.

The REFF experiment is more than its content, designing a new possibility for publishing: the book comes fully integrated with a digital dimension through the use of Augmented Reality in the form of QRCodes and Fiducial Markers. These devices transform the experience of reading, enhancing it with an interactive dimension through the REFF network and global social networks, in a way that is completely uncensored. The software is deposited on paper as hypertext, making it clickable, expandable, commentable and reactive, opening a virtually unlimited space for comparison between authors and readers on issues and debates on the book, dissolving the traditional boundaries that separate them. This book develops a new prototype of infinite potential for the intersection between digital and paper dimensions and, thanks to a special application, is available on the web or via smartphone: it is ubiquitous and cross-media publishing, a new way to “write on the world”.

The REFF project aims to advance the experience of similar publications by offering an Open Source tool – thanks to a publishing platform created by FakePress and used for the first time in the making of the REFF book – this tool is freely available to anyone looking to create their own cross-media publications.

REFF is an artistic, cultural, political example act. A truly Augmented Reality. A multi-strata object that entices to be discovered, read and used with more “sense” up to the performative one, beyond the e-book.

AUTHORS, ARTISTS & CURATORS (in alphabetical order)


Richard Barbrook, Tatiana Bazzichelli, Germana Berlantini, Mike Bonanno, Loretta Borrelli, Andy Cameron, Massimo Canevacci, Francesca Canu, Carlo Cappa, Antonio Caronia, Dario Carrera, Stefano Coletto, Fiorello Cortiana, Umberto Croppi, Marco Fagotti, Marc Garret, Alex Giordano, Maria Hellström Reimer e Milica Lap?evi?, Lorenzo Imbesi, Stephen Kovats, Simona Lodi, Francesco “Warbear” Macarone Palmieri, Federico Monaco, Movimento ScambioEtico, Andrea Natella, Eleonora Oreggia aka xname, Luigi Pagliarini, Federico Ruberti, Marco Scialdone, Guido Scorza, Valentina Tanni, Jasmina Tešanovi?, Cristina Trivellin e Martina Coletti


0100101110101101.ORG, Antoni Abad, Alterazioni Video, Apparati Effimeri, David Benqué, Jens Brand, Alex Dragulescu, Amy Francescini (Future Farmers), Flyer Communication (FLxER), Derek Holzer, Carlo Infante,, Steve Lambert, Les Liens Invisibles, Fosco Loiti Celant, Garrett Lynch, Guthrie Lonergan, Quayola, Rebar Group, Ben Rubin, Adam Somlai-Fischer (Architecture), Sosolimited, Eugenio Tisselli, Troika, Hannes Walter e Stephen Williams (Fluid Forms), Marianne Weems (The Builders Association), Clemens Weisshaar e Reed Kram, Jaka Železnikar

“Special Mentions REFF 2009/2010″

Daniele Mancini / Urban Fields, Agnese Trocchi, Mathilde Neri Poirier / Hotel Nuclear, Luther Blissett, Agatino Rizzo / Cityleft, Adriano Sanna / Image Hunters, Pasquale de Sensi, Paola Zampa, Michael Cipolla, Chiara Passa, Anna Olmo, Eva Pedroni Simoncelli, Francesco D’Isa, Marco Pignatti, Samo Pedersen, Anna Gramma, Ivan / Eri Nav, Nanette Wylde, Laura Spampinato, Alessandro Suizzo, Chiara Micheli, Andrea Paglia, Difesa Jubecca, Andreas Maria Jacobs, Leif Ahnland, Stefano Pala e Francesco Rosati, Alessio Ballerini, Gregor Rozanski, quwt, judsoN, Bernardina / Demo architects, Jelena Jovic, Sara Basili, Juan Lopez, Jimenez Lai, mag.MA Architetture, moriyuki, Giorgia Borroni, Cortomobile, Cenk Dereli, Titusz Tarnai, Daniele Salvatori, Chiara Angioli, Luis Rolando Rojas, Yurij Alekhno, Jose Antonio De Jesus Corona Gonzalez, Snak3, Adriana e Morena, Sheriff Xenoph / Pier Giorgio De Pinto

Edited by:

Cary Hendrickson, Salvatore Iaconesi, Oriana Persico, Federico Ruberti, Luca Simeone (FakePress)

ABOUT REFF – Romaeuropa FakeFactory

REFF – Romaeuropa FakeFactory is an act of artistic and technological hacking, a platform for global discussion and a performance that, beginning in 2009, has dealt with the themes of active, critical and creative innovation, confronting the management of cultural and technological policies related to these areas.

The story begins with the opening of the Romaeuropa WebFactory, a digital art competition launched in 2008 by the Romaeuropa Foundation (Fondazione Romaeuropa) and Telecom Italia. Oppressive copyright conditions, such as the unilateral transfer of the rights to the works submitted and a ban on the use of techniques like mashup, cutup, remix but conversely giving the Romaeuropa Foundation and Telecom Italia the right to remix the works, inspired the creation of a Fake capable of becoming a point for multi-disciplinary analysis of the possibilities offered by freely available knowledge, contents and resources: a chance to reverse the logic of the competition and bring to light the contradictions, limits and implications of such a typical, reactionary cultural policy.

Remix the world! Reinvent Reality!” is one of the principal themes that has inspired the REFF, from an act of détournement and cybersquatting – that brought to life the creation of a remix skills competition determining in 2009 a reversal of the Romaeuropa Foundation and Telecom Italia’s policy on the management of intellectual property rights – to the presentation of REFF’s instances and methodologies to the Cultural Commission of the Italian Senate (Commissione Cultura del Senato della Repubblica Italiana), up to the current production of the REFF book, as a global effort to create a working business model that implements the concepts and demands expressed by the RomaEuropa FakeFactory.

Supporters of the REFF are found all over the world: over 80 partners among universities, artists, academies, associations, hackers, researchers, designers, journalists, politicians, magazines, networks, activitst, art critics, architects, musicians and entrepreneurs together with all the people who share a belief that art, design and new technologies can unite towards a critical, yet positive vision of a world that can create new opportunities and new ways of being, collaborating and communicating.




Davide Sacco – Ufficio Stampa DeriveApprodi
+39 328 3921381
+39 392 3273987
Oriana Persico – Media & Communication FakePress
+39 347 7126928

The 13th Japan Media Art Festival video selection


The 13th Japan Media Art Festival video selection

Wednesday 28 october – 9 PM
Regional Museum of Natural Science – Second floor

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.

Share Prize interview: Sonia Cillari


Sonia Cillari has been selected for the Share Prize 2010 exhibition, that wil be presented from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin.

- As an artist, I need to rest connects a digital creature that you have called Feather with your body and your breath. What relationship has emerged between your physical body, made up of atoms, and the immaterial creature that lives in symbiosis with you during your performances?
As an artist, I need to rest” is a very intimate and draining work, in which I try to emphasis the creation in itself of the digital creature before an audience, and over time. As the artist, I control both the creation and life of the creature through my ‘conscious’ breathing. This is why I need to be in a particular mental and physical state to be able to build a symbiotic tie between myself and the creature, and hence to ‘perform’’ at my best. I need to be totally ‘relaxed’ during the performance so as to avoid the risk of hyperventilating, which would mean having to breathe much deeper and faster to be able to control what my creature does. At a certain point though, the creature takes on a life of her own and begins to resist me, which makes it much more difficult for me to ‘deliver’ the creature to the audience.
In this work, breathing is what lets us keep each other alive – the creature needs me to exist, and I need to create her to be an artist. It is a metaphor for the interdependence of the artist and the art work. The connection with my breathing highlights how creation is a carnal act of life, and how our vital instinct can lead an artist into a constant state of excitement and frustration.

– What do you think of the intimacy of our own media world? For instance, have social networks changed our feelings about intimacy, as they have with privacy?

Intimacy has a rather twisted meaning, because it concerns and grows with human ‘relationships’. In the media it is just ‘hollow’.

– The work lives and grows through very fluid, slow movements. What do you think about slowness?

This work builds on the idea of a performance over time, as concerns both me and the audience. As the artist, my intention is to ‘slowly’ reach a state where I can push my body and my mind over the limit, because I see performance as a very important tool in artistic exploration. For the audience, I want to put them in the voyeuristic position of being able to take their time (or come back at different times) to view the work, bringing them along with me in my slowly growing state…
We need to expand our experience of spatial sensibility. Becoming conscious of our reality is a process that only becomes ‘real’ once we acquire information through our senses – this is why new spatial approaches need to emerge, complex, dynamic levels of physical interaction with the environment.

Accidents and failures as creative material for the near future


Conference held by Nicolas Nova
Accidents and failures as creative material for the near future

Wednesday 20 october – 06.30 Pm
Regional Museum of Natural Science – Conference Room

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 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 something as it will work with the failures so anticipating them somehow rather than ignoring the possibility. What will not work right? What problems will be caused? What does it mean?

The conference relies on examples of failed robots, absurd aircrafts or the intentional destruction of mobile phones and vending machines to show how studying these examplescan be relevant in the design process. Based on these examples, the talk will deal with two issues: how can we include the exploration of failures in the design process? How to turn failures and people? Reaction to failures into prototyping tools?

Share Prize interview: Kuai Auson


Kuai Auson has been selected for the Share Prize 2010 exhibition, that wil be presented from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin.

– Taking simple elements and a handful of rules as its starting point, 0h!m1gas presents us with some rather complex behaviour. What can you tell us about the relationship between simplicity and recursion in emergent processes?

Emergence, approached as a recursive occurrence rather than as a process, is a phenomenon in natural systems, which of course includes design thinking in humans and social behaviour. When we think, when we want to be creative, we are engaging in an emergent experience producing thoughts that are in fact recursive, to the extent that our brains have to recall successful actions or solutions we have learned in the past, in order to provide an effective action in response to an actual problem. As an artist, who is in love with ants, I try to simplify my way of thinking to adapt to the way a tiny ant confronts decisions. This is a very difficult process, thus, I have to emerge with new ideas all the time. Thinking in a different manner with a different set of rules to understand other natural beings and natural processes is difficult, not to say impossible, because at the end all you have is interpretation. Being simple is not an easy achievement for the human brain, but the beautiful analogy between ants and the human brain is that you can see the brain as a colony of hard working neurons, which act as simple agents that self-organize in order to react internally to the perturbations imposed by the outside world. We are all composed by simple agents, our cells, organs and neurons, who interact locally with each other and emerge with unexpected behaviours. The creative process in human beings is emergent to the extent that it is biologically driven by simple agents, from single neurons to brains, to single humans getting together, to societies living in cities. 0h!m1gas is a reactive sound system that collects the simple activities of single ants to create an emergent soundscape that cannot be predicted, yet experienced with fascination and curiosity.

- 0h!m1gas is a biomimetic system. What are your thoughts on the use of this approach in different fields, where from chemistry to aviation it is enjoying considerable success in creating technologies that draw inspiration from processes and elements of nature but are adapted to humans?
When you get to know the world of ants, you see how flexible and adaptable they have been. They have managed to migrate to almost every continent and have succeeded in territorial domination. If we take a look at the human endeavour throughout evolution, you have no doubts we became the social power in this planet, who have colonized every territory and controlled almost all the resources available. But now we are asking ourselves: what have we done with the planet? And every technological advancement we have achieved, we have done it by applying what we have perceived from nature. The greatest achievements of human design have been inspired by the magic of the nature we have exploited. We have to admit that we are selfish social beings. So in this time of ecological emergency, which must activate a collective emergence, why not apply the collective “intelligence” of ants, altruistic as it is, transform it in a social algorithm and apply it to human behaviour to form a social intelligence that can help solve the problems of common environments and ecosystems. That is what ants do, they recycle, they renew together. We have many collective consequences in common with ants, which we can reshape in order to harmonise with the natural world, from tribal initiations to crowd control and traffic systems, up to space optimization, organic architecture, and the stimulation of self-organized social networks based on a shared system of renewable energy. If we take a look at what we humans have achieved and destroyed with our technology and engineering, then we can let ourselves be inspired by ants with their non-hierarchical collective behaviour to create socially responsible art forms with sustainable functional purposes for the environment and based in sustainable organic materials.

- What made you choose ants? Have you observed any sort of behaviour which you would never have expected from these insects?
My interest in ants stems from a personal fascination and identification with these cybernetic micro-dwellers. I consider myself a non-stop workaholic agent. Also I was born and raised in a highly diverse tropical region, where you find ants everywhere. The first time I saw the soldier ants of our rainforests, I was completely charmed and starting writing fictive stories about them. 7 years later, after secretly observing and idealizing the life of ants in every kitchen and garden of the houses I lived in, I came to Germany to find by pure chance the revealing connection between ants, emergence,
self-organisation and cybernetics. Since that moment I have been working on social and artistic approaches that highlight the similarities and differences between us and ants. Moreover, I believe that by studying ants’ behaviour, a common ground for interspecies-communication may be established, which could help us understand emergent phenomena in nature and the biological relevance of social networking. I expect to always be surprised by my ants. Everything I’ve observed while cultivating ants, have most of the time filled me with wonder and a strong desire for contemplation and research. They can always surprise you. I remember that in 2008, while filming Eciton burchelli (soldier ants) in the Yasuni rainforest, I was amazed to see a display of respect from a big spider about 5 cm long, whose web happened to be blocking the ants’ marching path, and apparently neither the ants were interested in eating the spider nor the spider was interested in getting into trouble with the ants, so the spider began to retreat to one of the corners of her web while the ants marched all over her web without harming the spider or damaging her nest until the stream of ants passed over it. Meanwhile, my camera was filming another marching ants of the same colony that clashed with a rival colony of Eciton hamatum: the colony of Eciton burchelli attacked their relative species aggressively in what seemed to be a deadly confrontation for territory. I thought it would end up in a massacre, but after filming almost an hour, what actually happened was that both colonies engaged in a competition to establish who was the stronger. They just measured their soldier forces by grabbing, pulling and slightly biting without ripping any appendages or killing the opponent. As deadly and aggressive as they can be, ants have proven me to also be tolerant and understanding.

Action Sharing 2 Competition

actionsharing 2

The Sharing, in partnership with the Turin Chamber of Commerce, is announcing the second Action Sharing competition.

Action Sharing is an ideas competition for artistic projects that make syncretic use of mechatronic elements.

Area of key interest for The Sharing include: art, music, drama, performance art and dance.
The Turin Chamber of Commerce has sponsored the competition with a view to promoting the creative capital to be found in the Piedmont region, where art and technology are two strategic sectors for the local economy, as part of its commitment to supporting initiatives that promote interdisciplinary co-operation.

Artists are invited to enter projects that make use of the devices required by the competition (electric motor/linear voice coil actuator) in the areas of key interest stated above.
The aim of the competition is to identify and select artistic projects that can be developed in partnership with leading companies in the mechatronics sector, the Polytechnic University of Turin, and Regione Piemonte institutions.

The idea judged the best will win a prize of €1500*.
*one thousand, five hundred euros, including tax and social security contributions.

The deadline for entries is midnight, 30th November 2010.

Download the Competition Terms and Conditions:

Fill the form:

Share Festival Program and Press Conference


Eniac – Into the woods

Dear Share Festival friends,
the Smart Mistakes programme is now on-line. From project failure to the aesthetics of error, the 6th Piemonte Share Festival will be exploring the artistic and cultural import of error and chance discovery, through installations, exhibitions, performances, debates and, of course, the highly anticipated awarding of this year’s Share Prize.

The 6th Piemonte Share Festival, directed by Simona Lodi and Chiara Garibaldi is just around the corner. Within the programme of events for Your Time, Torino 2010 European Youth Capital, Share Festival together with ClubToClub, Musica90 and Prospettiva will be presenting Youth Museum, hosted from 15th October to 7th November by the Regional Museum of Natural Science in Turin.

And in the lead up to the festival, two special events will be showcasing just what it means to create art in the digital age.

waiting for the 6th edition (2nd–7th November, 2010)

YOUTH MUSEUM – Regional Museum of Natural Science, via Giolitti 36, Turin
Friday, 15th October, 9 PM, second floor. Admission is free
performance by ENIAC, INTO THE WOOD

Into the Wood is an environment-themed electro-acoustic performance that uses wood as its main source of sound for the creation of sound textures, rhythms and melodies. The performance is made complete thanks to the creative input of set designer Catherine Chanoux and videomaker Silvia Poeta Paccati. Produced by Piemonte Share in partnership with SMIR, Multimedia Spaces for Innovation and Research.

WEDNESDAY, 20th October, 6 PM, conference hall. Admission is free
conference by NICOLAS NOVA, Accidents and failures as creative material for the near future
– as artistic director Simona Lodi explains – has truly unique creative power, as it represents the emergence of a problem, a pointer highlighting the need for attention that ultimately leads to new solutions and innovation. The central theme of the sixth Piemonte Share Festival will be looked at through an engaging conference entitled Accidents and failures as creative material for the near future, chaired by the prominent researcher Nicolas Nova..

9 PM Screening of selected videos from the 13th Japan Media Art Festival

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.

Tuesday, 20th October 2010, 6 PM

Regional Museum of Natural Science

Go to the programme

Share Prize interview: knowbotic research


knowbotic research has been selected for the Share Prize 2010 exhibition, that wil be presented from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin.

- We live in an age of serious media overexposure, where Warhol’s 15 minutes of fame have become the eternity of a Facebook profile that cannot be removed. Everyone wants visibility, where as macghillie_ just a void prefers disguise…
MacGhillie is a ‘prefer not’ actor, in between any claim for identity and recognition, just roaming around, defying a goal, without intention, withdrawing from purpose. Indifferent to what is
happening, not man, nor woman, not dominant, nor subjecting – no will to communicate. A vacant angel, a creature without a creator, a medium without a message, take care, we walk
between chasms!

- macghillie_ just a void represents how we are blind to the unknown, reaffirming the existence of the undesirable and the unclassifiable in the urban environment. Could this entity of yours be
considered a sort of urban hack based on a mistake?

SYes, the camouflage suit doesn’t serve as camouflage at all. MacGhillie is becoming hyperpresent through the rather peculiar outfit. On the other hand, the figure as such can not be decoded by most of the passers-by. What is this? A tramp, a lunatic, an animal, someone who has missed Helloween? Most people confronted with this anonymised protagonist cannot solve these questions, and thus do not want to see him. This is something very typical for a overregulated cities. Cities that gives space to everything that is calculable but declares the rest non-existant. MacGhillie ,a visual leftover that remains.

- macghillie_ just a void associates the hyperpresence of a mask with the possibility of camouflage within the urban environment. Is the hypercostume hyperbole for an identity which can always be found also in everyday life?
Yes, we are all fuzzy-heads who have no eyes or ears. We don`t have hair either. We cannot talk because we have no mouth. We have no nose either. We don`t even have arms or legs. We have no stomach, no back, no spine, and we have no innards at all. We don`t have anything. So we don’t even know who we’re talking about.

Share Prize interview: Perry Bard


Perry Bard has been selected for the Share Prize 2010 exhibition, that will be presented from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin.
In addition take part to this partecipative video! Read how to do here.

- Man with a Movie Camera traces out a process and then leaves it up to agents, in this case Internet users, to create developments. How does the concept of authorship change when there is collective participation in the creation of a work?
The essential difference is in the aesthetic which is no longer singular. In any given version of the remake shots from Bogotá collide with shots from Bangkok, shots from Tokyo with ones from Rio etc. People upload from a variety of devices so the aspect ratio of the uploads and the resolution are both in a constant state of flux. Because the remake streams in sync with the original Vertov film, database cinema is positioned in relation to film aesthetics. Vertov’s vision is singular; the uploads represent plurality. Continuity between shots 463 and 464 for example, exists in relation to the whole – the whole being the original on the left, the remake on the right, the space in an and around those windows, the website, the internet. The aesthetic reflects and depends on the context in which the work is being produced. From that point of view one might analyze the work in terms of which parts of the world are not represented and why not. In creating a global remake my question is who is the collective.

- This work is a clear example of the ease with which artists today, with the help of digital algorithms and the connectivity of the Internet, can kick-start autonomous processes, which once started develop independently of the artist. What are your thoughts on this close tie between media art and process art?
As a working method there’s a clear correlation. The process is generative, open=ended, it relies on its context to develop, to exist. The connectivity necessary to and resulting from this work elaborates the process. In terms of style it’s hard for me to separate the idea of process art from its place in art history and then from that of authorship. But it’s a logical and very interesting proposition.

- How different do you think the impact was of the original film by Vertov from the impact of your work in progress?
Vertov’s film opened to mixed reviews. I would say the reception of my work in progress is similar depending on the audience. The world of new media has responded positively and the world of film is more hesitant to accept this mashup of a masterpiece. The work has been presented in 40 venues to date including media art festivals, museums, galleries, biennials, conferences, public screens – only three of those were film festivals. Vertov was criticized for speeding up footage in a documentary in 1929 (amongst other things). Film enthusiasts find similar fault with the remake. The form is alien.

Call For Participation: Man With A Movie Camera: The Global Remake

Man with a Movie Camera: The Global Remake

Man With a Movie Camera: The Global Remake is a participatory video based on Vertov’s 1929 film (Man With A Movie Camera). People around the world are invited to interpret the film for the 21st century.

Log onto website has a tag list and a scene index where every shot of Vertov’s film is logged. You can participate by uploading a shot, all the shots in a scene, multiple shots from different scenes. Shots are listed by number of seconds and frames. Timing is important. Please adhere to the length (more or less, software will adjust it) of Vertov’s shot, the interpretation is up to your imagination. Copyright laws apply.

e.g. Click on Scene 2 Shot 19. Click see all uploads. There are 10 for this shot meaning a different shot will play each day. Click on any upload, it plays as a split screen with the original. The Tags function the same way. When you click upload for a shot, a form comes up for you to fill in. If you have a website yours is linked to this one. Your name is added to the Participants Page and your upload shows up immediately on the Intro page under Recent Uploads. Your email is kept private. Your upload plays in the next day’s version of the film. If you upload where noone else has, your upload will play daily until someone else uploads that shot.

Perry Bard presents Man With a Movie Camera: The Global Remake at Share Prize 2010, from the 2nd until the 7th of November at the Regional Museum of Natural Science of Turin. You can read an interview to Perry Bard on our blog.

Smart Mistakes is due to begin


Dear Share Festival friends, in just less than a month, this year’s 6th festival, Smart Mistakes, is due to begin.

From 2nd 7th November 2010, the Regional Museum of Natural Science in Turin will come alive with conferences, performances, screenings, the works of the six finalists in the running for the Share Prize, this year’s special thematic exhibition, and the special project Reality Is Out There by Les Liens Invisibles.

The artistic directors Simona Lodi and Chiara Garibaldi, together with the organising team, have dedicated this 6th Piemonte Share Festival to the artistic and cultural import of error and chance discovery. Smart Mistakes is the oxymoron wrapping up the theme this year, focused on the history of error and the watershed moments in human history that error, in the form of chance discovery, has brought.

This year, the role of guest curator of the Piemonte Share Festival has been split three ways so as to triple the festival’s scope of enquiry into the artistic and cultural import of error from technological and media mistakes concerning the relationships between humans and machines, dysfunction, and transmission errors, to biological mistakes such as mutations, biodiversity and living art, and finally to chance discovery in the form of serendipity, random discovery, accidents and unexpected variance.

For each thematic cluster, a keynote speaker will shed insight on the value of error in creative enquiry. In this way technological and media mistakes will be looked at by the californian Kim Cascone, musician and theorist of the aesthetics of failure, while the Australian artist and performer Stelarc, together the curator and artistic director of the Kapelica Gallery in Ljubljana, Jurij Krpan will focus on biological mistakes. Celebrated writer Bruce Sterling will instead be lecturing on the value of chance discovery.

Confirmation of their participation has so far been received from Nicolas Nova, Tatiana Bazzichelli, Geoff Cox, Cristophe Bruno, Mario Calabresi, Anna Masera, David Orban, Max Casacci, Wu-Ming 1, Edoardo Boncinelli, Caden Mason, Antonio Caronia, Siegfried Zielinski, Marco Aime, Alex Giordano.

This year’s 6th Share Festival has broadened its cultural horizon to include the progressive pervasiveness of the digital in mainstream society, while keeping its critical eye on technology 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. Today, media art is an important and accepted artistic language, attracting an audience of 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.

Within the programme of events for Your Time, Torino 2010 European Youth Capital, Share Festival together with ClubToClub, Musica90 and Prospettiva will be presenting Youth Museum, which from 15th October to 7th November will provide the backdrop at the magnificent exhibition spaces of the Regional Museum of Natural Science in Turin.

More info on Warm-Up events and the final Share Festival programme will be coming soon. Stay tuned!

PLANETART presents GOGBOT 2010


From September 9th to 12th The city centre of Enschede (NL) will once again be dominated by the annual art, music and technology festival GOGBOT, presented by PLANETART. Technological and scientific advances are accelerating and will – within a few decades – culminate in the demise of the biological man; a theme that is also referred to as Singularity. At GOGBOT 2010 you will for four days full of multimedia, music, interactive installations, nanotech, film, artificial intelligence and the Beauty Salon of the Future be immersed in a world in which humanity has been relegated to the status of pet by ever more intelligent machines, as: The Singularity is Near, Resistance is Futile. GOGBOT 2010 Festival is held free of charge at more than ten locations across Enschede, except for the evening program at Atak.

Machines that take over the world, humanity as the pet of ever smarter artificial intelligences… For some a dystopic scenario of doom, for others the hopeful dawn of a new futurist era. Singularity and transhumanist futurism have long dominated the literary Science Fiction genre. A lot of visual and performance artist also choose this theme in their works. GOGBOT 2010 Festival presents a plethora of international artists in the primarily free art program at various locations in the city centre of Enschede, with the Oude Markt (Old Market) as the spectacular heart of the festival.

Futurist art looks forwards, into the unknown, and draws its inspiration out of what may yet transpire. However that same futurist art is made in the present, uses existing techniques and forces the limits of current technology and concepts to breaking point and beyond. CREW uses the latest advances in immersive technology and omnidirectional video to literaly allow visitors to experience the world through the eyes of another, and exchange both visions. This interactive and exciting live experiences powerfully combines current technology and future experience as performed by the visiors themselves.

Studio Roosegaarde is present with a number of interactive installations, including Liquid Space 6.1, and the Intimacy project with ‘wearable technology’ in collaboration with fashion designer Maartje Dijkstra. Carsten (Alvo Noto) Nicolai moves in the multimedial space between sound art, video art and physical sciences with both his installations and his live concerts. During GOGBOT 2010 the celebrated media artist and manager of the famous Raster Noton record label presents his installation 334m/s, the visualization of the speed of cound, and live his impressive synergy of sound and image.
In Angelo Vermeulen’s hands bacteria get to act on data and video material; they actively corrupt the output flow of his work. In their intriguing 3D-animation, Broersen & Lukacs demonstrate how painfully thin the dividing line is between media idol and media monster. Of course these are just a handful of examples of the wide range of art an performance at the GOGBOT 2010 Festival. For the latest additions and the full program, see

Smart Mistakes 2010


Every year, the Share Festival chooses a special topic to focus on, to help broaden our minds, sharpen our skills, and inspire creative expression. So don’t miss this year’s festival from 2nd-7th November, 2010 in Turin!

SMART MISTAKES: mistake, mutilation, failure, dysfunction, discrepancy, accident, unexpected change, chance discovery, the aesthetics of error, mass waste, project failure, abandon project, disaster, flaw, inconvenience, misappropriation, side-effect, slip-up, flop.

This year, the VI Piemonte Share Festival will be focusing on the artistic and cultural significance of error, in all its broader senses. The creative potential of analysing and looking into what lies behind an error is truly great, as it represents the uncovering of an issue. Which is of particular interest in this year of global emergencies. The issue uncovered then demands attention, which in turn elicits controversy, while it is controversy that generates solutions and innovation.
In the art and culture of our digital age, does error still play the role of instigating change and activating value?

Focusing attention on the role of error in the creative process means exploring the cultural importance of trial and error in action, where errata become an approach of clear artistic value. Just as a genetic error is an agent of mutation and hence of biodiversity, error in action is what guides the creative process – because perfection leaves no room for improvement.
In this way, the dualistic framework is turned on its head and error is appreciated in a different way: as an opportunity and not simply as a mistake.
In the sciences, error is seen as the difference between the desired result and the result obtained. Hence it is understood as a gap, a latency between reality and desire. Error is seen as that which is lacking for perfection. At this point, seeing that perfection cannot be achieved, error can be useful for understanding how much is lacking. The true measure is the error.

Now in its sixth year, the Share festival is changing to incorporate the progressive pervasiveness of the digital into the mainstream, without compromising its critical approach to technology. In the past, the digital arts were considered experimental, and not part of the commercial art industry. Today, media art is an important and accepted form of art, attracting an audience of growing proportions.

Today more than ever our aim is to question technology, not celebrate it, taking on projects with a critical eye or impulse. Our conception of the Festival as a platform for exploring projects that question the cultural influence of technology and how, for better or for worse, its use has come to pervade and change our lives, remains unchanged. This is why the Share 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 society, when before it was paired with art. This change of paradigm has been shaped by the growing pervasiveness of the digital in society – a process that has only just begun, but has already led to computers becoming an everyday object, on par with any other home appliance.
Until just two decades ago, creative approaches to technology could only be found in the artistic, 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.

If you have any projects or proposals in connection with the theme Smart Mistakes, feel free to write to us to discuss them:

Share Festival 2010
2-7 November 2010,
Regional Museum Natural Science, Torino

Shortlist Share Prize 2010

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 open and accessible to all artists.

An international panel of judges consisting of Jurij Krpan (Ljubljana), Andy Cameron (London), Fulvio Gianaria (Turin), and Bruce Sterling (Austin/Turin) assessed the submissions. After a very interesting meeting and a professional, in-depth analysis of all the works, it is with great pleasure that we announce the six incredible artists who have been short-listed for the Share Prize 2010.


Jurij Krpan (artistic director Kapelica Gallery, Ljubjana) – president
Andy Cameron (Interactive Creative Director, Wieden + Kennedy, London)
Bruce Sterling (writer and journalist, Austin)
Fulvio Gianaria (president Fondazione Arte CRT, Torino)

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 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 household objects and zombie machinery.

Web cinema shows its unique strengths with a crowd-sourced digital remake of 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.

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.

Amid the airless vitrines of stuffed animals is a glowing, whirling, breath-propelled installation of digital particles, with the breathing artist herself performing in 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 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.


Kuai Auson
(EC), 0h!m1gas (2008)
0h!m1gas is a biomimetic stridulation environment, based on the activity of an ant colony under video and audio surveillance, transforming the ants into DJs and creating a sound-reactive space which reveals the connection between scratching, as an aesthetical expression created by human culture, and the stridulation phenomena produced by ants as a communication mechanism.


Perry Bard
(CDN), Man with a Movie Camera (2007)
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man with a Movie Camera, and upload them to, where software developed specifically for this project archives, sequences and streams the submissions as a film.

Sonia Cillari
(IT), As an artist, I need to rest (2009)
The artist is lying still on the floor of the exhibition space, exhaling through a very long cable, which departs from inside her left nostril and ends at the centre of the main screen, suspended from the floor. A digital creature which she calls ‘feather’ is entirely generated by her exhaling into the suspended screen. During the performance, Sonia Cillari exhales 14,000 digital elements and brings the digital feather into more than 6 different states of beings, from ‘addition’ to ‘resistance’ patterns of life.

Ernesto Klar
(IT/VE/USA), Luzes relacionais (2009-10)
Luzes relacionais” (Relational Lights) is an interactive audiovisual installation that explores our relationship with the expressional-organic character of space. The installation uses light, sound, haze, and a custom-software system to create a morphing, three-dimensional light-space in which spectators actively participate, manipulating it with their presence and movements. “Luzes relacionais” is pays homage to the work and aesthetic inquiry of Brazilian artist Lygia Clark.

knowbotic research
(CH), macghillie_ just a void (2009-10)
In the public performance project MacGhillie, urban sites are visited by a figure, clad in a camouflage suit, who shows neither the traits of an individual, or even of a person. The so-called Ghillie Suit was originally invented in the 19th century for hunting and was later also used during the First World War (bis heute). Its camouflage anonymizes and neutralises of the person who wears it in public. The figure oscillates between the hyperpresence of a mask and visual redundancy.

Teatrino Elettrico
(IT), DC12V (2009)
DC12V is a board-game version of elektrolivecircus. Sounds are generated using analogue instruments only, recordings of movements, percussion, friction and the electromagnetic fields of various everyday machines. Small in converted into big, futile into necessary, objects into personages, the board into a location. A desktop tragedy in one act for self-propelled machines.

University and Cyberspace


Form the 28th till the 39th of June willl be held in Torino the conference  “University and Cyberspace: Reshaping Knowledge Institutions for the Networked Age”,

Universities are entrusted with the increasingly important responsibility of creating, sharing, and fostering use of knowledge on behalf of society, and to that end, are the recipients of tremendous investments of time, money, space, authority and freedom. Universities have embraced this role in diverse fashions, varying by tradition, period, and discipline, but we now ask them to go further. As we progress ever more deeply into a networked age, our knowledge institutions are faced with concomitant opportunities. They are challenged by society to become a driving force to create and disseminate knowledge – using innovative, effective, and dynamic approaches – derived from and for the networked world.

This broad social importance is paralleled within the gates of academe, as the Internet and related technologies are provoking unprecedented changes in the way universities can and must function, responding to the needs of so-called digital natives, the opportunities for information and knowledge sharing, and the demand for physical and virtual spaces that support these populations and activities. Students (and faculty) are increasingly immersed in technology, with different ideas about and expectations for these processes [and just about everything they do]. The core enterprises of the university are shifting massively due to the new capacity to create, process, and share information, scholarship, and knowledge. The importance of place and physical architecture are shifting to accommodate the new modes of university activity, including creation of resources that support interactions that are asynchronous, distributed, and self-organized. The discussion about open access publishing, the growth of a commons of knowledge, advanced forms of e-learning or platforms of collaboration and education are only the most visible manifestations of these tectonic shifts.

While each of these topics is a conference in itself, by bringing them together we aim to develop forward looking approaches to creating a future in which the challenges are opportunities not just in their immediate locus of impact, but form part of an integrated approach to the networked age, offering far reaching positive benefits. More specifically, we will ask: How is the role of universities as knowledge creating, sharing, and applying institutions going to change due to the Internet? How should universities use cyberspace to best implement their mission with respect to society? Taking into account the characteristics of the new generations of students, faculty and staff, how should the informational and the spatial (both physical and virtual) infrastructures of universities be shaped to improve learning, discovery, and engagement? What about the new opportunities to enhance the civic role of universities – who prepare people for citizenship and contribute to the public sphere – in our democratic societies?

The COMMUNIA 2010 International Conference will provide a venue for articulating possible answers to these and other questions, with the twofold objective of defining a shared vision of the future of universities as knowledge institutions and of identifying the main steps leading from vision to reality.

Atlas of Rome @ Festa dell’Architettura – Roma June 11th-12th

Atlante di Roma - Corridoio de "La Pelanda"

June 11th-12th at “La Pelanda” MACRO Testaccio – Firs edition of “Festa dell’Architettura – Index Urbis“, Paolo Valente, Salvatore Iaconesi, Oriana Persico present:

“Atlas of Rome”

The rapid development that the new media and the web 2.0 era are bringing to the world of communication and interaction suggests brand new possibilities able to considerably modify reasons and solutions for the transformation of the contemporary city. The tools of representation and design of the city are increasingly insufficient and inadequate to the complexity and speed themes which are characteristic of the Global dimension.

From the representation of the territory to the redefinition of the map concept, a new idea of Atlas will come to life in the exhibition area of the Pelanda at Macro Testaccio, helping to enrich the contemporary debate on architecture, the digital city and the metropolis of Rome, that from June 9th to 12th will animate the Festival of Architecture.

The Installation
The idea of an “atlas of visions” is aimed to move the point of view given by conceptual perception of the world based on the systemic and cognitive approach typical of modernity, towards an emotional perception born to the man as an individual who, by virtue of his own experience, offers a vision as a guideline of complexity. A liquid mapping, involved, an emotional geography which collects man’s history and his way of living moment to moment.The Atlas expresses itself through a web platform, even beyond the event, publically opening itself to individuals, groups and institutions which express a point of view on the city.

The work consists of a work of about 35 m x 4m in which four interactive info-visualizations describe a multiplicity of points of view on the city of Rome on the theme: “The imagination of architects and the real city”, redesigning the traditional idea of map as Cartesian matrix embedded in the physical dimension of the territory, on the base of the more contemporary concept of “scape”: a territory made up of relationships, emergent and distributed, continuously redefined by the those who live and take part in it.

In “Linearity” visions assume the appearance of mechanisms whose own life principle derives from the interaction between subject and main themes. The spheres represent the visions and are constantly fed by the themes to which they are connected.



Neo Map” does not explore the territory through its geophysical features or place names, but describes it through the planning, actions and life which exist in it. In the visualization the circles represent the visions, placed according to their respective geographic positions and connected by main themes, thus describing a new look on the territory.



Bridges” tests the domain of interconnections.Visions revolve around the reference themes, in a cyclical procession. Dynamically, visions and themes show bridges and connections, according to the themes and interactions which they have in common.



TimeScape” trasforms the flow of time into a landscape. The visions are represented according to their temporal dimension, occupying an area proportional to their duration and succession. The geography is defined, shown and made interactive by placing visions and themes along the axes of time and correlation.




A project by: FakePress (
Realisation: Art is Open Source (
Interaction design, experience design, information aesthetics, sound & environment design: Salvatore Iaconesi
Information architecture e network politics: Oriana Persico
Curated by: Paolo Valente
Collaboration: Alessandro Tartaglia

Photo and Video from the event

On Flickr:
On YouTube:!v=rjU6hHpYm14&feature=related!v=GA3_qneS5eM&feature=related

Share Prize dealine postponed to the 13th of June


The deadline to subscribe to Share Prize 2010 has been postponed to the 13th of June 2010.
Continue to subscribe!

The Share Prize, that aims to discover, promote and sustain digital arts, is open to all the italian and foreign artists.
The contest is dedicated to artists that use digital technology as a language of creative expression, in all shapes and formats and in combination with analogical technologies and/or any other material.

The jury is:
Jurij Krpan (artistic director Kapelica Gallery, Ljubjana) – president
Andy Cameron (interactive creative director, Wieden+Kennedy, London)
Bruce Sterling (writer and journalist, Austin)
Fulvio Gianaria (president Fondazione Arte CRT, Torino)

A short list of six finalists will be announced within July 2010.
The award candidates are invited to participate in the VI edition of Share Festival in Turin that will be from 2th-7th of November 2010, in Regional Museum of Natural Science.





Aksioma organizes a seminar, called Tactics&Practices: New Media Drivers, about new media arts in Ljubljana, Slovenia, from the 1st till the 5th of June.
Among the partecipants Simona Lodi will speak on 2nd of June about the organization of a digital art festival.

The 5-day free pilot seminar aims to refresh and expand the new media arts educational offering in Slovenia and provide useful tools and insights into the field for creators at various stages in their careers. By utilizing various interdisciplinary teaching methods and modalities (lectures, coaching sessions, workshops, conversations, participatory actions, performances, presentations) the seminar connects the new generation of new media arts creators with renound professionals in the field to build a bridge from an academic “learning environment” to a “working environment”, and champions the values of process-oriented and lifelong learning through direct contact, communication, and dialogue.

The seminar compiles a snapshot of the state of new media art today from different angles while at the same time wanting to “demystify” it. Regardless of how you currently contribute or seek to contribute to the field, you are invited to participate in the week’s events and update your own new media drivers.

SMART MISTAKES, round table conference at Park of Living Art


Every year, Share Festival seeks to explore a new and different theme, in an effort to broaden the mind, sharpen critical skills and give inspiration to creativity.

The VI Piemonte Share Festival this year will be looking at the artistic and cultural significance of technological and media error, biological mistakes and chance discoveries of all kinds. Hence the focus is on the role of error in the creative process.

Smart Mistakes
error, mutilation, failure, dysfunction, discrepancy, accident, unexpected change, chance discovery, the aesthetics of error, mass waste, project failure, project abandoned, disaster, mistake, flaw, inconvenience, misappropriation, side-effect, slip-up, flop.

With the launch of the VI Piemonte Share Festival, we invite you to come and take part in the conference organised jointly with the Park of Living Art, in partnership with Cinemambiente – Environmental Film Festival:

Friday, 4th June, 2010
Organised by Share Festival and PAV – Park of Living Art
in partnership with XIII Cinemambiente – Environmental Film Festival
PAV, Via Giordano Bruno 31 – Admission is free

8.30 PM SMART MISTAKES, round table conference
10 PM FILM FESTIVAL Screening Another World is Plantable! (Germany, 2007, 40’) by Ella von der Haide
11 PM FILM FESTIVAL Screening I giorni della merla (Italy 2009 – 52’) by Andrea D’Ambrosio, Carla Del Mese

The round table conference Smart Mistakes has been organised as a warm-up to the VI Piemonte Share Festival, and as a theoretical spotlight on the issues explored by the PAV in its programme.

The debate will specifically focus on error and mistake as the guiding thread of evolution, as every unexpected, and hence chance, result or finding in research can be seen alternatively as a problem to be resolved or as an exception to the rule. In nature, error is closely tied up with becoming and the impermanency of the life, but where error has particularly extreme consequences, it can cause genetic mutations and environmental imbalances.
Under the auspices of World Environment Day and with a look at the works of artists who have dedicated their artistic creativity to the causes of activism, the speakers will explore in an open debate how and when art once again began to embrace social issues such as the protection of the environment, and how new media have become the channels through which to voice social concerns. From the first ‘Netstrikes’ organised in Italy by Strano Network to the The Yes Men’s international hoaxes, artists have spared none of the perpetrators of environmental error, derailing websites, broadcasting false news, sending stock markets crashing and throwing entire on-line institutional organisations into havoc. All culture jamming actions that use situationist détournement to champion social causes through desecrating parody.
The event is part of the Giorno per Giorno 2010 programme, one month of contemporary art in Piemonte.

Piero Gilardi, artist and theorist; moderator
Simona Lodi, artistic director of the Share Festival
Franco Torriani, expert in new media
Tommaso Tozzi, artist and theorist

Visions of the Future 2010.: MONDIRIDESCENTI:.


Cronosfera presents Visions of the Future 2010.: MONDIRIDESCENTI:. international festival dedicated to video and Live Media, immersive projections on three screens.
Audiovisual researchers and video makers, shaping live image and sound, will carry the viewers in other dimensions.
Visions from the Future turns vivid looks to heaven and earth inspired by cosmological and cosmogonic visions, exploring the alchemy of earth, evolution, spirituality and unexplored landscapes that surround the man and nature.

Friday 28 Cinema Massimo hours 20:30 to 00:00:
Screenenig videos selected and winners from the competition “Visions from the Future” second
edition 2010.: MondIridescenti:. (Short film, computer art, video art)

Saturday 29 Hiroshima Mon Amour
18:30: aperitif and dinner organized by the festival
19:30 Modotti Hall: projection .: MondIridescenti:. video contest participants
21:00:Central hall LIVE MEDIA performances from the competition:
Stefan Bu?nnig & Matthias Gru?bel (DE): “Telekaster”
XX+XY (IT): “Luma”
Giorgio Partesana & Duncan Pinhas (IT/FR) : “Geo, Opus II – Solid Matter”
Special guest: Paul Prudence (UK) : “ryNTH”
immersive audiovisual performance
live electronics / fusion
T.A.Z. sound system (IT), heavy dub

Sunday 30 Hiroshima Mon Amour
18:30: aperitif and dinner organized by the festival
19:30 Modotti Hall: video projections – Festival 700is edition 2010 (Iceland)
video projections – Festival Video in Progress 3 , by Kolektiva (Slovenia)
21:00:Central hall LIVE MEDIA performances from the competition:
Influx & Pietro Riparbelli K11 (IT): “He tries to come to us”
Ludwig Parentela & Fabio Alvino (IT) : ”l’Esercito dei cubi “
special guest with inedited performance:
Alessandro Amaducci (IT) “ Shining Shadows”
OTOLAB (IT) : “Sole Prismatico”
experimentally industrial and post-punk

CRONOSFERA organizes cultural and artistic events that unfold in different forms and places,
promoting and disseminating expressive, perceptive and scientific research with attention to
human aspect, creating opportunities to meet, exchange and contemplation.

Cease & Desist Art: yes, this is illegal! | LPM 2010 – LIVE PERFORMERS MEETING


From 27th to 30st of May 2010, at Brancaleone in Rome, will take place the eighth edition of LPM – Live Performers Meeting: International encounter of live video performers, visual artists and vjs, dedicated to live video performances.

LPM will again use its 4-day formula, creating a unique and unforgettable event, which every year grants a program full of workshops and showcases of projects, softwares and brand-new products.

Cornelia Sollfrank, I DON'T KNOW

Cornelia Sollfrank, I DON'T KNOW

Spotlight on:


Digital Freedoms is a day of meetings that will reunite together leaders and creators of the italian digital and electronic culture. The intent is to bring together theorists, experts, activists and artists for a single date, to present and discuss the most important updates of this sector. The core theme of the day is the essence of culture, politics and communication throughout new medias, always keeping straight and firm the spirit of freedom that characterized them for decades. As coordinators of the day, a committee of excellence, Luigi Pagliarini (Artificialia), Simona Lodi (Piemonte Share), Arturo Di Corinto (FHF), Filippo Martorana (Linux club), Oriana Persico and Salvatore Iaconesi (Art is Open Source).

At 6.00 pm opening of the exhibition

Cease & Desist Art: yes, this is illegal!

curated by Simona Lodi

For some years now, it has become common among digital artists to focus on illegal art practices. Countless Cease & Desist letters have been sent out by companies to pirates, plagiarists, hackers and disturbers, which are shown off as trophies in exhibitions, web communities and mailing lists. Action artists promote controversial forms of art, using guerilla tactics to protest against the fairness of copyright and intellectual property laws.

Receiving a Cease & Desist letter has become the latest badge in championing the freedom to create in the Corporation Age. Any artist interested in taking part in the movement chooses a good lawyer rather than a good gallery owner. What is happening to the future of art? What rights and freedoms are these artists championing? Does all this have something to do with the end of techno-utopias?

In what way has business co-opted the values of hackers, exploiting open source initiatives, web freedom and on-line equality and sparking the use of these practices?

Artists and works:

0100101110101101.ORG | Eva & Franco Mattes (1998)


0100101110101101.ORG | Eva & Franco Mattes

Nike Ground (2003)


Paolo Cirio, Alessandro Ludovico, UBERMORGEN.COM

Amazon Noir (2006)


Paolo Cirio, Alessandro Ludovico, UBERMORGEN.COM

GWEI | Google Will Eat Itself (2005)



The Digital Hijack (1996)



Toywar (1999)


Salvatore Iaconesi | Oriana Persico

REFF | (2009)


Pete Ippel

oBay (2006)


Les Liens Invisibles

Liberté, Egalité, Volonté :: The Blasfemous Art Riot (2007)


Les Liens Invisibles

Seppukoo (2009)



The Web 2.0 Suicide Machine (2009)


®TMark (1999)


Cornelia Sollfrank

I DON’T KNOW (1968/2006)

Conversation between Andy Warhol and Cornelia Sollfrank


The Yes Men

The legendary BBC Bhopal Hoax (2004)



The Injunction Generator (2003)


here more: THURSDAY 27: Cease & Desist Art: yes, this is illegal! | LPM 2010 – LIVE PERFORMERS MEETING.

Stelarc wins the Prix Ars Electronica 2010 – Hybrid Art

The winners of the Prix Ars Electronica 2010.

  Ear on Arm / Stelarc

Ear on Arm / Stelarc

Stelarc has been experimenting with art and biomedical research for over 30 years. The philosophy behind his work: Prostheses not as means of compensating for physical deficiencies but rather as ways to enhance our physical capabilities. Instead of replacing a missing or defective body part, Stelarc improves or expands the form and functions of his body with the help of custom-developed interfaces and apparatuses. “Ear on Arm,” an ear implanted onto his forearm, consists of soft tissue and flexible cartilage, and is thus a prosthesis that could possibly be produced right on the body itself. It’s based on a concept that originated in the 1990s. The artist has been continually conducting research and upgrading the ear’s functional efficiency, using his own body as a field of experimentation, as a human-machine interface.


Diaspora – the privacy aware, personally controlled, do-it-all distributed open source social network We are four talented young programmers from NYU’s Courant Institute trying to raise money so we can spend the summer building Diaspora; an open source personal web server that will put individuals in control of their data. What is it? Enter your Diaspora “seed,” a [...] Read more»

Share Prize 2010


Piemonte Share announces the new edition of the Share Prize, an international prize for realized digital art projects.
Competition entry since 23th of april till the 6th of june 2010 at

The prize that aims to discover, promote and sustain digital arts, is open to all the italian and foreign artists.
The contest is dedicated to artists that use digital technology as a language of creative expression, in all shapes and formats and in combination with analogical technologies and/or any other material.

A Jury will award a prize of Euro 2,500 to the work (published or not) that best represents experimentation of arts and new technologies.

The jury is:
Jurij Krpan (artistic director Kapelica Gallery, Ljubjana) – president
Andy Cameron (Interactive Creative Director Wieden + Kennedy, London)
Bruce Sterling (writer and journalist, Austin)
Fulvio Gianaria (president Fondazione Arte CRT, Torino)

A short list of no more than six finalists will be announced within July 2010.
The award candidates are invited to participate in the 6th edition of Share Festival in Turin that will be from 2th till the 7th of November 2010.



M.A.P. (Multimedia and Audiences Profiling)


Thursday, may 13th, 2010, 5 p.m.
Palazzo Nuovo, Laboratorio “G. Quazza”, via S.Ottavio 20, Torino

Silvia Giachello, researcher at the Department of Literary and Philological Studies at the University of Turin, has created interactive documentation tracing the topics and people that brought to life Share Festival 2009. The concept behind the initiative is the map.

A map is an interpretation of the territory it represents. Documenting an event means designing and creating a map of a complex territory. The presentation and the lauch of M.A.P. (Multimedia and Audiences Profiling) – the web-based conceptual map generator for the audio-visual documentation of events and the study of multimedia issues – will be an occasion to reflect, starting with the material produced on the Piemonte Share Festival 2009, on how documentation is about interpreting and restoring flows of consciousness, and how digital media and the Internet can contribute to and shape the creation of documentation.

Call for entry roBOt Festival


roBOt: a festival of vast international flavor that in 2010 reaches it’s third edition, through fast growing journeys packed with excitement and always ready to pick up new challenges for new art forms, experimentation and entertainment in a world where renovation, social, aesthetic and ideal, is a palpable daily and continuous reality, also thanks to the arrival of innovative technologies.

New technologies and new forms of artistic expressions call out for new actors able to practice new means and conditions. The image of the nerd had upped it’s level, leaving behind any kind of negative undertone, transforming it’s image, thanks to his technological intelligence, which is fundamental.

This stereotype of a person, that at one point was constantly lost in the complex corridors of the cyber net, is today, the person that is most suited to pick up the challenge of auto-production, the creation and handling of the channels of interaction between the public and the performer; all this topped up with a profoundly personal touch born from practice, and the need to raise the bar first hand, when it comes to facing new technologies and the will/necessity to joust ones knowledge of the mechanisms and function of everything that composes this very personal world.

roBOt is election ground for whoever wishes to lay themselves on the line – with a strong human component that is at the base of everyone of us, so –to tackle contemporary arts, which are able to interact smoothly with technology. Knowledge of new media, with a strongly emotional approach (and that is ably to operate on the audience’s emotion).

Selected projects and works will be included in roBOt 03 programme.
The official subscription form can be downloaded from our web site, and has to be  sent within JUNE, 15th together with:
• 1 demo of the production in DVD
• presentation of the project
• data on the activities of the author
• Detailed Product Sheet

at the following address:
Associazione Culturale  Shape
via De’ Pepoli 8/b
40125 Bologna

Squatting Supermarket at Mondovì


*Friday, 7th May, at 6 PM* at the Antico Palazzo di Città in Mondovì Piazza (via Giolitti 1), the cultural association Marcovaldo, the Municipality of Mondovì, and The Sharing are proud to present the conference Squatting Supermarket, featuring Salvatore Iaconesi and Oriana Persico. Admission is free.

The conference will be showcasing the story of Squatting Supermarket. Squatting Supermarket is an interactive installation that reproduces a supermarket in augmented reality. The technological focal point of the installation is the iPhone application ‘iSee’, developed by Salvatore Iaconesi and Oriana Persico for the Share Festival 2009. The application uses the physical and communication infrastructure of the marketplace (sales outlet + logo) to radically redesign our shopping experience.

Alongside archive images, videos and slides from past events, conferences and initiatives, a special preview will be given of some of the content created for the installation, including microdocumentaries, infodesigns and interactive experiences that broaden the shopping experience and inform users. The partnership initiative built on Squatting Supermarket between the Tor Vergata and La Sapienza Universities of Rome will also be presented. Similar initiatives will soon be launched with the Polytechnic of Turin.

Squatting Supermerkets – scheda riassuntiva
Squatting Supermerkets – statement artistico by Salvatore Iaconesi
iSee – scheda riassuntiva
Premio per la Tecnologia a Impatto “0” EnviParK,Torino – Piemonte Share Festival ’09
Presentazione @Facoltà di Architettura “La Sapienza” 05/04/2010 – Rom2

Site Reference

Squatting Quaroni


FakePress, Art is Open Source and The Hub Roma

in collaboration with

the “Multimedia Technologies and Communications Experimentations” course at the “Ludovico Quaroni” Faculty of Architecture at Rome’s University “La Sapienza”, Industrial Design Department


the “Management of Non profit Organizations” course at the Faculty of Economics at the “Tor Vergata” University

are happy to invite you to the lecture:

Squatting Supermarkets/iSee
Artistic fundamentals, eco-sustainability, market: from Shoptivism to the Active Consumer.

Who: Oriana Persico and Cary Hendrickson (AOS/FakePress), Dario Carrera and Ivan Fadini (The Hub Roma/Faculty of Economics, Tor Vergata), Ilaria Bassi, Vanessa D’Acquisto, Piergiorgio Malfa, Vittoria Mauro (research group at the “Management of Non Profit Organizations” course, Tor Vergata), Salvatore Iaconesi (visiting professor)

What: lecture/workshop

Where: Faculty of Architecture “Ludovico Quaroni”, via E.Gianturco 2 (Rome) – room G 11

When: may 4th, 2010 – from 9am to 12pm

A radical version of a marketplace, a point of sale in augmented reality, Squatting Supermarkets tells the tale of the evolution of our daily realities, entering the live and pulsating heart of consumism. Looking at products on the shelves, choosing, paying, debts, persuasion and seduction, relations with logos, messages and other people. Buying is an experience that fills our daily lives, built through images, suggestions and strategies that are so complex that they systematically evade the perception of the final user. Technologies can be used to create new spaces for action/communication, and to overlay them onto our ordinary reality, thus creating new action/communication spaces, allowing new possibilities for interaction and fruition: ubiquitous, accessible, emergent and polyphonic, emotional and relational. Squatting Supermarkets narrates this possibility: an augmented reality space that is technologically layered to everyday life, an interstitial marketplace living in squat on the physical and immaterial infrastructures.

Presented for the first time at the Piemonte Share Festival in 2009, Squatting Supermarkets has two souls: a site-specific installation and an innovative technology, iSee- Th einstallation reproduces an interactive supermarket in which the widespread interconnection network defining products’ histories and stories can become explicit and accessible. The techniques of traceability and control are transformed into their ecosystemic, narrative and poetic versions: information is not only for corporations anymore. By overlaying and integrating codes coming from barcodes, tags, RFIDs, credit cads, financial tranactions.
Grabbing a product becomes an immersive experience with its story, and the possibility of writing a part of it: moving hands, drawing gestures, exposing our points of view and our emotions. Products animate, becoming a space for expression, a network of relations, a domain for possibility and opportunity. Distributed storytelling practices in which the hidden stories of producers and consumers come in contact. The access door to these domains are the logos. iSee, the technological heart of the installation is a mobile application based on image recognition and computer vision techniques.
Framing the product on the camera, an image processing algorithm identifies the logo, allowing the user to access an additional set of information coming from a plurality of sources. Narrative galaxies (open, emergent, multi-author) connected to p2p thematic social networks layered over products.
Logos become wikis, open communication infrastructures, distributed social networks, p2p ecosystems.
The Project is based on the analisys of the contemporary technological/economic context. On one side, environmentalism and eco-sustainability are issues that are acknowledged as being among the globally most important drivers in piloting the shopping choices of large parts of the population. On the other side, statistics demonstrate that progressively large numbers of individuals search for information on social networks befre purchasing commodities and services, and that the users of last-generation mobile devices are steadily growing by the numbers.
In all this, enterprises start feeling the need to confront a globally interconnected communication and relation system, emergent, polyphonic, in which the acquisition and the maintenance of a “good reputation” goes through complex social and cultural dynamics that are progressively more chaotic. The “Company” is not the sole center of communication and of the shaping of its corporate identity.

On may 4th 2010, from 9am to 12pm, FakePress’ interaction design lab will analyze the possibilities for expression and interaction enabled by the shopping based narratives offered by Squatting Supermarkets under an artistic/performative point of view and by iSee under the perspectives of technology and infrastructures.

Oriana Persico will confront the themes related to the installation, introducing the artistic statement,

Cary Hendrickson will focus on the themes of eco-susteinability, social responsibility and on the governance of related processes;

The research group of the “Management of Non profit Organizations” course at the Tor Vergata University coordinated by Dario Carrera and Ivan Fadini will expose the first results coming from the research titled “Active Consumer: from Movements to Shopping Based Publishing”.

How are consumers sensible to the environment and to critical consumism? How do they relate to the opinions generated on social media and on brand reputation created through User Generated Content? How widespread are smartphones? How many individuals would be willing to use a mobile application such as iSee? Who could finance it? What are the possible business models?

The theoretical and artistic premises, the analisys on eco-sustainability and the market scenarios will be used by the students of the course at the Faculty of Architecture to create a series of project works focused on the evolutions of the iSee platform and on the creation of a site specific installation to be implemented in a public commercial space, integrating multiple skills and points of view and, most of all, creating multidisciplinary and inter-university collaboration paths among students and faculties to achieve common goals.

The project works will be presented together with the research during the Open Day at the end of the course.

Entrance to the lecture is free and open to all.

Additional information
Squatting Supermarkets/iSee is a co-production by FakePress/Art is Open Source. Special project at the Piemonte Share Festival 2009, winner of the “Zero Impact Technlogy” prize offered by the Environment Park in Turin. Squatting Supermarkets/iSee is part of the SMIR project under the artistic direction of The Sharing: (site available next week)


(Italiano) Da JoDi al crowdsourcing: per una rinegoziazione dell’hacktivism | Marketing Non Convenzionale – Ninja Marketing

Da sempre l’arte è saccheggiata da pubblicitari e aziende. Ecco un articolo da Ninja Marketing sul ri-uso della da parte della Dell.

Chissè se JoDi a qusto punto chiederà i diritti d’autore….

Grazie ad una segnalazione del maestro Alex Hokuto No Ken, ho letto un interessante post che, partendo da recenti riusi della si amplia a riflessione sul valore della creatività e della partecipazione in Rete.

L’articolo prende le mosse dall’immagine scelta per pubblicizzare Motherboard TV, nuova piattaforma di networking sponsorizzata da Dell.

In realtà si tratta di un riferimento all’homepage di, collettivo artistico piuttosto noto simbolo della prima, a cui è stata dedicata una mostra a New York nel dicembre 2009.Per chi non lo sapesse i JoDi – Joan Heemskerk e Dirk Paesmans – sono due artisti olandesi, già vincitori del Webby Award per l’arte nel 1999. Si dice che in quell’occasione i due avessero litigato con un cameraman, per poi pronunciare un succinto ma incisivo discorso per la consegna del premio in appena cinque parole: “Ugly commercial sons of bitches“. Capite bene di che genere di persone stiamo parlando e quanto sia sorprendente quello che stiamo per analizzare.

Perché allora la scelta di Motherboard è caduta proprio su questo collettivo-simbolo vedete sopra il video con l’intervista? Come ben sottolineato nell’articolo, la realtà è che i principi dell’etica hacker sono ormai divenuti dominio di molte delle aziende che hanno contribuito alla nascita e allo sviluppo del Web 2.0 e dei social media. In tal senso – bisogna ammetterlo – Dell è certamente tra le imprese che riescono a creare un grado di engagement maggiore con i propri fruitori e a sfruttare le potenzialità offerte dalla Rete. La stessa arte digitale, in particolare l’ASCII art, è usata nelle campagne marketing di vari prodotti come nel caso del videogame Dante’s Inferno.

L’idea stessa di condivisione, apertura, decentralizzazione e soprattutto libero accesso, principi cardine dell’immaginario hacker, sono oggi ricontestualizzati in un’ottica promozionale e di mercato. Ciò che precedentemente rappresentava il male da scongiurare è diventato cool, anzi, sembra esserci stata una sorta di traduzione – nel senso semiotico del termine -, di spostamento di significato da un preciso contesto di nicchia ad un più ampio ambiente commerciale, in cui fregiarsi di certi valori diviene motivo sì di orgoglio, ma soprattutto e prima di ogni cosa bandiera vincente o pretesa tale a livello promozionale. In molti casi chi condivide e sviluppa software vuole che il proprio ambiente appaia come aperto e improntato al progresso, ed in effetti il motto di Google – come nota l’autore del post – è davvero emblematico: “Don’t be evil“.

I cattivi sono dunque quelli che restano fuori da questa logica collaborativa.

Ciò significa, in ultima istanza, che il concetto stesso di collaborazione e di arte sta mutando. E’ vero: numerose avanguardie – da Fluxus alla Mail art – hanno sempre avuto tra i propri intenti quello di creare una forma di arte collaborativa supportata da nuovi modelli di condivisione della conoscenza.

Certamente oggi i social network costituiscono un terreno fertile per questo genere di propositi, ma non sarebbero nulla senza tutto quell’insieme di attività sperimentali in campo artistico e tecnologico, cominciate già nella seconda metà del secolo scorso. E’ da allora che inizia un lento passaggio dall’idea di arte come oggetto a quella di arte come rete di relazioni e possibilità di azioni collettive

viaDa JoDi al crowdsourcing: per una rinegoziazione dell’hacktivism | Marketing Non Convenzionale – Ninja Marketing.

HOLO. Possible trajectories for the experience of holophonic listening


FakePress and Ossigeno in collaboration with the course on “Multimedia Technologies and Communications Experimentations” at the Faculty of Architecture “Ludovico Quaroni” – La Sapienza, Università di Roma, Department of Industrial Design, are happy to invite you to the lecture:

Possible trajectories for the experience of holophonic listening

Who: Marco Fagotti (guest relator) and Salvatore Iaconesi (visiting professor)
What: lecture/workshop
Where: Faculty of Architecture “Ludovico Quaroni, Via E. Gianturco 2 (Rome, Italy) – room G 11
When: April 30th 2010 – 9am – 2pm

Holophony is a specific sound recording and diffusion technique that reconstructs the experience of three-dimensional listening through the use of special microphones, algorithms and headphones. In practice, it allows the listener to perceive the origin of sounds coming from any point in space.

The possibility to use headphones as privileged fruition devices to hear music, sounds and voices, and the possibility to replicate analogue processes through digital algorithms seems an ideal territory to embrace 3D production, The implications concern not only technical and technological aspects, but a deep re-evaluation of the approach to music and to the knowledge of sound as a cognitive and communicative entity.

April 30th, from 9am to 2pm, at the Interaction Design laboratory held at the course on “Multimedia Technologies and Communications Experimentations” at the Faculty of Architecture “Ludovico Quaroni” – La Sapienza, Università di Roma, Department of Industrial Design by FakePress, will explore the territories of holophonic listening with Marco Fagotti, guest Lecturer for the event. Salvatore Iaconesi, visiting professor at the course, will illustrate the fundamental technologies and methodologies that can be used to design digital sound spatial positioning with the techniques of holophony.

The technologies will be used in the next few days to complete the production of an AU plugin (AU is a standard for plugin development used in most professional audio softwares) that will be distributed to enable for the synthetic creation of complete holophonic sound environments.
The research on Head Transfer Functions (those functions allowing to describe and reenact the diffusion of sounds from the environments to ur head and ears) will be presented.

Holophony will be discussed as a novel possibility for artistic and social interaction, with the ability to potentially fill the world with alternative, realistically spatialized soundscapes, imagined as an opportunity for augmented reality, for social and/or subjectivized reinvention of public/private spaces, on the possibilities for self-expression, knowledge sharing, entertainment and new sensorialities.

The students of the course will be invited to use the theories of holophonics to design innovative systems using these techniques in social, educational and entertainment scenarios: what is an holophonic social network like? Or a distributed, disseminated cinema? Or an holophonic tourist guide? Or a holophonic concert?

The results of their designs will be presented as project works for the end-of-year Open Day, in which all the projects will be presented, both at the University and in a selection of international events.


Into the wood 2.0

On Friday, 23rd April, at 6 PM at the Antico Palazzo di Città in Mondovì Piazza (via Giolitti 1), the cultural association Marcovaldo, the Municipality of Mondovì, and The Sharing are proud to present the creative process behind Into the Wood 2.0, a multimedia production in progress by Fabio Battistetti, in partnership with the cabinet-makers Fratelli Volume of Mondovì.

Into the Wood 2.0 is an electro-acoustic performance that uses wood as it main source of sound for the creation of sound textures, rhythms and melodies. The multimedia production uses sound to rebuild the relationship between humans and wood. The sources of sound used for the performance consist of nature recordings taken in forests and real time microphonic renderings of firewood, a cutting board and acoustic musical instruments.

“Wood,” explains Fabio Battistetti,” “has a long history behind it that has tied it to humans since prehistoric times, when it was used for subsistence and entertainment. With the advent of the industrial revolution, wood was absorbed into the mass production cycle with all the consequences that brought – from exploitation to pollution. Today wood is no longer a primary element in industrial production or in the home, mostly because of the use of advanced plastic materials. That’s why the value of wood needs to be restored. Let’s not forget that wood comes from trees, one of the most vital resources of our planet!”

IOCOSE presenta “FloppyTrip” a The Gallery, Goldsmith University

Se siete stufi dei soliti rimedi per soddisfare la vostra sete di stranezze, perché non seguire alla lettera la nuova ricetta proposta dal gruppo italiano IOCOSE per preparare il gustosissimo “Floppy-drink”? Vedrete che il vostro trip sarà soddisfacente. E soprattutto legale.
Certo gustare dei floppy disk così al naturale potrebbe risultare alquanto ostico, come riporta la serie di fotografie esposte dagli artisti nella mostra, in cui immagini di bocche deformate tentano di masticare ed ingerire, senza esito positivo, dei deliziosi e croccanti floppy: un omaggio diretto al lavoro di Bruce Nauman “Studie for Holograms” appartenente alla collezione della Tate Modern di Londra, in cui stravolgimenti fisici misurano i limiti tra corpo e spazio. Si è, così, provato a rendere questo grazioso “dischetto” più digeribile, trasformandolo in un delizioso cocktail la cui preparazione è stata minuziosamente illustrata attraverso un video ritracciabile su youtube.
Sì, perché ormai la tecnologia antiquata dovrà pur trovare un nuovo impiego, delle nuove potenzialità. Magari si possono scoprire anche delle straordinarie fragranze. La parola chiave, allora, su cui poter fare affidamento è RICICLO. “FoppyTrip” si propone come nuova frontiera in fatto di riutilizzo di vecchie tecnologie: una nuova droga facile da preparare, economica e alla portata di tutti, avvicinabile sia dalle nuove generazioni abituate alle chiavette usb che dai nerd nostalgici del design anni 80.

IOCOSE e’ un gruppo di quattro giovani artisti italiani che dal 2006 ha cominciato ad organizzare azioni e performance per rovesciare le ideologie convenzionali attraverso tecniche di mimesi e provocazione, giochi di parole, scherzi e ironia ai limiti del parossismo. L’idea base che ha fatto esplodere queste giovani menti è stata quella per cui “la Noia non esiste e il Reale è sopravvalutato”; Obiettivo principale: “insinuare il dubbio”.
Una “guerrilla communication” che si è interrogata su temi sociali, politici e religiosi e che si è concretizzata per la prima volta nel 2006 attraverso la creazione di una finta società, dotata anche di sito web, per l’adozione di cani del terzo mondo ( con l’intento di mettere a nudo i ridicoli sistemi politici che tentando di eludere il grave problema della povertà nel mondo, facendo in modo che l’attenzione degli individui sia focalizzata su priorità secondarie, quali il nutrire al meglio il proprio animale domestico, ed eliminando, così, il senso di responsabilità e realtà che invece dovrebbe essere sensibilizzato.
La ricerca è poi proseguita con altri progetti tra cui “Yes we spam!”, una campagna elettorale a favore del Partito Democratico per le elezioni nazionali italiane del 2008, realizzata attraverso l’utilizzo di migliaia di mail spam che hanno suscitato parecchie reazioni negative da parte di coloro che hanno ricevuto i messaggi di propaganda (; in questo caso si è voluto forzare i limiti concreti dell’idea di campagna elettorale, dimostrando come per parecchie persone un’azione del genere sia stata percepita come reale.
Con “Empathy Box”, progetto ispirato all’Empaty Box descritta da P. Dick in “Do androids dream about electric sheep?”, si è voluto creare un nuovo prodotto tecnologico che attraverso il suo appeal lanciasse sul mercato un’inedita via esperienziale per avvicinare le nuove generazioni alla religione: creato su commissione del “Bureau of united religions”, permette, attraverso momenti di connessione collettiva, di vivere diversi gradi di dolore, delle “sincere” scariche elettriche che trasportano i partecipanti ad un livello di condivisione della sofferenza tipico di qualsiasi credo religioso.
Interessantissimi anche i progetti più recenti, quali “Søkkømb” e “Doughboys”. Il primo è un kit stile “IKEA”, realizzato in collaborazione con artisti attivi a Bologna rientranti nel gruppo “Falegnameria Sociale” di cui IOCOSE è parte, per costruire la propria ghigliottina personale, una giustizia “fai-da-te”: proposto in due dei negozi di questa famosa catena di oggetti d’arredamento, la ghigliottina dal design innovativo, pratica e facile da costruire, si può comodamente riporre in un angolo del salotto o nel giardino di casa, sempre pronta a soddisfare i propri attacchi xenofobi e di stress acuto, oltre che il proprio bisogno di sicurezza giornaliero. Il secondo progetto propone, invece, la documentazione del lavoro di un gruppo di artisti operanti a Roma, pronti ad intervenire quando moralità e senso di giustizia prendono il sopravvento nella vita di tutti i giorni: criticando la recente crescita in Italia di forme di controllo quali ronde e associazionismo privato per la difesa contro la criminalità cittadina, i Doughboys, supereroi mascherati, si propongono come fautori della riscoperta dell’illegalità e della sovversione: “The Pope” si aggira per le strade delle città regalando droga, “The Goalkeeper” organizza impreviste partite di calcio per riappropriarsi dello spazio pubblico, e “The Yuppie” regala cd e dvd masterizzati, combattendo le major industriali che hanno trasformato l’espressione intellettuale in puri prodotti di mercato.

Chiara Fumagalli

Partecipate at LPM


LPM is organized in spaces that support the meeting of people active in the live video field. We intend to offer a rich program of workshops, showcases and live-video performances to the audience and the participants.

The live essence of the performances and the freedom for taking part in it are two of the most important elements of the meeting. Anybody wanting to participate can sign up and perform FOR FREE.

Subscription Term & conditions:

  1. The subscription is free and includes access to all the activities of the event, plus one meal and one drink a day.
  2. The deadline for subscribing is the 10th of april 2010 20th of april 2010
  3. LPM is not a festival where few artists are selected by the curatorial staff. LPM, instead, is a Meeting, this means that we encourage everybody who wish to contribute to take part in the event. Then, due to the massive partecipation, we are not able to cover the travel expenses of each artist.
    So we would like to remind that travel expenses are in charge of the artists. Our staff will provide free accomodation, one drink and one dinner for each one of the four days of the meeting.
  4. Accommodation for artits that perform is available from the 27th to the 31th of may , which are available on a first come first served basis.
  5. Nights before the 26th or after the 30th can be booked for a good price on the webpage services
  6. The friends of artists as well can book for a good price on services
  7. Due to space and time constraints it may come to pass that not all audio-video performances will take place: priority will be given to projects that are considered particulary interesting by the organizers for the majority of participants.
  8. For each performance is defined a maximum duration of 30 minutes.
  9. At the discretion of the organizers, performances with overly complicated technical and logistical requirements may be excluded as well.

Keep Austin Weird

Keep Austin Weird



by Jasmina Tešanovi?

You don’t have to.  Austin will stay so anyway.

Keep yourself straight if you manage to visit Austin, if you want to say something about weirdness. Or just tie your dirty red bandanna on the first day of SXSW, and move right along.

Thirteen thousand people, only five percent of them over fifty:  this is the statistic of SXSW Interactive 2010. The panel I attended on “Why Do We Still Blog” was  made of excuses, very plausible and  honest: blogging is dead, long live Twitter.  Still, every day, many new blogs are born.

Blogs have a natural life cycles and are made out of passion. They are the real world beating the reality world. Blog as a home, blog as a career, blog as business, blog as celebrity place, blogging for losers, blogs for personal issues, blogs for joy… Anyway, I heard every excuse for blogging…  All possibilities except about  hate comments, trolls, and destructive sabotage that haunt some Serbian blogs: this is America, not Serbia.

Once again Twitter is the big winner at the event.  Although I already saw Twitter explode in popularity years ago, here at SXSW, now Twitter has become a global mainstream phenomenon. The keynote of the Twitter founder Evan Williams was like a press conference of a politician: his every word was valued and weighed. Shall I call it boring, deluding — or just precise and diplomatic?   That guy is dealing with revolutions, said my American friend. His medium has overgrown his intentions.

In fact, a panel called “Twitter revolution” was organized with Iranian women who were explaining how Twitter  worked in Iran during the famous or infamous elections.  No revolution occurred, because Twitter and blogs are used by both sides: there is no such thing as good media, it’s always about people and causes. Even though officials quote Twitter messages as proofs of reality, Twitter cannot be taken as a mirror of a world. Good for Twitter, moving right along.

I saw the biographical Bill Hicks movie: a hip Texan comedian who had a weird sense of humor and set of intelligent alternative values to present before his premature death. The best American comedian, some people call Hicks: his elderly Mom, who was in the audience, told us:  I had two children and then I had Bill, if you know what I mean.

The panel on failure started with: I woke up this morning and I fucked up. How?  Failure is a big topic, with many not-so-many brilliant moments. Too technical as opposed to the concept of failure meaning epiphany, getting around things: after all America was discovered by mistake as a consequence of a failure. This year’s Share electronic arts festival in Torino will be dedicated to those errors mishaps and failures that made our world as it is.

More movies: queuing and making friends. Sitting in queues, eating drinking talking to weird Austinites. A young blonde tells me: my parents came here in the seventies and never left. I can understand , I was born here and i will never leave. Where do you come from?

I tell her: Serbia and Italy.

Uhu Italy is beautiful… and Serbia? is it Albania; like a place where people deal in drugs and wars?

– You cannot generalize, says another voice from behind. Did you see the Serbian horror movie here?

No I didn’t.

– Too late for the headlines for that kind of story, says the voice.

I saw the film Mr Nice. There people deal in drugs and get acquitted at the end. A great movie. The director was for the liberalization of all drugs. The actors too.

When you watch a movie in Texas it’s like a rodeo; the audience screams whistles, applauds. The question and answer session at the end is like a party. The fans are knowledgeable and passionate —  sometimes more than the filmmakers.

During the screening of Elektra, the projector breaks: never mind, the director tells us the end of the movie personally.   The Q-and-A session does the rest.

There are so many things going on simultaneously that I have a feeling I am missing more than I am getting: I feel frustrated.

The SXSW bands are playing relentlessly: in the streets, in the bars, in the music halls.
Musicians are so talented: they all are. And the audience is so talented and eager too. We just stream in the Sixth Street, trying to have it all, with a feeling that we are missing something.

At a bar called Maggie Mae’s, my 63 year old friend and I are asked for ID at the entrance. I meekly show my Serbian drivers license, and they let me in. My friend Marsha has no ID with her,  and even if she had one, I think she would not have shown it on demand. She is a proud Austinite, a hippie and a sixty eighter.

The bar bouncers are tough, taking her refusal to cooperate as a challenge to their security.  .

What is this fuss all about? I asked.  Why are they demanding IDs from everybody, even those obviously old enough to drink?
Nobody knew: not even the police. You cannot sell alcohol if you don’t check the ID, we were told.  It wasn’t true, but that was their policy.

Who is crazy here? I wondered.

You must be joking, said another woman over sixty when asked for her ID. They were not joking: when confronted, they threw us all out. Including Marsha’s prominent husband, Jon Lebkowsky the organizer of the concert in the bar that evening, who stood by his rebellious woman. I got thrown out of the bar myself, this foreigner who followed her heart with the Hell’s Grannies activist, who waved her arms like Joan of Arc as she was shoved into the street. That made my day.  It was quite a day:  Sandra Bullock was back in Austin, (I hope) after she won an Oscar and her husband betrayed her in the tabloids.

Can you tell the difference between internet and music and film geeks? my American friend asks me.

Maybe the internet geeks are the fattest, I say.
But this year they are the coolest, internet is celebrating its 25 birthday. There are some people here who were there at the very beginning, those who thought that Internet was important, against all odds, hahahahahaha.

It became BIG and changed our lives, politically personally generally. And Bruce Sterling asked us in his  ritual keynote closing speech of SXSW: what were you doing while Rome was burning? You were NETWORKING.

Well the next generation is coming and they will not forgive you this: they will surely say, you should have done better, you left us in a chaos with a chaos, unforgivable…

A revolution that didn’t come from above, that was not imposed that cannot be stopped. Is it a revolution at all? We are not only networking while Rome is burning, we networked in order to burn Rome, and to dig our own graves in some situations, such the doom that is striking publishing and printed media. This will not stop even if we personally stop.  SXSW is growing bigger and younger every year.  We are lucky not to be thrown out of a pub for drinking when over 50!


From 27th to 30st of May 2010, at Brancaleone in Rome, will take place the eighth edition of LPM – Live Performers Meeting: an international meeting of live video performers, visual artists and vjs, focused on live video performances.

Rome 2009 edition, registered the presence of 362 artists coming from Italy, Portugal, France,


Germany, Canada, Hungary, United Kingdom, Poland, Spain, Uruguay, Latvia, Switzerland, Netherlands, Ireland, Sweden, Mexico, Greece, Denmark, United States, Austria, Australia, Turkey. During the whole four days, 289 performances, workshops and showcases, gave life to each area of the 900 square meters space of Brancaleone, enhanced with 15 projectors and as many screens.

For the second consecutive year, the edition of LPM settles in an exclusive location, the long-standing Brancaleone that with its structure, perfectly fit the growing needs of a meeting, that year after year has definetely enlarged its range of contents, artists and audience.

LPM once again, will use its 4-day formula, creating a truly unique event and granting a program full of workshops, project showcases, softwares and brand-new products.

Each of the 4 days, is characterized by a different theme and will proceed with the following schedule:
15:00 – 21:00 Workshop
15:00 – 16:00 Lectures and conferences
16:00 – 18:00 Presentation of projects and products
18:00 – 04:00 Performances and VJ / DJ sets
Installations and exhibition stands will be active throughout each day and broad areas of discussion and exchange will be available for the whole event.

LIVE VIDEO is obviously the main focus of the four days and each day is highly characterized by the different themes and scenes contributing to the event.

Digital Freedoms is a day of meetings that will reunite together leaders and creators of the italian digital and electronic culture. The intent is to bring together theorists, ideologues, experts, activists and artists for a single date, to present and discuss
the most important updates of this sector. The core theme of the day is the essence of culture, politics and communication throughout new medias, always keeping straight and firm the spirit of freedom that characterized them for decades. As coordinators of the day, a committee of excellence, Luigi Pagliarini (Artificialia), Simona Lodi (Piemonte Share), Arturo Di Corinto (FHF), Filippo Martorana (Linux club), Oriana Persico and Salvatore Iaconesi (Art is Open Source).

This first day is devoted to electronics tunes, the very root of performative video that, in different ways, links together all the participants at the meeting, conferences, projects, performances and VJ sets. It will be accompanied by the dense sounds and incessant beat of electronic club music, with the broken rhythms of breakbeat and drum’n’bass. In addition to the technologies available this year, LPM has to “offer at the mercy” to the participants vjs, a DJ of excellence: SHY FX.

In the second day devoted to electronics tunes,  the central role will be played by projects more sensible to different sub-genres of electronics: 8-bit electronics, and electropop. Rhythms and sounds generated by Nintendo images, unique softwares, samplers, mini-synthesizers and vocoders, for an entertaining and “light” atmosphere, ready to involve and drag audience and participants. From to 2 to 5 am, the area will be invaded by the pulsating tunes of Techno and Electro.

A full day of Queer independent culture, a summary of the several projects active at a national and international level to experience the language of representation in terms of gender, politics and sexual orientations, aiming to deconstruct stereotypes and ideological power relationships.

Background videos and music will be shown during dinner, and after dinner a dedicated AV performance and vjset will be set. As usual, at the end of the evening, an open time for VJs will take place: vjs can perform freely, taking advantage of the many available video consoles, beamers and monitors.

LPM 2010 keeps the spirit of a meeting, which has been its main characteristic since the first edition. It is conceived to be a place for comparison and exchange of information and ideas among vjs, visual artists, live-video performers and passionates. Experimentation is one of the founding elements of its philosophy. LPM is a non-profit organisation where any gained fund is invested in supporting the research and development of the live visual field.

Similarity of ideals and common roots has prompted LPM to join the Avit network, whose aim is to improve and promote the culture of veejaying events worldwide. After the first festivals in England, the Avit network expanded worldwide, establishing collaborations as C23 in Germany (AVIT Berlin), Vision’r in France (AVIT France) and LPM in Italy. This partnership of “network” and “meeting” is possible thanks to a common cultural background and a strong affinity of spirit and purposes.

LPM is not a festival, it is an opportunity of meeting to get a glimpse of what visual-artists are creating or, even better, what they could create. Therefore, and in order to allow so many interesting artists to perform, the maximum length of a performance is 30 minutes.

The subscription to join LPM is FREE and is open from now until 10th of April, 2010. For further details on how to subscribe, see the “participate” section of the website.

LPM is produced and managed by Flyer Communication (, Linux Club (, ( and FLV – Flyer Live Visuals, thank also to the cooperation of important international partners.

Digital Pioneers

Digital Pioneers

by Rob Myers

Victoria And Albert Museum

7 December 2009 – 25 April 2010


(Illustration – Herbert W. Franke, Squares (Quadrate), screenprint, 1969/70)

Digital Pioneers is a deceptively modest exhibition hidden away in two rooms upstairs at the Victoria and Albert Museum. It contains some of the earliest examples of art produced using electronic devices and computing machinery along with some creative later work.

The bulk of the art in the show was produced between the 1950s and the 1970s. This means that it was produced or recorded as photographs from cathode ray tubes or as print-outs from teletypes and pen plotters. Some of this work will be familiar to students of the history of art computing through reproductions but as with most art reproductions do not tell the whole story.

Seeing the actual work itself is as important for art made using the paraphernalia of early digital computing as it is for art made with linseed oil and cotton duck. What Digital Pioneers drives home is just how deeply and intentionally involved early computer artists were in manipulating the aesthetically limited but socially and ideologically key technology of computing machinery. This leaves both social art historians and code aesthetes with some explaining to do, or at least some catching up.

(Ben Laposky, Oscillon 520, 1960)

The show starts in the 1950s with the algorithmic and electronic but non-digital and non-computational photographs of oscilloscope patterns by Ben Laposky and screen-prints of photographs by Herbert W. Franke. Most of the works included in the show are prints of one kind or another, and these are no exception. They record the movement of a beam of light on a cathode ray tube as other prints in the show record the movement of a plotter pen or a laser in a laser printer.

If Constructivism was socially realistic for revolutionary Russia then these works are socially realistic against the backdrop of NATO’s military-industrial-educational complex. They turn the technology of that culture back on itself, using it not to produce weapons or market products but to produce aesthetics. This reclaims a space for perception and contemplation that is not simply militarily or economically exploited. The obsessively quantitative managerial culture of spreadsheets and inventories yields uncomfortably to the qualitative culture of aesthetics, productively so. These strategies continue through the show. Technology is pushed beyond its intended uses to address cultural tasks.

Many of the prints in the show have a similar number of stages of production to Franke’s process of screen, then photograph, then silkscreen prints. His later plotter-drawn work is also screen printed, as are Klee-inspired generative images by Frieder Nake, and Charles Csuri’s random montage of flies. I don’t know what to make of this. It feels like something should have been lost in the move from an original to a print but plotter drawings aren’t particularly originals, being already representations of data structures in the computer’s memory.

(Charles Csuri, Random War, 1967, detail)

Csuri’s lithograph of randomly placed vector outlines of toy soldiers was produced in 1967 during the Vietnam War, a war that ran as long as it did in no small part due to game theory and computer simulation. There are two armies, one plotted in red and one plotted in black. They meet and presumably battle inevitably but only by chance. There’s more of the outside world in art computing than is often assumed.

William Fetter’s wonderful three dimensional vector images of human figures produced for the aircraft manufacturer Boeing, a lithograph from the Cybernetic Serendipity show of 1968, also deal with the human figure within the military-industrial complex. We should not be confused about the status of such images as art by the use and funding of computer graphics by corporations any more than we should be confused about the status of painting as art by the use and funding of oil painting by the Catholic church.

Ken Knowlton’s cheeky nudes and other typographic images of the 1960s and 1980s are an effective escape or release from the constraints of corporate information culture. I’d seen them many times in reproduction but again they are much richer visually as prints.

(Paul Brown, Untitled, Computer Assisted Drawing, 1975, detail)

More detailed systems-based patterns emerge in the 1970s in the work of artists such as Manfred Mohr, Paul Brown, and Vera Molnar. This era that epitomises the approach of rule based serendipity so beloved of later Generative artists. These images are pleasurable to look at but also contain visual or psychological complexity. They also continues to push the performance of computer systems outside of their intended use cases.

By the late 1980s the technical achievements of computerised mass media were exceeding those of art computing. Pen plotters, where they were still used, were no rival to laser printers. Rendered images had to compete with the earliest rumblings of Pixar and Adobe. The increasing availability of digitally designed fashion and entertainment meant that far from being the exception, digital elements in the lived visual environment were becoming the rule.

The reactions to this that art computing in general have made are the subject of the Decode show that is also running at the V&A. Digital Pioneers instead follows the printmaking thread of art computing into the present day where artists such as Roman Verostko, Mark Wilson and Paul Brown have continued with the systems art all-overness of print-based art computing.

To continue in this way marks such work out as something different from the all-pervasive presence of digital imagery in the visual environment. The work has to look different from graphic design and new media rather than from CAD plots or teletype reports, and it does. These works remind us of the history and of the wiring under the board of digital culture. They successfully resist any attempt to reduce them to digital mass media images comparable to the output of the design software that they exist in the same era as.

This switch away from early adoption is necessary to maintain a figure/ground relationship (or a critical distance, or a constructive difference) between the general level of technology in society and the level of technology in art computing. It is not the only solution to this problem, as the Decode show demonstrates, but it is not a retreat.

(Harold Cohen’s AARON, 030508, 2003)

As a long time fan of Harold Cohen, I found the show’s inclusion of computer generated works from his very earliest 1960s felt-tip-on-teletype-print experiments with generating figure and ground relationships computationally to a recent large-scale full-colour inkjet abstract was a real treat. Plotter drawings of abstract shapes from the 1970s and of human and plant forms from the 1980s show the progress that Cohen made in using computers to rigorously explore how art and images are created and function. Being able to study this work close-up reveals details such as debugging information in the teletype prints and the operation of the collision-detection algorithm in the 1980s images. And it provides the pleasure of seeing detailed, well-composed drawings.

This is a recurring experience in Digital Pioneers. Despite the uniformly dismissive attitude of both popular and academic criticism towards art computing the fact is that when you actually see the work in the flesh it rewards sustained attention. Not as historical or technical curiosities, but as images with cultural and aesthetic content and resonance. To ignore this and to continue to claim that this art is less than the sum of its parts would ironically be to fall prey to a particularly extreme attitude of technological determinism.

The show also contains displays of ephemera including magazines and books such as back issues of the Computer Arts Society’s “PAGE” and William Gibson’s supposedly self-erasing story on a floppy disk “Agrippa”. I’d not seen an actual copy of “Agrippa” before. PAGE back-issues are available online, but their presence here flags an important point.

The revived Computer Arts Society has been key in promoting and deepening understanding of the history of art computing in the UK. The Digital Pioneers show and its excellent accompanying book are a good example of how CAS’s project has spread out into more traditional cultural institutions, and many of the images and exhibits in the show come from the archives that CAS has donated to the V&A.

The “Digital Pioneers” book (by Honor Beddard and Douglas Dodds, V & A Publishing, 2009) serves as a catalogue for the show . It contains an informative introductory essay and printed images of many of the works on display as well as a CD-ROM with 200dpi scans of them. These scans are high-resolution enough to be able to examine the images in some detail, although they are no substitute for seeing the images in the gallery. A slightly excessive copyright licencing notice is the only indication that the book has in fact been produced as one in a series of pattern books from the V&A. It’s a must-have if you enjoy the show or have any interest in early art computing.

Digital Pioneers is an opportunity to really look at the work of early computer artists and to evaluate that work directly rather than through the medium of poor reproductions or through the fog of received critical opinion. As a slice of artistic history that just so happens to have been produced on computer it contains much to reward both the eye and the mind.

Digital Pioneers at the V&A

Digital Pioneers book

PAGE Back Issues

via furtherfield review – Digital Pioneers.

transmediale 2010: FUTURITY NOW!


The future is no longer just that part of time that has yet to take place, but a cultural projection onto our present. This is how Bruce Sterling opened his keynote address at the transmediale Festival in Berlin, which closed last Sunday, focused this year on the Future.
The festival was opened under the auspices of a snow storm that, however, scared no one away, as visitors remained heads held steadfastly high to watch the stage performance “Tintinnabulations For Tomorrow and Tomorrow” by Charlemagne Palestine and the lighting of the laser installation “From One to Many”, a futuristic rainbow by Yvette Mattern.

The performance was accompanied by the ringing of the bells in the Tiergarten, near the House of World Cultures, which had the effect of marking the rhythm and time of this year’s festival, dedicated to the Future. In the words of Stephen Kovats, artistic director for this year and next, “FUTURITY NOW! is not about what will come, but how we have to re-consider our past futures. The future has caught up with us, and now it is our task to define it.”

The festival itself began as a discussion around cacophonic systems and volatility in the wake of the meltdown of global financial systems – the world’s first digital storm. The paths of technological progress, the ‘truth systems’ that mark our digital culture, can no longer be set on autopilot, and the conditions for another form of future need to be laid out.

The most anticipated conference scheduled was the Futurity Long Conversation, a nine-hour long uninterrupted dialogue. It was introduced by Alexander Rose, director of the Long Now Foundation, who gave a very Californian-style introduction of little significance. The conference itself was a relay of one-to-one conversations, bringing twenty-two leading artists, designers, theorists, journalists and media interventionists together to discuss, contextualise and explore the abstract and qualitative elements defining what we conceive of the future today.

This Long Conversation was inspired by the work of The Long Now Foundation, an organisation I really like for its way of observing the future and the present (one of the founders was Brian Eno). This international organisation crafts ways with which to perceive time and durational process in radically different and perhaps media-technologically appropriate ways.

The different dimensions of past, present and future flow into each other, creating a state of atemporality. The speed of our society is constantly increasing in terms of processes, logistics and media, causing the present to “shrink”. In the conference Atemporality – A Cultural Speed Control? – keynote speaker Bruce Sterling spoke about the structure of the future and how it has changed, and with it our sense of time. We are running out of the future as a resource for growth, progress and stability. Our cultural is switched on cruise control and has become defective.

The conference examined the limits, gaps and dysfunctions of the future as a cultural object of projection and sought to delineate possibilities and strategies to analyse our present (and its media). Today it is the media that defines how we judge our reality as it is.

Of rather less interest was the exhibition FUTURE OBSCURA, curated by Honor Harger, although I was very impressed with the curatorial framework, as it took its cue from a quote by Thomas Pynchon in Against the Day: “We make our journeys out there in the low light of the future, and return to the bourgeois day and its mass delusion of safety, to report on what we’ve seen. What are any of these ‘utopian dreams’ of ours but defective forms of time-travel?”
Artists always give us a vision of the world that is in some before its time. It is in this way that their artists have something in common with science fiction writers; taking their cue from the same visionary assumptions, the former express themselves through visual media, while the latter speak to us through the word.
The vision of the future that visual artists express was continued in the thematic exhibition of the festival. As the curator Honor Harger puts it, “the curatorial departure point explores the camera obscura, the historical apparatus in whose interior the image of an exterior scene can be projected. Future Obscura explores how the machines and materials of moving-image making capture, retain and reproduce our reality and so alter our sense of temporality.”
What I really appreciated, for aesthetic reasons, was the tendency to involve artists that make original re-use of low-fi technologies, offering an implicit critique of technology itself.

One of my favourite works was “The Space Beyond Me” (2010), a new work by Julius von Bismarck (Germany) which, much like his last work “Image Fulgurator”, turns the functions of things on their head.
This new work uses the materials and devices of filmmaking to create an uncanny experience of space and time. “The Space Beyond Me” recreates a process in the human brain in which virtual three-dimensional images are reconstructed from two-dimensional information; this takes the form of an immersive installation, where a 16mm camera, which has been converted into a projector, beams a film onto a circular screen that is painted with phosphorescent paint. In this work historical instruments and contemporary digital and robotic technology combine to create a transient experience of futurity.

I also found “The Optofonica Capsule” quite interesting. It creates a futuristic context for experiencing moving image and sound. It is both a visionary design object and an immersive environment in which a visitor can select from a programme of audiovisual works made by international artists and curated by TeZ. The shell-like shape of the capsule enfolds the body of the visitor to optimise the experience of surround and tactile sound. This highly technologically-augmented audiovisual space suggests a future whereby our existing passive tropes of experiencing moving image and sound, have been upgraded substantially.

As concerns the transmediale Award itself, I thought it should have gone to the F.A.T. Lab collective, which Christine Sugrue (winner of the Share Prize 2008) is a part of. The Free Art and Technology Lab (F.A.T. Lab) was founded in 2007 by Evan Roth and James Powderly. Over the last two years it has grown to nineteen members, working in more than three continents connected through the internet. The entire F.A.T. network of artists, engineers, scientists, lawyers, and musicians is committed to supporting open values and the public domain through the use of emerging open licenses, support for open entrepreneurship and the admonishment of secrecy, copyright monopolies and patents.

I found the Carnivorous Domestic Entertainment Robots quite funny, though also tremendously cruel – especially the Coffee Table Robot by Auger-Loizeau & Zivanovic.
The Carnivorous Domestic Entertainment Robots prototypes power themselves with special fuel cells that are able to produce electricity by processing the bodies of flies, and in one case, yes, mice. The future conversation around this table could possibly sound something like “Hi! Want a cup of this coffee made with mice power? It’s still warm.”

Somewhat questionable were the co-operative aspects were of the so-called Art 2.0 (another definition of art and Internet) work “Bicycle Built for Two Thousand” by Aaron Koblin and Daniel Massey, because the people contributing to the initiative did not actually work with each other but only with the authors, so in reality the approach was hardly co-operative at all.
The online work is comprised of over 2,000 voice recordings collected via Amazon’s Mechanical Turk web service. Workers were asked to listen to a short sound clip, then record themselves imitating what they heard. The result is a reconstructed version of the song Daisy Bell – the first song to implement musical speech synthesis in 1962.

E ancora magnaven e semper beveven Barbera: SQUATTING SUPERMARKETS | La Scighera

E ancora magnaven e semper beveven Barbera: SQUATTING SUPERMARKETS

* Evento speciale


Domenica, 24 Gennaio, 2010 – 21:00 – 23:30


SQUATTING SUPERMARKETS performance di Salvatore Iaconesi e Oriana Persico

Mangiare. Scegliere prodotti, verdure, spezie. Gesti semplici e antichi che nel contemporaneo diventano porte di accesso verso una complessità che di rado ci viene comunicata. Agrumi che viaggiano per migliaia di chilometri. Persone dalle schiene ricurve a raccogliere riso, the, caffè. Catene di montaggio in cui prodotti della natura e della chimica diventano scatole e confezioni che, dopo un po’, riempiono i nostri frigoriferi e le nostre dispense.

E’ un processo opaco, raccontato poco e in modo parziale. Cosa mangiamo? Da dove viene? Chi lo produce? Che impatto ha sull’ambiente e sulle persone? E, soprattutto, chi sono queste persone?

Squatting Supermarkets inizia da lì, da dove finisce l’etichetta. Lo spazio del supermercato, così codificato e controllato, si apre, diventa Open Source. Una azione di squat concettuale: occupare la realtà quotidiana con strati aggiuntivi di informazione, comunicazione, espressione.

Squatting Supermarkets offre una nuova scrittura, per riscrivere il reale: gli oggetti, i prodotti, le cose che mangiamo diventano vivi, e possono raccontare storie.

Già realizzato più volte dentro gli spazi commerciali di supermercati e centri commerciali, Squatting Supermarkets alla Scighera assumerà un ruolo più conviviale.

Un Buffet, pieno di pietanze gustose, permetterà agli intervenuti di aprire dialoghi, di farsi raccontare storie, viaggi ed emozioni. Prendere in mano una tartina, un piatto di insalata o un bicchiere di the diventerà un gesto di apertura al dialogo, alla voglia di essere presenti nel mondo in modo attivo.

Interfacce naturali, computer vision, riconoscimento di gestualità e interaction design da tavola: una realtà aumentata tutta da gustare per reinventare il presente.

Squatting Supermarkets è una idea/performance di Art is Open Source ed un prodotto editoriale Open Source di FakePress.

Presentato per la prima volta come special project del Piemonte Share Festival 2009, ha vinto il Green Prize offerto da Environment Park di Torino.

LA RASSEGNA: Ancora due documentari e una performance intorno al cibo; al centro dell’attenzione il percorso che il cibo compie prima di arrivare in tavola: le dinamiche economiche, commerciali e linguistiche che regolano questo processo, e le umanità che ne sono protagoniste.

Ingresso libero con tessera Arci

viaE ancora magnaven e semper beveven Barbera: SQUATTING SUPERMARKETS | La Scighera.

Star Trek, Marx and Time Travel


Alan Shapiro – Star guest of the next Transmediale at the Futurity Long Conversation- inteviewed by Tom Mustroph on new computers,  1968 and anarchism.
Interview in the Berlin daily newspaper “Neues Deutschland,” January  5, 2010

As a software specialist, Alan Shapiro would like to set the digital  world on a new footing. As a philosopher, he wants to introduce new  thinking into the world.  And as an “anarchist reader of Marx” (self- description), he not only steers Marx’s critique of capitalism in a  new direction, he also believes that alienation and exploitation can  be dragged and dropped to the trash of history. Shapiro, who at one  time worked at the renowned Massachusetts Institute of Technology  (MIT), has been active for 20 years as a software developer and media  studies scholar, especially in Germany. In February, he will be a  signature speaker at the Berlin Transmediale media and art festival.

Neues Deutschland: You want to develop a completely new kind of  computer, and found a New Computer Science. How are we to understand  that?

Existing computers are based on the scientific norms of the 17th  century. They go back to the mechanistic philosophy of Ren? Descartes.  Their goal is to reduce complexity. A problem is broken down into  smaller, more manageable units. This works for a kind of machine-like  software. There is no holistic relationship between the parts and the  whole. The parts and the whole are related to each other like the  parts of a car. In 20th and 21st century philosophy, by contrast, a  lot of emphasis is placed on an integral perspective. I am thinking  above all of the French thinkers like Deleuze, Baudrillard and  Foucault. The New Medicine and the New Biology are also characterized  by an integral approach.

What does that mean when transferred to Computer Science?

New computers should come closer to this integral approach. Biology  teaches us that each individual member of a species, in every second  of its existence, is reading its genetic code.  From this body of  knowledge that belongs to its species, the singular individual decodes  information in real-time for its own existence. Transferred to computer science, this means that we must develop a new relationship  between the executable program and the database elements.

Will that lead to better, faster, and more powerful computers?

Computers will themselves become more complex rather than being  engineered as tools for the reduction of complexity. Let us face this  fact: with existing software, nothing surprising can happen. There can  be no surprises and no emergence. Only what the software developer has  pre-programmed can occur. New computers will be more flexible.

What we intend to do can be described as a new relationship of  patterns and similarities. It?s like in music, where, for example,  each single note in a symphony has resonance with the entire symphony.

You take your examples from science and art. Do you believe that  artistic approaches are helpful in technology development?

Absolutely! I am very influenced by the cultural revolution of 1968,  by the student rebellions, the liberation movements in all areas of  society, also New Age and Buddhism, the whole panorama of holistic  ideas for happiness.

I published a book about the technologies of Star Trek. It has been  recognized as an important work of sociology. I believe that we are  very close to a new paradigmatic breakthrough where art, science, and  philosophy will be unified. Then we will be able to develop the Star  Trek technologies. In the middle term, in about 20 years, time travel  will also be possible. The first step towards that is the New Computer  Science.

At the present time, almost everyone who believes himself to be in  touch with the times wants to bring art, science, and philosophy into  harmony with each other. What is different about what you are doing?

We unify theory and practice. That?s what Karl Marx said. I have done  an anarchistic reading of Marx. We will replace work with play,  enjoyment, friendship, creativity, and diversity of activities.

This is a new anarchistic Marxism that we will first try out at  Shapiro Technologies as a radical-pragmatic utopian experiment.

What will Shapiro Technologies develop?

We will be active in technology, media, futuristic design, and  ecology. The basis of our advanced technology is a new mathematics  that has been developed by the Irish mathematician Alexis Clancy. He  is a genius, a new Einstein.

The individual products can be very diverse. We are trying at the  present time to get contracts at the Deutsche Bahn in the area of  logistics, at Volkswagen or another automobile manufacturer in the  areas of Spoken Dialogue Technology and the Car of the Future, with  Computer Games developers working on emotions and storytelling/ narrative, in Japan with interactive talking comic books, and at Pixar/ Disney in America with Artificial Life characters at theme parks.

In February, you are going to present a new car at the Transmediale.  Can you tell us something about that?

The car should no longer be reduced to the transport function of  getting from Point A to Point B. Here it is also about taking an  integral approach. Speech capabilities should be integrated. The car  will become a new game platform. Video projections can be made on all  the car’s windows with a new glass technology. The car becomes a cockpit for all kinds of virtual reality simulations which are at the  same time experienced physically. The car becomes a vehicle for  traveling into cyberspace. Additionally, the car should be turned on  its side, be transformable into a vertical car, its width should be  decreased by 45%. As they are now, cars take up much too much space in the urban environment.

via RedRom

CYNETART- competition 2010


The non-profit association organising the CYNETART-festival named TMA Hellerau hosts an international competition of CYNETART, inviting artists and art groups to present their projects every two years. They can apply with projects that fully utilise digital technologies in their conceptual, creative and performing processes, thereby opening up opportunities for digital performance and their relationship to factors such as time, space, physical presence and social encounters.

An international jury with representatives from well-established media culture institutions and experienced scientists with a background in media art history will decide about the winners of the CYNETART-awards, sponsored by commercial enterprises in the ammount of 10.000 Euros  and will also decide on an sponorship award as well as on the artist-in-residence-scholarship both funded by the Saxon State Ministry for Higher Education, Research and the Fine Arts.

Partecipate to CYNEART 2010.
Deadline for submission is february 28th 2010.
The CYNETART 2010 is held from November 11th to 21st 2010.

Facebook fights back, disallows the Suicide Machine


After another Suicide Machine…is the Web 2.0 finish ?



Facebook fights back, disallows the Suicide Machine

Websuicide Like the computer in the movie “2001,” Facebook is struggling to keep its profiles from virtual extinction at the hands of its arch enemy – the Web 2.0 Suicide Machine.

The Suicide Machine is a clever Web site out of the Netherlands that was designed to free users from their social network lives on Facebook, Twitter, MySpace and LinkedIn. You just pick one of the networks, start up the machine, and it graphically shows you unfriending your contacts, one by one, and eliminating all your other contacts with your profile. Forever.

Although the now-friendless profile actually survives, the Suicide Machine is designed not to allow you ever to sign on to it again.

You don’t want to fool around with it unless you’re serious. Like taking that first step off the Golden Gate Bridge, once you click to start the process on the Suicide Machine, you can’t stop it.

See video, below, on how the machine works and a tongue-in-cheek look at life in the real world after freedom from social-networking sites.

Except that Facebook is now fighting back. The Suicide Machine is reporting that Facebook has banned its IP address, thus foiling suicides. You can almost hear the machine singing “Daisy.”

But this is not the end, swears the Web version of Dr. Kevorkian. The Suicide Machine posted a friendly message on its site: “We are currently looking in ways to circumvent this ungrounded restriction imposed on our service! Thanks for your understanding.”

— David Colker

via Facebook fights back, disallows the Suicide Machine | Technology | Los Angeles Times.


via BBC news

Facebook blocks social network profile removal service

Once users opt for “web suicide” the process cannot be halted.

Social network giant Facebook has blocked a website from accessing people’s profiles in order to delete their online presence.

The site, Web 2.0 Suicide Machine, offers to remove users from Facebook, Twitter, LinkedIn and Myspace.

It does not delete their accounts but changes the passwords and removes “friend” connections., which offers a similar service, was issued with a “cease and desist” letter by Facebook in 2009.

Netherlands-based moddr, behind Web 2.0 Suicide Machine, says it believes that “everyone should have the right to disconnect”.

However Facebook says that by collecting login credentials, the site violates its Statement of Rights and Responsibilities (SRR).

“Facebook provides the ability for people who no longer want to use the site to either deactivate their account or delete it completely,” the company said. “We’re currently investigating and considering whether to take further action.”

Web 2.0 Suicide Machine claims that it only stores the name, profile picture and “last words” of its clients, who can choose to watch their friend/follower connections disappear in real time as their profiles unlink from others.

“Seamless connectivity and rich social experience offered by web 2.0 companies are the very antithesis of human freedom,” says a statement on its website.

Seamless connectivity and rich social experience offered by web 2.0 companies are the very antithesis of human freedom.
Web 2.0 Suicide Machine

The machine operates on an adjusted Linux server which runs open source software Apache 2., which offers to remove people from Facebook, received a letter from the social network site’s lawyers in December 2009.

Once they have deleted their friends Seppukoo clients can choose an image instead of their profile picture to remain as a “memorial” .

The site is run by a group called Les Liens Invisibles, and describes itself as an artistic project. The name Seppukoo is taken from a Japanese ritual form of suicide known as Seppuku.

In November 2009 the group orchestrated the “virtual suicide” of a group of fictitious Facebook profiles set up in the names of deceased well-known figures including Kurt Cobain, Jim Morrison and Virginia Woolf.
via BBC News – Facebook blocks social network profile removal service

Exhibition Gianni Colombo

Spazio Elastico

Spazio Elastico

Gianni Colombo Exhibition
Castello di Rivoli – Contemporary Art Museum

The Castello di Rivoli recently closed its retrospective dedicated to the artist Gianni Colombo.

For all of those dear artists among you that use interactive space as their artistic medium, you’d go ga-ga in the “Elastic Space” installation set up in the Manica Lunga wing of the museum. This perceptual dream-like space is extraordinarily designed to disorientate the viewer. Here, fluorescent elastic strings are illuminated by black light, creating a perceptual environment that triggers an emotional response and makes a statement.

This is without a doubt Colombo’s most famous work, winning him first prize at the 1968 Venice Biennale. Unlike much of the conceptual art produced in those years, this work has not been tarnished by time, holding its own in today’s digital art world, though without the need for digital apparatus or sensors. How’s that you ask?

Because Colombo sought to involve the viewer, building his work on the concept of a participatory artistic space, which viewers could enter and not just observe. Colombo focused on creating synaesthetic art, anticipating many current schools of thought that have flourished in the Internet age.

The space in which a work unfolds is its environment, coming to life through the interaction of viewers. In this way, an art work is a space for action.

As the curator of the exhibition Carolyn Christov-Bakargiev (who is already sorely missed, but let’s not delve into the controversy of her successor for the top spot at the museum) says, Colombo wouldn’t have been too happy to see his work written-off as kinetic art, the movement developed over the 1950s and 1960s.

We too agree that such a categorisation does not do Colombo justice. His work goes well beyond the exploration of mechanical movement which characterised kinetic art, focusing instead on the relationship with time that is built through participation in the work – anticipating the co-operative aspects that digital languages and the Internet have enabled us to explore forty years on. Hence art becomes participation, inspired by an ideal point of contact between technology and science, which here is expressed as an artistic language (a theme that environmental art has also developed, as for instance by Christo and Jeanne-Claude).

In 1959 Colombo founded Gruppo T together with Giovanni Anceschi, Davide Boriani, Gabriele De Vecchi and Grazia Varisco. Here T stands for TIME, understood in an impersonal and scientific sense, which is what gives rhythm to an art work, which in turn should evoke a psychological response in the audience.

Colombo’s “Alveolar Acentric Structures” are another example of a work that, thanks to its characteristic unpredictability, anticipates contemporary generative art (whose value is rooted in the shapes self-generated by the code that gives the work its shape).

Unveiling the process is the aim of this aesthetic, where the idea is the random, statistical process itself. These were the years when Umberto Eco wrote his “Open Work” and the Gruppo T artists were exhibiting their work in Olivetti’s Milan store, earning themselves the title of “maniacs of the mathematizing programme.”

These were also the heady years of the economic boom in what was a fundamentally bourgeois era that has long been left behind and whose legacy of conflict bequeathed to future generations has made sure that it is in no way missed.

New year and “every day the same dream” by molleindustria

Everyone likes to start the new year with a new dream to realize…..but Molleindustria (software house), the super funny authors of radical and activist games against the dictatorship of entertainment, remind us
that we play the same game every day: the routine.

Every day the same dream


Music by Jesse Stiles

The game, except for the music, is licensed under a Creative Commons License


Postcinema: Giacomo Verde

Giacomo Verde

di Simone Arcagni

Ho incontrato Giacomo Verde al convegno “Cinema italiano e culture europee” organizzato da Giorgio De Vincenti e Marco Maria Gazzano (Roma 13-16 dicembre). Aspettando di postarvi un’intervista che sto organizzando, vi voglio segnalare il suo sito dove potrete trovare video, dichiarazioni, informazioni di e su questo artista che fa del video un attivismo artistico, sociale e politico, una militanza visiva (penso a Solo Limoni sul G8 di Genova). Tra i primi e più convincenti artisti italiani ad occuparsi di tecnologie e a progettare opere interattive, Verde attraversa il teatro e il video, le arti visive, le nuove tecnologie e i media alla ricerca di forme nuove di espressione e di racconto. Ama definirsi “technoartista”… vi lascio una sua intervista del 2006:

via Postcinema: Giacomo Verde.

nephogram [*~] – Ramon Moro _ Magma

via nephogram [*~] – [npg009]Ramon Moro _ Magma

Ramon Moro

In solo trumpet, fluegelhorn, effects, loops

You are free to share,

to copy,  distribuite  and  transmit  the  work


Ramon Moro


Born in Turin in1975, he started to study trumpet at 11 years old. Sergio Bongiovanni was his teacher: first he set up classic studies, then he turned to a musical research closer to jazz. He attended for two years the Laboratorio Permanente di Ricerca Musicale in the Fondazione Siena Jazz with the pianist Stefano Battaglia.

His actual projects are:

in solo – Magma;


3quietmen & Stefano Battaglia.

« [npg008]Bloodythings & Mornings _ Live @ Madame Claude


Facebook Threatens Artists with Lawsuit

By Jasmina Tesanovic – Posted on December 27th, 2009

Facebook Threatens Artists with Lawsuit

It all started as Net.Art — an act of Net Hacktivism. “Les Liens Invisibles” are the Invisible Connections, Italians famous for creating disruption with fake websites. Their motto is “Don’t Blame the Fake, Become the Fake.”

A Catholic politician once censored an site which denounced priests as pedophiles. Les Liens Invisibles counterstruck by creating a fake website for the politician.

Next they tried a fatter target: Facebook, the biggest, bossist and most intrusive of the major social networks. They creating an “antisocial network,”,

which uses the same social techniques as Facebook, but to opposite effect.

This Seppukoo site offers a glorious Japanese-style exit to the swarming hundreds of millions of Facebook users. Seppukoo will swiftly erase your profile and create a memorial page, while the news of your demise will be sent off to all your Facebook contacts.

“Impress you friends and disconnect yourself.” This is the slogan which the site uses to present the formal escape from Facebook captivity.

“Rather than fall in the hands of their enemies, the old Japanese samurai preferred to commit suicide honorably and willingly with a sword in their abdomen”, says the site’s helpful explanation.

The goal of this site is to unite all of Facebook’s disappointed users in one massive, viral, ecstatic wave of virtual suicide.

You just register, choose your model of eternal peace, click and your Facebook profile will be dis-activated. Seppuko will send the news of your virtual death to all your friends of the dead and they will be able to comment on a memorial page.

If you decide after that your death was a mistake, or just a stunt to register your growing discontent with a site that treats your privacy as their blank check then you can easily return to Facebook life with a single click.

This intervention premiered during the Share festival / Digital Art in Turin Italy, and was part of the exhibition “Market Forces”. Seppukoo was as viral marketing. The effort started on November 3 2009 but very soon 300 000 users swarmed by. It caught the eye of the world press. Share art director Simona Lodi, thanks to her numerous Facebook contacts, rapidly became the world’s most famous Facebook suicide victim.

Even CNN reported puzzled on the nature of the issue. That is exactly what the activist wanted: to question the authority and legality of a social network, who clearly makes up its own rules as it goes.

However, they didn’t plan or expect a direct legal counterattack from Facebook. Facebook through its legal representative — a firm which works for Google, Intel, Microsoft, AT&T, as well as President Obama himself , gave them an ultimatum to disappear by 22 December. The legal grounds of their threat is based, rather oddly, on the “protection of the privacy” of Facebook users.

The answer of the internet performers is that Seppukoo is a nonprofit, non commercial, artistic website. They further state that the data in question belongs to Facebook users and never belonged to the Facebook management. This is the core of the matter: Facebook users have voluntarily forwarded their data to Seppukoo and anti- networked on their own.

Surely every individual should have the right to disconnect from his/her own virtual life. But by whose rules?

“The “Les liens invisibles” group will cheerfully delete all of the information on the website — but only if the owners of such information request it. Facebook has not yet committed suicide, so why should it wipe out this data through a legal threat?

Simona Lodi claims that this artwork clarifies the role of the individuals in a social network. When hidden economic interests pop out, individual users can swiftly see themselves in a surprising new role: as valuable mass commercial property for enterprises studying their every move.

The Italian avant-garde has not yet lost its long tradition of audacity. Net.artists, don’t get arrested without a photographer around

Jasmina Tesanovic’s blog • Login or register to post comments

via | zokster.

Available online for free

Evan Roth is distribuiting free stickers to anyone interested in taking part in his project "Available online for free". He writes: "Instructions are simple.... email your mailing address to stickers[at] When the stickers arrive in the mail put them up in a location that you find appropriate, take a picture ... Read more»

Suicidio digitale: Facebook non ci sta e attacca Seppukoo

Suicidio digitale: Facebook non ci sta e attacca Seppukoo

Suicidio digitale: Facebook non ci sta e attacca SeppukooQualche tempo fa vi avevamo parlato di Seppukoo, sito che consentiva a chi volesse privarsi di Facebook di farlo in modo plateale e coreografico, ovvero inscenando un vero e proprio suicidio digitale, con tanto di messaggio d’addio e memorial page.

Bastava inserire indirizzo mail e password di Facebook, seguire le istruzioni ed eccovi in pochi passi liberi dal vostro amato/odiato Social Network.

Il progetto è italiano ma ha avuto subito visibilità globale, tanto che ne ha parlato anche la CNN:


Ebbene, sembra che l’iniziativa sia arrivata anche davanti agli occhi di Marck Zuckerberg, che non deve averla presa proprio benissimo. Pare infatti che il Team di Facebook abbia inviato, tramite i suoi legali, una lettera ai responsabili di Seppukoo.

Un lettera non proprio amichevole,

visto che contiene un preciso ultimatum: Seppukoo deve sparire non solo da Facebook (dove l’applicazione è già stata censurata) ma anche dall’intera Rete entro il 22 dicembre.

La principale motivazione dell’azione sarebbe la salvaguardia della privacy degli utenti a cui – stando alla lettera – Facebook terrebbe più di ogni altra cosa. Ma questo sembra un eufemismo per nascondere i veri motivi dell’attacco, probabilmente commerciali.ù

Al di là di ciò, che ci sia stata una reazione è piuttosto comprensibile. Facebook è prima di tutto un’azienda, e come tale si è sentita minacciata da un sito che invitava gli utenti a rompere il rapporto con essa. Certo, vista così rimane fuori il lato scherzoso – quasi goliardico – del Seppukoo che oltretutto è pienamente reversibile. Sarebbe interessante sapere quanti dei suicidi digitali facciano poi ritorno in realtà su Facebook.

I ragazzi di Seppukoo per ora hanno risposto con un piccolo comunicato in homepage e si stanno mobilitando per decidere il da farsi, valutando ovviamente tutte le possibilità.

Vedremo come si evolverà la faccenda, a partire dalla scadenza dell’ultimatum il 22 Dicembre…vi terremo aggiornati!


Suicidio digitale: Facebook non ci sta e attacca Seppukoo | Marketing Non Convenzionale – Ninja Marketing.


COMPETITION ARTE 2.0 VOCENTO: the Art of exhibiting Art Online. Third Edition.

Open call for proposals by VOCENTO in collaboration with ARCOmadrid 2010 International Contemporary Art Fair, Madrid.

VOCENTO and ARCOmadrid announce a competition of ideas to provide art galleries with web solutions, and to provide opportunities to enhance their online presence and networking potential.

The competition wishes to respond to the shifting context of online environments — from Web 2.0 to Web 3.0 and beyond — and to draw attention to the dynamic potential of the web as a research, production and presentation platform for the specific context of art.

ARTE 2.0 VOCENTO invites individual and collaborative proposals by programmers, software engineers, designers and artists alike, that combine creative and critical thinking, technical solutions with practical competence.

ARTE 2.0 VOCENTO aims to enable the development of a powerful tool or web environment for art context, and to promote creative, original, innovative and speculative thinking in a fast developing field, reflecting new social sensibilities and art’s ability to surprise.

Total award is 15.000 euros.

VOCENTO and ARCOmadrid invite proposals for innovative and experimental online platforms or effective web tools to foster and stimulate the presence, exhibition, communication and management of art on the Internet.
The selected proposal will be awarded with a production budget of 15,000 euros (taxes included) to realize the project.

The competition wishes to encourage research in the field of social technologies and artistic practice, and more specifically to identify current needs and provide suitable solutions for art galleries and art market more generally in the context of the Internet. The intention behind the competition is to enhance communication and exchange between the field of art and wider society.

The proposal – a complete web concept, environment or a tool – shall offer an application to be implemented by individual art galleries and / or ARCO Fair.

The winning proposal will be selected by an international Jury, made up of two experts in the field of art and technology: Dr. Joasia Krysa (KURATOR/University of Plymouth, UK), CSDVA (winner of the 2009 edition with the project WAAP, Croatia) and a representative of VOCENTO (Spain). LaAgencia will act as coordinator of the award and jury secretary.

·       Production of the award-winning proposal has to be completed in a maximum period of nine months. Once produced, a complete web concept, or environment, or tool, will be freely distributed for implementation by the participant galleries at ARCOmadrid´s 2010 edition and the galleries participating at ARCOmadrid´s 2011 edition.

·       Notification of the winner date: 19th February 2010.

·       The Award prize of the winning proposal will receive a total of 15.000 euros budget (taxes included).

Conditions for entry to participate:

·       The competition ARTE 2.0 VOCENTO is open to any individual or group, of any nationality or legal entity. It is an open and international award contest.

·       The proposal must be submitted through an online application form available on the dedicated ARTE 2.0 VOCENTO’s website at

·       Proposals sent by e-mail, post or any other way will not be accepted.

·       Each individual or group is allowed to submit only one proposal. In case of the submission of more than one proposal, only the first proposal will be considered.

·       Applications for the ARTE 2.0 VOCENTO competition can be submitted in English or Spanish. We highly recommend submitting bilingual versions of the proposal.

·       The participating proposals must be for projects realizable for the value of the prize money, i.e. €15,000 (including taxes), within a maximum production period of nine months from the date of the Jury’s decision.

·       The Jury reserves the right to accept or reject any of the projects, and its decision is final.

·       Accepting the prize implies the transfer of property rights of the awarded project to VOCENTO, after the termination of its free distribution among art galleries participating at ARCOmadrid 2010 and those taking part in the 2011 edition. VOCENTO agrees not to commercialize nor distribute it in any other form than that described. After two years VOCENTO may make the project available to the public under the license CreativeCommons, Attribution 2.5 Spain


·       Opening date for applications to ARTE 2.0 VOCENTO competition is the 1st December 2009 at 17:00 hours (GMT+1) through the Call for Proposals website.

·       Deadline for applications to ARTE 2.0 VOCENTO competition is the 31st January 2010 at 17:00 hours (GMT+1) through the Call of Proposals website.

·       The application form and guidelines will be available from 1st December 2009 ARTE 2.0 VOCENTO’s website at the proposal must be submitted through an online application form available on the dedicated ARTE 2.0 VOCENTO’s website at

For further information about the ARTE 2.0 VOCENTO competition, please get in contact with:

Vicente Matallana
Tel: (34) 91 366 8821

Transmediale.10 – FUTURITY NOW!


directly from Stephen Kovats we like to spread:

“The programme for transmediale.10 – FUTURITY NOW! taking place Feb. 02 – 07, 2010 in Berlin is almost complete!

The festival kicks off Tuesday evening, February 2 at Berlin’s landmark House of World Cultures with a welcome address by Computer Art pioneer Herbert W. Franke and a special live concert featuring Charlemagne Palestine playing Berlin’s unique bell tower – the Tiergarten Carillon.

The festival’s exhibition ‚Future Obscura’, by transmediale guest curator Honor Harger presents artworks that use the materials, mechanisms and machines of image-making to illuminate and define our relationship with atemporality – the collision of past, present and future. Over a dozen international artists, including Zilvinas Kempinas, Julius von Bismarck, Ken Rinaldo, Alice Miceli and Julien Maire, have created create interdisciplinary explorations of light and chronology – some of which are new works premiering at transmediale.10 – which will unfold across the House of World Cultures, and several urban spaces within Berlin.

The daily programme begins on Wednesday February 3rd with the ‚Free Culture Incubator’ Salons curated by Public Art Lab curator Ela Kagel, the Phuturama sub-conference hosted by c-base ‘conceptioneer’ Gregor Sedlak and this year’s Marshall McLuhan Lecture by telepresence artist Graham Smith. Daily screenings curated by Marcel Schwerin highlight works from the Award competition and explore atemporal junctures between technology and image production.

Spectacular performances by Ryoji Ikeda and Jürgen Reble with Thomas Köner initiate tm.10’s extensive live programme including six events in collaboration with CTM which also reflect their theme ‘Overlap’, and feature some of the most important figures working within music and sound today.

The tm.10 ‘Future Observatory’ conference, with keynotes by Bruce Sterling, Conrad Wolfram and Richard Barbrook, kicks off on Friday February 5, with a special ‚Futurity Long Conversation’ bringing 23 leading artists, designers, theorists, journalists and media interventionists, including people such as Jem Finer (Longplayer), Susan Neiman (Einstein Forum), Andy Cameron (fabrica), Denisa Kera (transgenesis), Gustaff Harimann Iskandar (common room network), Trebor Scholz (digitallabour), Régine Debatty (wemakemoneynotart), and Warren Neidich (Flusser Award 2010 nominee) among distinguished others. From their own positions and experience, they will discuss, contextualize and explore the abstract and qualitative elements defining our take on what the concept of future – and with that, the tm.10 festival theme FUTURITY NOW! – must be today. Accompanying the ‚Futurity Long Conversation’ transmediale.10 Award nominees Sosolimited will unveil an entirely new work ‘The Long Conversion’, using ground-breaking text and visual analysis tools, as a tandem live coding performance of the The Long Conversation.

The format of the Long Conversation was developed in conjunction with the Long Now Foundation, an international organisation crafting ways with which to perceive time and durational process in radically different and perhaps media technologically appropriate ways. In their approach, we are in a period which redefines the ‘now’ within a timespan of a 1000 years, altering our notions of future and the acceleration of progress and development.
To reserve your passes, please use the form here: download the software!


Last week Piemonte Share has organized the event SMIR – Spazi Multimediali Innovazione e Ricerca, where Antonio Rollo presented the installation Now it’s possbile to download the softare realized by Antonio Rollo and start to play with it.
Download it and enjoy it!

Pass away and leave your ID behind


Will Seppukoo really become Facebook’s killer application?

The news has become the talk of the Internet among bloggers and the artists who actually set up the viral campaign, targeted at everyone who just can’t take social networking anymore, as it becomes clear that this no longer just a joke among friends. The Seppukoo phenomenon would appear to have taken on worrying proportions, leading Facebook to censor all information about Seppukoo on charges of obscenity.

The application launched during the recent Share Festival (and which sees yours truly ranked “top scorer” – points are won for each friend you recruit to join the ranks of over 20,000 other seppukers) is quite clearly doing its job of creating a stir.

Guy McMusker, artistic director of Les Liens Invisible, through his spokesman Clemete Pestelli, has made it known that Facebook is in fact using a disturbing strategy of preventive censorship by blocking all attempts at virtual suicide and stopping users from publishing links to Seppukoo.
Not that any of this comes as a surprise – I for one am certainly not shocked by it. We all knew exactly who we were up against. But now the behemoth has been unmasked and its tactics laid bare for all to see.

more info:

Five days in Mondovì dedicated to multimedia art

We are proud to present SMIR, a project under our artistic direction

9th December, 2009 / 13th December, 2009

Five days in Mondovì dedicated to multimedia art.

Through the rich programme of events running from Wednesday, 9th December to Sunday, 13th December, Associazione Culturale Marcovaldo and the Town of Mondovì will be presenting to the public a special project dedicated to multimedia art – SMIR – Multimedia Spaces for Innovation and Research – as part of the European Territorial Co-operation programme Alcotra 2007-2013.

With this project, the towns of Mondovì and Embrun, in the French Hautes-Alpes department, have sought to express their joint commitment to creating new cultural windows in contemporary art through a highly original approach focused on the latest in innovation.

The five-day programme of events includes an exhibition, conference, workshop and artistic performances, all curated by Simona Lodi, Chiara Garibaldi and Luca Barbeni of Piemonte Share, a platform for the promotion of digital culture in all its artistic and creative forms.

All events offer free admission, and will be held at the Antico Palazzo di Città of Mondovì Piazza.


Wednesday, 9th December – 6 PM

Inauguration of the exhibition SMIR – Multimedia Spaces for Innovation and Research

Spheraleas by Scenocosme

Squatting Supermarket by Salvatore Iaconesi and Oriana Persico

TarantaVideoBlog by Antonio Rollo

A Sud di Pavese (South of Pavese) by Matteo Bellizzi and Antonio Rollo

Opening hours of the exhibition:

Wednesday, 9th December, 6-9 PM

Thursday, 10th December, 9.30 AM-7 PM

Friday, 11th December, 2-7 PM

Saturday, 12th and Sunday, 13th December, 11 AM-7 PM

Thursday, 10th December, 9.30 AM

Conference & Workshop SMIR – Multimedia Spaces for Innovation and Research


9.30 AM – Greeting and introduction
10 AM – Thematic workshop Spherealles by Scenocosme
11.30 AM – Thematic workshop Squatting Supermarket by Salvatore Iaconesi
2.30 PM – Thematic workshop Interactive Audiovisual Maps by Antonio Rollo
4 PM – Debate and creation of work groups to identify and plan the multimedia works to be produced in the Mondovì district

Friday, 11th December

3 PM – Performance
5.30 PM – Performance Into the Wood by Eniac
6.30 PM – Workshop Into the Wood by Eniac

Saturday, 12th December

5.30 PM – Performance Into the Wood by Eniac
6.30 PM – Workshop Into the Wood by Eniac

Antico Palazzo di Città
Via Giolitti 1
Mondovì Piazza



AHAcktitude: Foto Video Audio dei 3 Giorni al Cantiere

Pubblicato in Liberi Saperi da RSK Crew

Aggiornamenti continui video foto audio

altGuarda la fotogallery del I°giorno di AHAcktitude

alt Minivideo evento per evento

Guarda il video di Giacomo Verde

3 Giorni di incontri @ CS Cantiere con la crew di AHA per attraversare i concetti dell’attivismo politico, dell’attivismo tecnologico e dell’attivismo artistico.

AHA (Activism-Hacking-Artivism) è un progetto di networking artistico, e’ un’opera di networking realizzata da soggetti sempre diversi e attivata dalla contaminazione/integrazione di molteplici media ed eventi, in cui il filo conduttore è l’hacktivism e l’attivismo artistico e politico. AHA è l’arte di fare network.

E’ un progetto di networking artistico nato nel 2001. I concetti principali di AHA, sono Activism = attivismo politico, Hacking = attivismo tecnologico, Artivism = attivismo artistico. AHA si basa sulla creazione di un network in costante mutazione realizzato da molteplici soggetti e attivato dalla contaminazione/integrazione di molteplici media ed eventi, in cui il filo conduttore e’ la sperimentazione artistica, l’hacktivism e la net art.

AHA si focalizza sulle collettivita’ attiviste in Italia e all’estero che usano i nuovi media in forma indipendente, evidenziandone le diverse modalita’ d’azione.

altaltalt PROGRAMMA

– Vai a Seminari

– Vai a Workshop

– Vai a Performances

– Vai a Lightning Talks

– Vai a WarmUp



via AHAcktitude: Foto Video Audio dei 3 Giorni al Cantiere.

Share Festival 2009: Market Forces Exhibition Review | Hypermodern

Torino Share Festival 2009: Market Forces Exhibition Review by Pete  Ippel

December 4, 2009 in Art, Art News, Exhibition Reviews, Psychology | No comments

Sensing demands a market. Values are automatically assigned to a stimulus as a function of their reception. This fundamental law of being, embodied at an unconscious level, manifests in every aspect of human existence.

To have a body unaware of the market of stimulus is to have a body damaged by its environment. In a fleeting glance to the heavens to spy a bird taking flight, a sunbeam hits our eyes. Do we not cower to the ray’s power to blind yet marvel at the universe it illuminates? The internal mechanisms built to protect our vision restrict the size of our pupil because our unconscious knows the cost of failing to do so. Staring directly into the sun is a sizzling reminder of blue spots that a retina is merely the ant on the sidewalk and our natural lens a child’s magnifier.

It’s no wonder that we fall prey to the intoxicating glow of the liquid crystal display. We are drawn to the screen as a moth to a lamp. Attracted by the promise of information, yet burned by the theft of time. It’s our choice to turn on the back-lit window, to navigate it. Yet within the journey to the content of our desire, there exists distractions at every turn.

The conscious and the unconscious market are always present, and it is the charge of the sensor to be present and aware in each moment. Unlocking myriad economies is the crux of Market Forces.

The exhibition commands the attention economy, the cognitive economy, and the social economy by parting space into three distinct arenas.


Torino Share Festival 2009: Market Forces Exhibition Review | Hypermodern – Pete Ippel – Artist / Athlete.

I Park Art @ Milano – 05/12/2009


Park Art è un progetto di guerriglia creativa urbana.

I Park Art @ Milano


appuntamento ore 16:30

Porta Genova F.S. ( ingresso principale ).

Vi aspettiamo !

Questo progetto si fonda sul principio base che un parcheggio non debba essere necessariamente destinato ad una automobile, bensi che sia potenzialmente utilizzabile come spazio espositivo. Pagando infatti il pedaggio, si diventa a tutti gli effetti padroni temporanei di quella porzione di suolo. Nasce cosi l’idea di portare l’arte in strada,senza filtri nè mediazioni, utilizzando la scenografia urbana come contesto espositivo temporaneo, creando una giornata nella quale gli artisti possano confrontarsi tra loro e il pubblico, scambiandosi idee e trascorrendo un sabato pomeriggio in modo decisamente diverso dal solito.

Un progetto di allestimento espositivo temporaneo creato da artisti per altri artisti.

Stiamo organizzando quindi per sabato 5 dicembre 2009 l’edizione milanese di Parkart.

Dopo le edizioni di Genova, Città del Messico ed Imperia vorremmo realizzare un evento che possa portare Parkart verso un livello superiore di partecipazione e verso un maggior impatto emotivo rispetto alla città. Vorremmo avere abbastanza adesioni per poter ,perchè no, “occupare” un’intera porzione di parcheggio o addirittura un parcheggio intero.L’idea è quella di insediarci in un’ Area Blu a pagamento in pieno centro città, possibilmente in una zona di grande passaggio pedonale, avere un progetto di allestimento complessivamente unitario ed infine pubblicizzare l’evento tramite tutti i canali possibili. Può aderire chiunque abbia la volontà e la possibilità di farlo : fotografi, illustratori, pittori, writers, etc …

L’unica limitazione presente è naturalmente data dalla natura temporanea dell’evento stesso.

Il luogo esatto dell’intervento è ancora da definire, comunque sia chiunque voglia partecipare all’evento è pregato di contattare la seguente mail : .

Seguiranno altri comunicati con la conferma della data e del luogo esatto.

Aderisci e diffondi l’iniziativa nella tua città !

Trovi ulteriori informazioni qui :

Idea by :

Mattia Paco Rizzi / Linguamara

What did Market Forces inspire in you at the Share Festival?


What did Market Forces inspire in you at the Share Festival?

Dear friends,
as we take down the exhibitions, the time has come for us to say good-bye. You can’t imagine how empty we feel without the supermarkets, shopdropping, randomly bouncing balls, electronic insects, magic dust, generative art, friends, experts, conference speakers, students, artists, journalists and families with lots of kids around us.

The time has come to thank our guests and hear about what they – and you, friends of the Share Festival – found most inspiring at this year’s festival.


We’ve already gathered just how much you liked our new venue, the Regional Museum of Natural Sciences, where all the festival exhibitions, conferences and the Orchestra Meccanica Marinetti performance were held, seeing as you filled all the events on the jam-packed Festival programme to the brim! You also seemed to appreciate Espace, where the Optofonica collective performed, the Quazza Laboratory at the University of Turin, where the Digital Orbit conferences were held, and the studios of the Virtual Reality Multimedia Park, where you seemed to hang off every word at the CReATE conference.

Over six thousand of you came! Thanks to you, we’ve become one of the most important events in Italy for the digital arts and new media.

The leading, avant-garde quality of the contents and perspectives showcased by the Piemonte Share Festival was also reflected in the attention and interest shown in us by local and national media, which dedicated without exception flattering words and key space to the event.
It was not only the in-depth theoretical discussions and interesting perspectives opened up by the conference that attracted you though. In fact the activist edge of the festival also attracted curiosity and interest, as Shopdropping in downtown Turin proved great crowd-magnet to students, ecologists and curious standers-by, who accompanied Salvatore Iaconesi and Oriana Persico, who presented the installation Squatting Supermarket at the festival, in their rounds.

Even the virtual suicide on Facebook won you over, as over 1000 users of the world’s most popular social network committed seppukoo, and over 15,000 connections were made to the website following its launch at the Piemonte Share Festival!

“Turin is the capital of the future” was the full-spread headline printed across the national culture section of La Stampa. Together with Piemonte Share Festival, another two events were a part of Digital Orbit this year, the Regione Piemonte project designed to celebrate the leading role the region plays in new cultural movements tied to ICT. Together with View Conference and Club To Club, as well as CReATE, Piemonte Share Festival has taken Piemonte a step further into the future.

Visit us tomorrow to see the best of the post-festival, featuring feedback from artists and conference speakers, photos and videos.

Discover what Market Forces has inspired for the future of the people who took part in the event.
The last extra-festival event will be Ennio Bertrand’s workshop at the PAV on Saturday 28th November. After the workshop at 6 pm, an encounter will be held to take stock of this year’s event, in the lead up to the Sixth Piemonte Share Festival in 2010!

who [AHAcktitude event]

AHAcktitude 2009

27-28-29th November, Milan, Italy

# Organised by: and AHA: Activism-Hacking-Artivism

In Milan on the 27, 28, and 29th of November the artivists of the AHA
mailing list will meet at the “Il Cantiere” social centre.

Activist-artists, artistic hackers, social-artistic activists, call them
whatever you like. The 600 subscribers to the AHA mailing list are just
a small part of all those people who, in Italy and in the world, know
that the medium is not just the message, but the massage and the
‘mixage’. They know that it is not enough to complain about TV (be it
mainstream, communitarian or niche), or blabber on about alternative
communication, because the experience must be developed, and because
communication without bodies only communicates stereotypes, and the body
without intelligence only produces manipulation.

For this reason from last year the subscribers of meet
face to face periodically, each time in a different city, to open the
black boxes, to get their hands inside the technological devices for
communication and imagination, to deconstruct the official knowledge and
share new knowledge, to work at collective intelligence of bodies and
not at capital intelligence, to broaden the resistance to globalization
of multinationals and institutional power.

AHAcktitude will be three days of activity and activism, of enjoyment
and sharing, of study and fun. Technology, music, Internet, literature,
telecommunications, marketing and social networks: everything will be
targeted at open sourcing and open sharing. Methods, approaches,
attitudes that are different but that communicate in order to explore,
understand, and act in our condition of technologically modified beings.
Because human beings are worth more than merchandise, and we will not be
satisfied while the life of someone who has more is worth more than the
life of someone who has nothing. is an Italian mailing list created in 2002 within the
AHA: Activism-Hacking-Artivism project, founded by Tatiana Bazzichelli,
aka T_Bazz. AHA wants to promote networking and critical thinking,
connecting artistic practices to political and social activism. We
define these practices as ‘artivism’.

More info:

AHAcktitude 2009:

Social Network:

AHA mailing list:

AHA – Activism-Hacking-Artivism:

OMM at SPS in Nuremberg


Orchestra Meccanica Marinetti plays Nag Hammadi
will be showed inside the PRIMA ELECTRONICS’s space at the robotic fais SPS, in Nuremberg, November 24-26 .

La scatola di Giotto


Saturday November 28th, 2009, from 10 am till 6 pm, at  PAV/PARCO ARTE VIVENTE there’ll be the workshop La scatola di Giotto, with Ennio Bertrand.

We are going to develop together a bio-active work producing electric light with natural fluids extracted from fruits. Electric light that without battery or connection comes up thanks to an electrochemical reaction between natural liquids and metals softly shining.
Then, this light will be stored in an electronic circuit until its saturation when a flash lights up in the LED. This kind of cycle is going to continue, from flash to flash, it gives birth to an incubator of electricity flowers. So, by energy sun collecting into the fruits during their growth, digital flowers turn these power and energy into new light.

Materials: tomatoes, salad, lemons and other vegetables, juice extractor, leds and circuits, copper and zinc.

The event is part of the events Contemporary Art, ESOF2010 e Share Festival.

Information and booking
Via Giordano Bruno, 31 – 10134, Torino
Tel. 011.3182235

Conferenza NEXA su Internet & Società 2009 | NEXA Center for Internet & Society

Sabato, 28 Novembre 2009, ore 10-18
Centro Congressi “Torino Incontra”, Via Nino Costa 8

La prima conferenza NEXA su Internet & Società sarà un momento di presentazione, in forma divulgativa, di alcuni dei principali temi toccati di recente dal Centro NEXA insieme a esperti, policy makers, professionisti, appassionati e semplici cittadini. L’incontro includerà anche CCIT2009, una sessione sullo stato di Creative Commons in Italia, riprendendo la tradizione degli incontri annuali CC-IT. Sempre in tema Creative Commons, in serata avrà luogo il Creative Commons Music Party. La partecipazione alla conferenza NEXA è gratuita, ma occorre registrarsi entro il 27 Novembre, fino a esaurimento posti disponibili.

Si segnala che il giorno precedente, venerdi’ 27 novembre 2009, il Sistema Bibliotecario del Politecnico di Torino terrà nell’Aula Magna di Corso Duca degli Abruzzi 24 l’OpenAccessDay@Polito, composto, al mattino, di un minicorso sul diritto d’autore (organizzato e offerto dal Centro NEXA) e, al pomeriggio, di un convegno sul tema del Open Access (maggiori informazioni qui).

Conferenza NEXA su Internet & Società 2009 | NEXA Center for Internet & Society.

Il cinema è il cinema: Erik Natzke

Il cinema è il cinema: Erik Natzke.

La freddezza del calcolo digitale e il gesto artistico. I numeri e gli algoritmi, la materialità della pittura e la flagranza del colore, questa è la magia di Erik Natzke, artista e programmatore che attraverso il computer riesce a creare immagini dalla rara forza evocativa. Dai fiori quasi impressionisti dell’ultimo periodo alle curve sintetiche e l’immaginario tra il pop e l’espressionista con un raro gusto per il colore e per le forme scientifiche.

Luca Barbeni ha curato per Share Festival presso la Galleria Allegretti Contemporanea a Torino una bella mostra di Natzke con diverse opere di questo artista.

Seppukoo » Last 100 suicidal users

Seppukoo » Last 100 suicidal users.

Last 100 suicidal users

Open your mind to a new meaning of popularity: with Seppukoo it’s not important how many friends you have, but how much you may influence them. A friend who follows you in Seppukoo Experience is a friend you can absolutely trust!

Kath Kelly and her pound a day | Beyond The Beyond


Kath Kelly and her pound a day | Beyond The Beyond.

Kath Kelly and her pound a day

* By Bruce Sterling
* November 9, 2009  |

*This woman was the most surprising guest at Share Festival 2009. Kath Kelly’s story is a lot less hokey than it sounds. It was a short, heartfelt and simple narrative, without any lookah-me righteous grandstanding, and there was something quite eerie about hearing it. Kath Kelly’s abandonment of consumer culture — “I realized that my friends were my ’shopping-friends,’ and I needed people more than I needed to shop” — it reminded me of something, but I couldn’t place it at the time.

*After a day, I get it now. Her story reminded me of listening to old-school white Southerners talk about abandoning segregation.

*In the American South, there was tremendous emotional anxiety about letting segregation go, and absolute knee-trembling fear for the worst, and then segregation went away and suddenly there was all this nice free time to do other stuff that turned out to matter a lot more.


“She picked fruit from bushes and trees and collected £117 in loose change dropped in the street – a third of her annual budget.

“She even managed a free trip to France by hitchhiking through the Channel Tunnel.

“And to cap it all, she found love while working as a volunteer on an organic farm during the holidays.

“Miss Kelly was sharing a house in Hotwells, Bristol, when she complained to her friends over a few glasses of wine that she could not afford a wedding present for her brother Danny.

“She boldly announced that she would survive on £1 a day for the 12 months up to the wedding.

‘I woke up the following morning and instantly regretted it but it was too late – I’d told my friends and now I had to go through with it.’

“With her rent and utility bills already paid for the year, her budget had to cover transport, food, clothes and socialising.

“She soon learned to spot a bargain and after working at the English Language Centre in Clifton, where she teaches for 20 hours a week, she regularly visited super-markets and butchers at closing time to buy reduced food.

“She added: ‘I had a freezer full of stuff. I was out all the time with a bag on my back and if I saw bread for 10p at the end of the day, or reduced vegetables – anything – I bought it.’

“Miss Kelly would hunt down market researchers in the street as they often have samples to give away.

“Kath’s daily shopping bills, consisting mostly of fresh fruit and veg, would often come to just under £1
She ditched her mobile phone and cycled to friends’ houses if she wanted to speak to them, leaving a note if they were out.

“She used the library for free internet access and developed a taste for mince pies – which she would stockpile at Christmas when they are given away at stores.

‘I went to the public lectures at Bristol University that had a buffet afterwards, and I went to the library’s 100th birthday where they had a buffet as well. I was the queen of the buffet.

‘Every time there was a public event and a crowd was needed, I was there.

‘I dragged my mates out to free events, too….”

Read more:

The winner of Share Prize 2009 is….


From the Jury statement “the winner of the SHARE Prize 2009 is Andreas Muxel for his mobile sculpture Connect.  This mesmerizing installation, with its precarious mixture  of bouncing rubber and flying steel,  is like a world financial crisis all by itself.  With simple but powerful elements, Connect generates endless dramatic episodes of comical failure and heroic determination.  The vital network of Connect won’t stop changing, and we can’t stop looking at it.


The honorable mention goes to Ralf Baecker for Calculating Space, an intricate, meticulous work of modern device art.  This geometric structure of wood, string, and tiny motors brilliantly combines its elements as a single, enigmatic, functional presense.  It evokes the early history of computing while standing outside time in a calm, rigorous space of  stark mathematical beauty. ”


Last but not least the Enviromental Park of Torino assigns the green-award to Salvatore Iaconesi and Oriana Perisco for the project Squatting Supermarket. Salvatore Iaconesi setted up a ideal supermarket in the Museum of Science based on the narrative dialogs beetween people, companies and goods.

Congratulation to all artists!

Interview with Ryan Watkins-Hughes


Interview with Ryan Watkins-Hughes, who presents Shopdropping at Share Festival 2009 Market Forces exhibition curated by Simona Lodi
Simona Lodi: What is shopdropping? you defined it in 2004 …
Ryan Watkins-Hughes: Shopdrop: To covertly place merchandise on display in a store. A form of “culture jamming” s. reverse shoplift, droplift. *
SHOPDROPPING is an ongoing project in which I alter the packaging of goods and shopdrop the items back onto store shelves. I replace the packaging with labels created using my photographs and painting. The shopdropped works act as a series of art objects that people can purchase from the store. Because the barcodes and price tags are left intact purchasing the altered items before they are discovered and removed is possible. In one instance shopdropped canned goods were even restocked to a new aisle based on the barcode information.
S.L.: what it mean and why are you interest to develop art and goods
in supermarket ? and why you decide to work on it thought art?

R.W.H.: Shopdropping, and other forms of culture jamming, attempt to take or
subvert ownership of the visual space that is increasingly set aside
for advertising.  While there are inherent political implications of
the work, I focus, instead, on the simple Dada-esque act of creating a
nonsensical, purely creative moment within what is otherwise, often a
mundane and overly efficient corporate environment.  Art exists within
a realm of freedom that allows it to serve no effective or logical purpose.

S.L.: have you learned anything from all the project? I mean what do you
want to prove?

R.W.H.: I’ve learned that:
1. I find it much easier to fuck with the perceived order of things
quietly and with a dash of humor than with a heavy hand and loud
screaming.  I like the simple subversion of shopdropping that calls
many things into question without being overly didactic or preachy.
2. Most people at work or shopping in a store are too caught up in
their own thoughts and mind state to notice subtle, or even not so
subtle, changes to their visual environment. A lot of us go through
our day lulled to sleep by a “to do” list of chores and things to
3. It is easier to apologize and talk your way out of something when
you are caught “bending” a rule than it is to ask for permission.
S.L.: You said: “shopdropping is like graffiti art “ could you explain your idea?
R.W.H.: The initial impulse to put something out there that goes against the status quo is the same.  Graffitti artists, or “street artists,” take matters into their own hands and initiate a covert visual intervention into our environment.  Shopdropping works in the same way, but instead of working within the advertising space of billboards and walls it takes the matter directly to the display shelf of the store.
S.L.: thanks Ryan.

*Due to the broadening usage of the term I have removed the sentence “Primarily used in tactical media projects and art installations.” from the definition. The increased awareness of the term “culture jamming” also makes the removed sentence redundant. The synonym “droplift” comes from The Droplift Project as linked to in the Related Projects here

Digital Orbit at Quazza Lab – Piemonte Share


10.30 am This morning Bruce Sterling will interpret Riccardo Luna, it will be a Bruce’s typical  joke. He will discuss the difference between American and Italian edition of Wired. Watch it live in streaming at

>>>11.00 AM Share Festival presents Erik Natzke, an artist, designer and programmer who creates and gives material substance to his ideas through immaterial computer code. His sensibility, combined with his stubborn resolve, has enabled him to push back the limits of his medium, beyond known methods and approaches.

>>>12.15 PM Club To Club presents US artist Carl Craig, a founding father of modern electronic music, who will be presenting some of his multimedia work and Tristano dj and electronic musician.

Il cinema è il cinema: La fine del cinema a Share


Il cinema è il cinema: La fine del cinema a Share.

La fine del cinema a Share

Simone Arcagni

Eccomi a relazionarvi sulla conferenza sulla fine del cinema organizzata a Share da Luca Barbeni… Luca ha introdotto il tema notando come accanto al cinema si stanno sviluppando altre forme di audiovisivo che si servono delle nuove tecnologie e della rete e che osservano regole diverse da quelle cinematografiche: gli schermi si moltiplicano, viene richiesta la  partecipazione, l’interattività, i prodotti sono ibridi e crossmediali. A mia volta, citando Greenaway, ho spinto le cose un po’ più in là dichiarndolo addirittura morto, il cinema… il cinema come istituzione, come meccanismo sociale, il cinema come tradizione, modalità esperienziale e modo di fruizione. Mi interessa come i margini del cinema, come i documentari, i clip, i trailer, i commenti, i making of, le news, l’animazione, il cinema speriemntale, stiano colonizzando la rete e quindi siano in grado di produrre un audience più vasta di quella del cinema tradizionalmente inteso, quello della sala. Un audience diverso che segue regole di fruizione diverse e si aspetta esperienze differenti. Yaniv Wolf di Submarine Channel ha potuto presentare la loro programmazione, fatta di serial interattivi, di video da partecipare, commentare, scambiare. hanno presentato il progetto di videogioco chiamato Tulse Luper realizzato da Peter Greenaway… il videogioco ha avuto più “spettatori” del film omonimo… benvenuti nel postcinema.

The exhibitions are available online

After the opening of Share Festival in the Museum Scienze Naturali now two of the festival’s key exhibitions are available online.

Market Forces
curated by Simona Lodi >>>
Can artists be an alternative source of information on the economy? In the Market Forces exhibition, artists were sought out who have produced works related to marketing, e-commerce, and commercial communication. Their tongue-in-cheek and at times paradoxical works often use the real or virtual supermarket as a favourite setting to be subverted and transformed into an artistic field of action, often of an activist bent. The artistic works selected make us cringe at the screech of over-used words such as global companies, credit crunch, new-economy, neo-capitalism, gift-economy, free-economy, and neo-liberalism.

Fino alla fine del Cinema
curated by Luca Barbeni >>>

Until the end of Cinema is a screening featuring a series of audio-visual works that begin where cinema ceases to exist, taking us from the linear to the interactive, from the collective to an individual perspective.
The works each use, at various different levels, the global infrastructure of the Internet in its intrinsic qualities, representing an evolutionary step forward in expressive techniques for audiovisual narration.
The works presented in the screening are no longer cinema, but nor are they something else. / The end is coming. Are you ready?

Print / The end is coming. Are you ready?.

START!! assisting your virtual suicide is a brand new social meta-platform based on the most popular – and pervasive – social networking website: facebook. As the typical 2.0 name suggests, seppukoo refers to the ancient form of Japanese ritual suicide, the “seppuku”.

Seppukoo acts as a conceptual virus and it works and replicates itself with viral communication strategies.
For each user committing suicide, a promotional/commemorative message will be sent to all friends and contacts, so that many other users can easily join the suicidal network: the self-destructive aproach to viral communication is the attempt to infect one of the most popular social network not through its server-based body but through its most important resource: the user and his/her community, a social body without a body.
As viral marketing strategies have been exploited by corporate media to make profit connecting people all over the world, Seppukoo wants to subvert this mechanism in order to rethink the idea of social network, answering the rethoric question: “what happens to a user when its profile, account or avatar commits suicide?”

Les Liens invisibles

> is a project by the imaginary art-group Les Liens Invisibles.
> Brand Design + Web Design by parcodiyellowstone (

The project Seppukoo is part of the exhibition Market Forces  at Share Festival 2009 curated by Simona Lodi

Interview with Matthew Kenyon


Interview with Matthew Kenyon, who presents Consumer Index with Doug Easterly at Share Festival 2009 Market Forces exhibition curated by Simona Lodi.

Simona Lodi: what it mean and why are you interest to develop art and goods in supermarket ?
Matt Kenyon : Today’s supermarkets are an externalized landscape of human desire, this sea of desire negatively influences the wisdom of our culture’s cumulative decisions. For example: There is this fantastic experiment that Jonah Lehrer and Antonio Damasio write about where members of both the control and the experimental group are asked to remember a series of numbers. The experimental group is asked to remember seven numbers (which is somewhere near the upper range of what an average person can remember) and the control group asked to remember two or three digits. While each group is trying their best to remember their series of numbers, both groups are presented with a choice- as a treat, would they like a piece of a) chocolate cake or b) nutritious fruit cup.

Overwhelmingly the experimental group ends up eating cake-and the control group eats fruit. When we are overwhelmed by choice or otherwise distracted, we suffer a failure of judgment and end up listening our impulses.  Retail psychologists have designed today’s supermarket to maximize this effect. This experiment is an example of how consumer culture manipulates us via our biology. This topic is addressed in our recent artwork, Consumer Index. This work creates a caricature of this by amplifying cretin elements to draw this unseen ritual to the surface.

S.L.: Why you decide to work on it through art?
M.K: Art is an alternative way to investigate the consumer space that is aggressively becoming the prime preoccupation of western consumer culture.  In this manner art is an alternative life style for co-opting the anti-creative environment for creative expression.
These spaces are thought of as anti-creative because their ostensible function as economic exchange, however this does not preclude them
from being exploited for cultural critique.  Supermarkets are constructed out of the practice shopping of not out of isles of cheap available goods.

S.L.: Have you learned anything from all the project? I mean what do you want to prove?
M.K.: In addition to the original points of concern, the process of constructing and performing these projects provide insight that cannot be fully predicted.  Mass-culture exists as both a ridged grammatical structure (rules of what to buy and what not to buy), as well as individual utterance (and individual’s specific motivation).   For example somewhere there is a person who is buying a 28 ounce bottle of Johnson and Johnson’s ® no more tears baby shampoo because they want to stop crying in the shower.  We want to expose the reality that we are more than our choices between goods and services.

S.L.: thanks Matt!

Interview with John Freyer

JA07obsessives alt 2.indd

Interview with John Freyer, who presents Allmylifeforsale at Share Festival 2009 Market Forces exhibition curated by Simona Lodi

Simona Lodi: Allmylifeforsale is an online project that explored our relationship to the objects around us, their role in the concept of identity, as well as the emerging commercial systems of the Internet. Using the public/commercial space of the online trading community Ebay in conjunction with your online catalogue, you catalogued and sold nearly everything that you owned, from your kitchen cutlery to your personal hygiene products, your Star Wars sheets and finally even the domain name itself.
To date you have sold more than 600 items including your false teeth, a full size office copier, personal photographs, and your winter coat (in the middle of the winter).

What does this project mean and why are you interested in developing art and e-commerce ? Have you learned anything from all the projects and the journey to visit the various places where your items have ended up? I mean what do you want to prove?
JF:  As for what the project means or meant at the time that I completed it, its meaning for me evolved over the year and half that I worked on it.  I saw it initially as a rejection of my consumer identity by purging all of my worldly possessions, but very quickly it changed to what I began to call a genealogy of objects.  In order to sell the items on eBay I had to write a description for each object, and as you can see from the archive on the descriptions ended up being an ad hoc auto biography.  The project was also open to change/participation and the travel component was never part of my original plan but grew organically out of the network of buyers who happened upon my listings.  The buyers were from all parts of the United States and objects went as far as Japan, Korea, Australia and the UK.  I’m trying to remember if anything went to Italy.

Simona: could be interesting to know if someone got something.
JF: I checked all of my email and I could not find a buyer from Italy.  I did find lots of correspondence with Italians but no sales. There were a few articles about the book and project in the Italian Press:

I continue to work in the “market” space, including a television pilot called Second Hand Stories which I completed with filmmaker Christopher Wilcha (This American Life TV Series). Which was an investigation of the vast universe of the second-hand economy in the United States, including Thrift Stores, Yard Sale, University Surplus Centers and the like.
I just proposed a Fulbright to do a collaborative project in Sweden with filmmaker and Anthropologist Johan Lindquist, titled “The World Is Flatpack” which will investigate the global reach IKEA through the top selling piece of flatpack furniture in the world, the humble “Billy Bookcase.”

S.L. do you know this:
JF: I’ve seen that Blog.  Its pretty great.  There are hundreds of photos of people’s Billy Bookcases on Flickr.

Simona: but why did they buy the objects?
JF: Some people knew it was an art project in advance but most people where just searching for something on eBay.  I did send them description of project when I sent them the Object that they won, and many of them became interested in what I was doing and started sending me updates and eventually invitations to visit.  Most of the people who I stayed with did not necessarily see what I was doing as art but wanted to support my project in some way.  Americans have complicated relationships with their stuff, so lots of people wanted to talk about what it was like to be unburdened from the bulk of my worldly possessions.

Interview with Ernesto Klar


Ernesto Klar presents Convergenze Parallele at Share Prize 2009

- What role does digital art play in representing complexity and chaos?
Addressing the digital in art rather than Digital art as a category, I would say that a role that the digital plays in art is that of the “(re)presenter” of complexity and chaos. In other words, when used in an artistic ontext, digital technologies have the capacity to act as an “amplifier”of sorts that allows artists to dynamically create, appropriate, translate, and (re)present multiple interpretations and manifestations of complexity and chaos in our everyday life.

- Market Forces. How do you interact with market forces in your everyday life? Would you say that the hardware and software architectures of our digital reality are market forces that stifle artists or do they open up new expressive potential?

Market forces certainly drive the development of hardware and software systems, but artist do have alternatives to bypass many of the limitations, either technical or financial, imposed by these architectures. The open-source community in general is an obvious alternative. In my artistic work, I rely on both open source and commercial software/hardware options. And although I think that it is very beneficial to explore new possibilities offered by open systems,  I do not think that any of the previously mentioned limitations should be enough reason to restrain the actual expressive potential of artists. I believe there are many examples of excellent artworks intentionally created within closed and outdated software/hardware systems, one such example could be Cory Arcangel’s “Super Mario Clouds,” among others.

– What idea first inspired you and what did you learn from that project?

The initial idea that eventually led me to create “Convergenze parallele” was the exploration of artificial light as an artistic medium. Throughout the creative process, while working on several prototypes that were quite different from the final piece, I would often find myself staring in amazement at the movement of dust particles passing through the beams of light. This was a simple, everyday phenomenon that I had been fascinated with since I was a kid. At some point in the process it became apparent that I had to focus on that simple phenomenon. In its final iteration, “Convergenze parallele” is an audiovisual installation in which dust particles passing through a beam of light are tracked, visualized, and sonified in real time by a custom software system. The installation uses a digital video camera to capture the activity of dust particles passing through the beam of light. The custom software analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in an image-processed projection. As a result, the physical particles draw traces of their otherwise invisible motion on the digital “canvas.” The software also sonifies and spatializes each particle that is tracked and visualized, creating a synchronized audiovisual experience. I learned many things while working on this project, and I could list here a long (and potentially boring) list of technical details. But the most important realization was not to let the technological implications of this “new field” interfere with my artistic sensibilities and creative process. It was an affirmation that artists can (and should strive to) have an intuitive and spontaneous relationship with this “new” medium.

- In its quest for the poetic potential of the invisible and the microscopic, Convergenze Parallele reminds me of the travels of Qfwfq, a character in Italo Calvino’s Cosmicomics, where microscopic and physical became poetry….

Yes, I love Calvino’s “Le Cosmicomiche”! It’s true, in the character Qfwfq and his travels you could find analogies to the context of my piece, both in its overall concept, its intentions, and the experiences that it potentially offers to viewers. The general emphasis of my work is on the act of perception–something that we all do at any given moment with the world that surrounds us. Even if we all perceive differently, we share the same experiential capacities to engage with the world. I am interested in this engagement, as well as in the observation of nature and the artificial. I find digital technology to be an excellent medium to attune our perception with the world that surrounds us, and in particular to attune our perception to that which is imperceptible. As previously mentioned, “Convergenze parallele” creates a synchronized audiovisual experience, animating the surrounding space and immersing the observer in gestural currents of movement. The piece reacts to air movements in the exhibition space, whether they are natural air currents or movements of air created by viewers. Therefore, the piece is physically interactive with the environment and with the observers that are part of that environment.
“Convergenze parallele” acts as an interface through which viewers negotiate the perceptual discrepancy between what they are actually seeing in real space (the movement of dust particles passing through the beam of light) and what they see and hear in the installation (the audiovisual amplification of the particle’s trajectories). The two spatial contexts of the piece — the “real” and the “digital” — co-exist parallel to each other, yet they converge in the viewer’s own perceptual process. At the end of the experience, it might not be the complexity of particle trajectories and sound that stays with viewers, but a resonance of the perceptual discrepancy of these parallel convergences.

Interview with Bottin and Meneghini

William Bottin and Francesco Meneghini present  Sciame 1 at Share Prize 2009.

– What role does digital art play in representing complexity and chaos?

WB: I don’t think digital art offers a privileged key for interpreting aspects of complexity. Compared to other representational media, perhaps what it does is render certain elementary mechanisms underpinning complex phenomena more visible, or help randomly generate output that can help ferment a rather elementary idea of chaos.
FM: Digital art is tied to mathematics and code. Digital art works reveal characteristics that are extremely chaotic and complex.
This is why digital art lays bare the complexity of the world and the intrinsic relationship between complexity and nature for all to see.

Market forces. How do you interact with market forces in your everyday life? Would you say that the hardware and software architectures of our digital reality are market forces that stifle artists or do they open up new expressive potential?

WB: I believe that digital artists are completely stifled by the technology they adopt. In the best of cases, they might try to free themselves by altering the hardware of the technology through unorthodox (though widespread) practices such as circuit bending or feedback techniques.
As for market forces, I think they have always been an ineluctable force, like the force of gravity. Market forces influence life itself – and not just the lives of human beings.
All our relationships with and representations of the world are mediated, if not dictated, by these forces.
FM: I think all forms of art are stifled by the market. Despite this, artists should try and act as freely as possible. It doesn’t matter if what they produce ends up falling within the dictates of the art market, and is catalogued, judged and appraised. As far as the infrastructure and tools available to the artist are concerned, Bruce Mau says in his manifesto: “Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.”
From this point of view, digital artists don’t use tools that are the same for everyone. They build their own tools every time they write a new line of code.

- What idea first inspired you and what did you learn from that project?
WB: There was no one particular thing. It was more about our identification with a world and with a perception that for us seemed immediately interesting to invent or represent.
I think that apart from the purely technical aspects we had to look into so as to complete the installation, you never really stop learning from a project like this, because by nature it is intrinsically changeable and susceptible to influences, which compels it to keep moving and seeking a finely-balanced equilibrium.
FM: I have always been attracted by nature and by light. All of my previous works represented a bridge between nature and technology.
Sciame (Swarm) shows communication between physical elements in chaotic movement, and their translation into music. It’s nature interpreted and amplified in a way.
Creating a digital art work always drives the artist a bit to search and discover something new. Not even we knew, when we started the work, what sound our ‘bees’ would make.

- Generative music usually emerges and develops within a completely digital environment, taking numbers as its random input. In this case though, randomness is triggered by the chaotic movement of pieces of cotton, which is deciphered and translated into music through an analogue procedure, using Theremin magnetic waves. Where did you get the idea of building this sort of system for visualising random input into a system?
WB: I don’t think in this case that what we have is really generative music.
All the chaotic movement does is influence the continuous flow of vocal syntax, which is completely digital, even though the technology of the toy that we use might seem simpler than computer software. The complex movement of the confetti-insects captured by the antenna, joined to a sort of wise-talking voice synthesizer, doesn’t actually produce music (if by music we mean the organisation of sound). What it does produce is a sort of indecipherable speech in which every attempt at verbalising sound is cut off by the movement of the insects. The sound patterns produced by the synthesizer are constantly mixed and instead of producing phonemes and then words, all we are left with is a language rendered completely aphasic and ineffective by the complexity/chaos of the entire system.
FM: An important part of the project consisted of giving sound to the chaotic complexity of nature, which in this case is represented by physical elements moved by a stream of air. The theremin was the perfect interface for us as it is able to capture movement and translate it into MIDI signals.
The synthesizer and speaker gives sound to the impulses received from the theremin, producing syllables and word fragments – the voices of our flying insects.

Interview with Andreas Muxel

Andreas Muxel presents Connect at Share Prize 2009.

- What role does digital art play in representing complexity and chaos?
If we have a look at generative code art works, I see the computer as a very powerful tool to produce complex visual results. For example by using iteration loops in the code, you can produce a million dots or lines per second. The computer as a calculating machine comes from a tradition of rational solving methods. It exactly does what it is told to do. In fact it’s digital principle of having two basic conditions – on and off – makes it impossible to produce randomness or chaos. You can simulate these principles very well, but in the end it’s still a simulation. To produce chaos by a digital programme, there needs to be an interface with the analogue world to implement unpredictable variables in the process.

- Market Forces. How do you interact with market forces in your everyday life? Would you say that the hardware and software architectures of our digital reality are market forces that stifle artists or do they open up new expressive potential?
I like the idea of using open source software and hardware. At the beginning of my project I used the open source programming language Processing to simulate dynamic systems. Later when I started to build the actual sculpture I switched to Arduino, an open source physical computing platform. Besides the fact that these tools are free, I think that above all their communities are very strong. People share their knowledge with others and therefore a solution for almost every task can be found or at least discussed in their forums. Compared to commercial tools, where you have to accept the provided functionality, here you can be part of the further development process.

- What idea first inspired you and what did you learn from that project?
In the past I mainly used computers to produce motion patterns defining quite simple rules in the code. In the end the result was always something virtual on the computer screen. For Connect I started to experiment with physical material to create motion. I built analogue systems where elements start to interact with each other because of physical connections between them. When a connection broke, a new one was built randomly. This was the actual starting point for the later sculpture. So I learned that unpredictable behaviour can always be an inspiration for further steps.

- Starting from simple elements and a few rules Connect presents us with complex behaviour. What can you tell us about the connection between simplicity, recursiveness and complexity?
The program logic of each module in Connect is quite simple. There is just a basic measurement and control algorithm on each chip. The modules start to react to each other because of the physical connections built. If a bar is connected to a sphere it behaves like a double pendulum with chaotic motion and the always rebuilt physical structure of the sculpture becomes its own analogue program for non-linear behaviour. When watching the system you never know when and where the next connection will be built. I think this is a very important aspect of the work. You have certain expectations when watching it, but in the end the system acts in its own time and manner.

Interview with Ralf Baecker

Ralf Baecker presents  Calculating Space at Share Prize 2009.

- What role does digital art play in representing complexity and chaos?
I think that in most cases digital art deals with complexity. The moment a computer with millions of switching units is involved we have to deal with a complex system. It may behave deterministic but the encapsulated software parts running on the hardware have to interact with each other and may generate unexpected behaviour (bugs). In case these machines are connected to other machines or have sensors attached, its complexity gets manifold.
More specifically and artistically, I would think that complexity and chaos have an attracting appeal to us. It may remind us of things that we know from nature or from social and economic systems. An artist can install a very simple and obvious system that has the potential to generate an emergent behaviour. But the artist should avoid just to visualize complexity, he has got the freedom to misuse and to experiment with these technologies to create something that does not have to compete with science, engineering or the market, it just can be speculative.

- Market Forces. How do you interact with market forces in your everyday life? Would you say that the hardware and software architectures of our digital reality are market forces that stifle artists or do they open up new expressive potential?
For my artistic practice like research, word and image processing, sofware development, and hardware prototyping it feels quite natural and comfortable to work with free and open software but this is not mandatory to me. Sometimes I feel forced to use “industry standard” software that fits in certain production flows, CAD, print prepress and video codecs for example. These are somehow my interfaces to the market that I have to life with.
The enormous sucess of the open source movement and the internet had a very big impact on how digital artists work. It seems that the internet offers answers to almost every technical problem but also tends to amplify only a few.
Hardware is a whole different story because the production of semiconducting parts like transistors, CPUs and microcontrollers has developed to a complex process that involves very elaborated technology. The artists have to use off the shelf chips that already incorporate the hierarchical concepts of the market in its instruction sets. The current microchips have our cultural and physical reality imprinted in their layouts and they evolve because they are needed to build the next generation of chips. In my opinion the potential for the artists lies in translating and re-thinking the functions of the market into multiple directions and appearances.

- What idea first inspired you and what did you learn from that project?
I got interested in the historical and the cultural background of computers and calculating machines. I was searching for the link between the logical/formal and the mechanical/physical roots of these machines. I had in mind a machine that combines the tradition of the early combinatoric and philosophical instruments (ars magna) and epistemological cybernetic machines of the 1950s. My aim was to enlarge the underlying layers of the digital and offer a pataphysical view to link the calculating space (physical computation with symbols) and the result of this process, the simulation (display) into one. I did experiments with non-traditional materials to build the basic logic gates/artificial neurons AND/OR/NOT to make it tactile and give it a body. These were my building blocks for my very own hardware/programming environment to implement a simple algorithm that works parallel and generates complex patterns. It was a kind of reappropriation of the digital to me.

- You said that  “while the machine opens up everything it closes it at the same time, as if it has a secret.” can you describe this paradox of your machine?
In Calculating Space every single binary digit is build by hand (wood, strings, levers, weights et cetera). It is possible to follow a bit switching from 0 to 1 or opposite. The whole processing logic is transparent to the viewer. Nothing, except microcontroller boards that amplify/repeat signals, is hidden in a blackbox. But this total transparency does not help to conceive the process. Someone could think this would generate clarity or even be didactical but it appears to be mysterious and contemplative.

Interview with LIA


Lia presents the piece Proximity Of Needs at Share Prize 2009.

What role does digital art play in representing complexity and chaos?

With code and the use of the random factor you can have the fascination of unexpected results which enables you to do things that noone could have envisioned before.
You can create more complex works than it would be possible with any traditional artistic tools.

How do you interact with market forces in your everyday life? Would you say that the hardware and software architectures of our digital reality are market forces that stifle artists or do they open up new expressive potential?

On the hardware side i think that today the hardware needed to create digital art is quite affordable (in comparison to other professional hardware requirements like for instance for photography).
On the software side now there are many open source programmes available – like for instance processing ( or openframeworks ( – that allow to start to create digital works without having to invest a large amount of money into software .

What idea first inspired you and what did you learn from that project?

My work deals mainly with the visualisation (and sometimes sonification) of various principles. I “translate” those principles (like in the case of proximityOfNeeds the principle of attraction is the main theme) to a visual (or audiovisual) level to be experienced and explored by the user/visitor. I like the idea that everyone can see and experience and interprete my works in a very personal way.

What were the attractors, the force fields that drove you towards generative art?
What i like about generative art is that interaction is possible, motion is possible, changes are possible. Nothing is really predictable and everything can happen (in a predefined range of possibilities). If there is an idea i want to visualize then the code used to create the work can lead to something exciting that could not happen that easily with traditional artforms. But you can use code in a similar way you use traditional artistic materials/tools and finetune your work until you are satisfied with the results

Share Festival Programme now on-line

Dear Friends of the Share Festival,


the Market Forces 2009 programme is now on-line. From complexity theory to artistic supermarkets, the fifth
Piemonte Share Festival gives shape to the myriad forms of chaos through installations, exhibitions, performances,
debates and, of course, the much-awaited announcement of the winners of the Share Prize.
Once again, this year’s Share Festival will be opening its doors to the city, offering new perspectives, works and
initiatives – In the hallowed halls of the University and the Academy of Fine Arts for students; In our institutions, taking part in the European debate on creativity and innovation “CreATe: Connecting ICT Research and
Creative Enterprises; In museums, in partnership with the Contemporary Art Museum in Rivoli and the Living Art
Park, which will be opening their doors free of charge to our audience. And through the Turin-based festivals
clubtoclub and Viewconference, where the Digital Orbit project was first conceived.
All the most important digital art events in town will be opening their doors in synergy, with a programme of events of international acclaim, forming part of a whole month dedicated to contemporary art in Turin, tracing out
a path, a map, an orbit sweeping through the city.

See the Programme

Download the Press Kit

Interview with Andy Cameron guest curator Share Festival 2009

Andy Cameron

Andy Cameron

Q.:Market Forces is the theme of the 5th Share Festival. What does that mean exactly?

Andy Cameron: It’s one of those phrases that takes me back to the 1980s and the glorious days of Margaret Thatcher and Ronald Reagan. It’s a neo-liberal phrase which implies a whole political and economic perspective based around the idea that the market is a kind of technology, a kind of machine. It’s Adam Smith’s Invisible Hand. It’s ‘laissez faire’. It’s the Chicago School. The way the idea worked out through the 80s and 90s was as part of the project of neo-liberalism:  regulation by government is bad thing because it interferes with the natural working of the machine,  the market has it’s own system, it’s own logic and we should let it be, we shouldn’t try to control it.

So there’s a really important set of questions here about control. Do we control the market or does the market control us? Who or what is the subject of history? Are there areas of social life which are beyond the scope of Market Forces? And who understands the market anymore anyway, when the products traded in the market reach such a high level of abstraction and complexity – I’m talking about the complex financial products and systems which were partly responsible for the recent global recession.

I noticed that a number of art pieces and media art pieces seem to model the same set of dynamics – dyanmics which edge in and out of chaos, which are always on the borders of control – but modelled these dynamics in purely aesthetic terms.

And late in 2008 Bruce Sterling (guest curator Share Fest 2008)  gave a fascinating workshop in Fabrica in which he talked about Generative Art – artworks based on systems  and algorithms rather than direct human expression. Once again it seemed at the heart of the matter is a complex balancing act between control and chaos, and a question about the subject position – who or what is driving the process? Who decides what VALUE is?

Finally of course there was the recent financial crisis, long predicted but still only partially understood.

So, Market Forces was an irresistible title, linking economics and art and hitting the zeitgeist right on the button.

Could you describe the relationship between art and the market? How do you see the relationship between artistic innovation and company communication? In which direction are we heading?
Art has always been a market and I’m guessing it will always be one. In this sense it’s no different to any other system for the exchange of commodities.  I’m talking about Fine Art here. From the other angle, from purely commercial communication, there is no contradiction between creativity and commerce, between art and money. Capital has the capacity to release extraordinary creative energy. I love advertising, or some advertising at least. And I’m interested in those artists who straddle the fence between art and the market – Tomato, Random International, Natske, Art+Com to name but four, and of course artists working at Fabrica – Joao Wilbert is a very interesting young artist with his – a website but also site specific installations, marketing applications, an iPhone app.

Do you think that artists could be an alternative source of knowledge about the economy? It would be interesting, don’t you think, to analyse art works connected with marketing, e-commerce, advertising and the like, so as to help dispel common myths about the market economy. Or even prank works and the paradoxical, which often take the supermarket, be it in concrete or virtual form, as their favourite location, as can be seen in shop-dropping, and fake and viral marketing.
I’m not convinced that the artist has a role to play when confronted with the market. In any case, the artist is really living inside the market, like everyone else. But I’d agree that artists can operate successfully within commercial contexts or commercial spaces. What better place to make an art installation than a supermarket? Or a fashion store?

What are your goals as guest curator for the first time of a festival for art and digital culture?
Sorry I don’t understand. What’s it like being a curator? It’s a lot of fun. It’s invigorating, and it’s a privilege.

What is digital culture and what is interactivity?

Not sure about digital culture – what isn’t digital culture? Interactivity is more specific – communication which has two channels, in and out. It’s a sliding scale – at one end you’ve got narrative representations, novels, films and so on, at the other you have xbox live, or a conversation.

Process has become an intrinsic element of digital art. Are we witnessing a shift from a representational universe to a relational universe?
Yes. I couldn’t agree more. It’s very nicely expressed in Italian – reads well.
It’s sort of already happened. Advertising agencies are very stressed out about this. All kinds of people are stressed out about this.

Look at the work done by Kevin Slavin and Frank Lantz at area/code. Commercial, smart and entirely relational – relational aesthetics.

You were a jury member at the Ars Electronica Festival for the Interactive Art section. What impressions were you left with from what is the biggest and oldest event in this field? Do you share Linz’s typical enthusiasm for technology tout court?

It’s less about technology and more about art. Which is the way it should be. Ars Electronica took an enormous gamble 30 years ago and it worked out for Linz. And now Ars Electronica is evolving into something else, something which is more at the centre of things, a centre of art, not the ghetto but the centre, a place where technology and art and design meet naturally. I’m very happy for them.

Share Festival meeting at FNAC


Thursday September 24th at 6.00 pm, Piemonte Share presents at FNAC, at Via Roma 56, the Share Prize and the program of the festival, that will be in Torino from the 3rd till the 8th of November 2009 at the Museo Regionale di Scienze Naturali, at via Giolitti 36.
Piemonte Share it’s an ntense full immersion in the cultures and in the arts connected to new media and digital technologies.
Market Forces is the theme of the fifth edition of Piemonte Share Festival: which the relation between contemporary culture and market, how new media integrate the artistic languages and the economy, which the convergences between interactive art and advertising?
There will be Simona Lodi and Luca Barbeni.

PhD Planetary-Collegium M-Node** NABA Research Grant Contest*


The PhD Planetary Collegium M-Node Doctorate program created a grant contest for 10 PhD researcher positions. The grants will be divided into: 4 partial grants and 2 full grants, for part-time program.The research grants will be assigned by the international committee consisted of: a keen emeritus Academy member, a doctoral research member and a keen representative of the world art.

In the event that the researches collected do not meet the excellence level requested, the International committee reserves the right of not issuing any grants. The grants will be issued during the Admission Sessions indicated on the M-Node website: .
The grants will be assigned based on: project’s cultural relevance (national and international) with particular emphasis on: a) the effective new  knowledge improvement b) the effective contribution to the digital media research development as well as to the tecnoscientific dimension c) the level of attention that has been dedicated to the partecipatory themes. UE Citizens can participate to both (partial and full) grant selection, whether the Non-EU citizens can participate only to the selection of partial grants. The grant contest will be pubblicated on the website: as well as on NABA website:

It is binded to the Planetary-Collegium M-Node research program admission. To participate to the research grant contest, please download the application form at :, fill it out and send it by cetified mail, not email, at the following address: PhD  M-Node, NABA, Via Carlo Darwin 20, 20143 Milano. The grant  selection will last until all grants have been assigned.

OMM plays Nag Hammadi a Torino


The Torino Chamber of Commerce and Piemonte Share invites you to the show:

Orchestra Meccanica Marinetti plays Nag Hammadi by Angelo Comino aka Motor

Wednesday 23rd September 2009 – 06.30 pm
inside the activity of Polincontri and Polincontri Classica
Aula magna of Politecnico di Torino, Duca degli Abruzzi 24

free entry.

Share Festival is coming


Dear friends of Share Festival,

the 5th edition called Market Forces is starting in a just a bit over two months .
From the 3rd to the 8th of November, 2009 at the Regional Museum of Natural Sciences of Turin and other locations in the city, there will be lectures, performances, screening, the Share Prize exhibition with the six finalists, the exhibition dedicated to the this year’s theme and the personal exhibits of  Erik Natzke.

The title Market Forces stems from the awareness that the market has become the prime battleground for any idea or product where issues related to chaos and value, meaning and randomness, politics and economics collide. These relationships arise because of external forces acting on the culture which will influence the material, symbolic and strategic levels. Each force is a relation. Each force has the potential to influence, educate and create.

We have asked the guest curator Andy Cameron to address the issue of complexity as a central subject of the conferences.
According to Andy Cameron, a systemic approach that looks for homologies and conflicts that arise from market forces and culture is central to addressing the complexity of the future and the unpredictability of the cultural system and business.
The unexpected acts on market forces playing a decisive role. And the theory of complexity is particularly interesting because of its ability to handle the unexpected, which in this case is a variable included in the system. So what to do? Our guest lecturers will be handling such issues at Share 2009.
So far Richard Barbrook, Joel Baumann, Erik Natzke, Sorin Solomon, Alessandro Ludovico, Franzisca Nori, Bruce Sterling, John Ferrero, Roberto Burlando, Kath Kelly have confirmed their presence.

Please follow the evolution of the program on our website which we have updated and refurbished, both the GUI and contents thanks to Salvatore Iaconesi who has helped us in the concept, architecture and development.
The most important thing is to launch a publishing project devoted to the art of digital society. The goal is to aggregate new collaborations with critics, journalists and artists active in innovation culture, to be an instrument of information, reports and discussion.

In order to let you know about our previews, links, warm-up real time events you can check us out on Twitter and Facebook, so that you can follow us throughout the pre-production process and the exhibition.
As during the months before the event, we will continue to use social networks as a way to keep you updated regarding the exhibition, artists, events, projects, conferences, texts and blogs that have inspired and enriched the development of the program.

We are also glad to announce that on September 23rd , the “Meccanica Marinetti” orchestra will be presented at the Polytechnic of Turin.

Gogbot Festival 2009


The nuclear disaster in Tsjernobyl, the fall of the Berlin wall, the nuclear threat of North-Korea, the armed peace between East and West, the first ever landing on the moon; these are only parts of the Atompunk-theme of the GOGBOT festival, that takes place in 10 locations in the center of Enschede, in September.

The festival has a free entrance. The festival that has known 15.000 visitors with the 2008 Steampunk-edition, is an initiative of PLANETART, organization of the Multi-media art, and sci-fi guru/cyberpunk godfather Bruce Sterling. Especially for the GOGBOT festival, several themes have been developed, based on the technological and industrial innovation starting from 1945.


The GOGBOT festival offers more than 200 multi media artists, musicians, designers, writers, thinkers, architects, scientists and “techies” a platform to present themselves to the public, who will be overwhelmed with Sputniks, the first satellites, Soviet Cosmonauts, communist design, interactive robots, an autonomous rocket-launch, nuclear testing, space design, ufo’s, superheroes, drive-ins, unpredictable professors and Sexy Soviet art! So, step into the time-machine of the GOGBOT festival!

More bits in english on and http://ATOMPUNK.LIVE.NU

Banksy vs Bristol Museum

I never have seen such a long queue for such a long time to visit a street artist show. But when a so brilliant artist pop up with his genius, it happens. Yes, he is Banksy.

Who is he?
There is a awful lot of talk about the guy. He is one of the most discussed but acclaimed cultural provocateur of our time, and maybe the only one who grabs the headlines with such an unusual medium as visual art. Banksy has gained notoriety in recent years by using stencils to paint images in an array of out-door locations.

Nobody knows his name, he uses only a nickname, not only because spraying graffiti is illegal and all street artists want to protect themselves. Infact some regard the artist’s street works to be vandalism, pure and simple.

But also because, even thought is he is very famous and his works are sold for much money,  he doesn’t want to be a celebrity and became part of that system he criticizes in his work. Even thought there is a contradiction in this, because it is not simple to be critic about the system and be part of it at the same time, I like him, because he has chosen to not have the copyright of his works.
The show here “Banksy vs Bristol Museum” is a unique collaboration between a cultural institution and a very controversial artist. More than a collaboration it is often a squatting of the space, putting fake paintings through the ancients true, replacing many of the museum’s regular artefacts. The result delights the public of every age. Banksy wasn’t  able to afford “The flight to Egypt” by Claude Lorrain, so he has provided a no frills alternative.

A lot are the issues raised by his works as the relation ship between  animal and human egoism, putting them in the circus and using them for testing make up. Money is the reason our societies are collapsing and police officers who use violence and a heavy-handed approach aren’t appropriate for the job and need to be dismissed.
In the museum there is also a reconstruction of Banksy’s studio and how he makes the stencil using software. My favourite piece is “Flower power”. See below.

During his trip to Palestine, Banksy created nine images on Israel’s West Bank barrier which explain more about this absurd conflict then any ONU delegation.
If you want to discover how it all comes from, his early graffiti career and the amazing fertile music scene called trip-hop (shared with Massive Attack, Tricky, Roni Size and Portishead) and how it started in Bristol and went global I suggest this book: “Home sweet  home”, the -of course – unofficial guide to Banksy’s Bristol by Steve Wrigth.

The agent of psychic forces: interview to Roy Ascott


I met Roy Ascott in Plymouth fifteen days ago, visiting the Planetary Collegium, an advanced research center which he set up in 2003 at the University and where he is Professor of Technoetic Arts.

In May I visited the first retrospective dedicated to the pioneering cybernetic artist, curated in collaboration with i-DAT (Institute for Digital Art and Technology, University of Plymouth) has come to a close at the Plymouth Arts Centre.
The exhibition explored the influences and rhetoric of Roy Ascott’s work, mapping the impact, history and development of technology and looking to the future of Web2 and Second life. Roy Ascott sees telematic art as the transformation of the viewer into an active participant in creating artwork, which remains in process throughout its duration.

The agent of psychic forces: interview to Roy Ascott

Significantly, the content of his projects were often spiritual: staging the first planetary casting of the I Ching with an early form of the Net in 1982, whilst his major installation at the Ars Electronica centre in 1989 explored Gaia theory.
In all the biographies and articles I have read about him, Roy Ascott is rightly defined as a man who “brought together the science of cybernetics with elements of Dada, Surrealism, Fluxus and Pop Art.”
I think that looking retrospectively at his work, Ascott was more than a pioneer, more than an artist. He was the founder who invented an artistic language that didn’t have a name before he gave it one: telematic art. (A combination of computers and telecommunication, designed as interactive collaboration with the web, long before the artistic use of the Internet; see, new media art, crowdsourcing art) .
Much more than a pioneer, much more than an inventor, he was, above all, a theorist –all definitions that go hand in hand with each other, laying the foundations of the techno-artistic world.

Ascott worked to overcome the boundaries of cultural/conceptual and aesthetic frame, dedicating himself to theoretical activities that projected him as an artist-creator of a world first conceived and named by him.

Indeed Roy Ascott didn’t need the Internet or e-mail to give shape to the plains, mountains and seas of his digital creativity. He just simply turned on his computer and connected it to the first network of the early Sixties, creating an artistic language from all his activities.

Who would have thought of it? This was the stuff of engineers and armies! Ascott immediately understood that the web was a tool of transformation, an alchemical, somatic or pharmaceutical medium to develop access to consciousness.

As the concept of telepresence came and went with the birth of the Internet and the personal computer, his theoretical work broadened, becoming a wonderful inspiration for us all: from syncretic research to technoetics and moistmedia.

Here an interview to him in which he explains many things and the socialnetwork phenomena in a new way.

Simona Lodi: You are always described as a pioneer, but I think you are much more than that. What conceptual assumptions lie behind your work? Is it a sort of techno-determinism or the response of an artist to the information technology revolution and the digitalisation of culture?

Roy Ascott: My underlying  conceptual assumptions predate “the information technology revolution and the digitalisation of culture”.  The world that led to my ideas of interaction, transformation, and transcendence grew from my dissertation on Paul Cezanne and the Expression of Change, the Tarot and I Ching, Pollock, Duchamp, Zen and the  primacy of gesture, the occult and esoteric more generally, alongside an early passion for the cybernetics of Ross Ashby, Norbert Wiener and my friend Gordon Pask. Hence my early change-paintings and other participatory analogue structures, especially the transactional table-top work. It’s all about interface and connectivity. I have always assumed that consciousness is a field for which we can develop tools of access. Oddly enough, my exposure to the operational and technological aspects of radar fighter control (I had a National Service commission) gave colour to the term ’screen of operations’. Telematic art avant la lettre!!
So, my conceptual assumptions have nothing much to do with technology in the raw. I like my technologies to be as near to invisible as possible. For me, it’s all about tools for transformation, whether they are alchemical, somatic, digital , or  pharmaceutical. Chance and change, connectivity, sacred spaces, networked, extended senses (what I once called ‘psibernetics’), these constitute (some of) the rubrics of motivation for me.

S.L.: You have contributed much to changing art, redefining its aesthetics and its purpose in today’s society. What role do you think the artist has today? Looking at yourself, where does the artist end in you and the researcher begin?

R.A.: Art and research: the quest is spiritual, the attempt to penetrate consciousness more deeply, to flow with the Tao. But it’s also  an endless urge to speculate, to try to think things into being. The specificity of technology is secondary: that’s why I am as interested in ayahuasca as I am in telematics.  A kind of moistmedia organicism is what I endorse; dry digitalisation alone is deadly.  I’m more syncretic than Socratic in my thinking. On the global level, more interested in the connectivity of minds, than the proximity of bodies; on the personal level, love, light and the extension of the senses.
I speculate therefore I am. Our role is to maintain  art as the agent of change and transformation. We think ourselves into being.  ‘Artist’ is the tag that confers freedom, the right to live out of the box, to transgress  orthodoxies of thought and being.  Art always tries to go beyond itself; the artist as supersensory self.
Art and research: it’s a continuum. In fact, these terms are, in the best sense, interchangeable when they are informed by rigorous creativity! We have to avoid at all costs the inappropriate, deadening effect on art research of the tunnel vision methodologies of Humanities research (linking the two together, as in AHRC, betrays a total misunderstanding of art practice), as well as the blind ‘rationality’ and materialist fundamentalism of institutional science (e.g. how quantum scientists deny the ontological implications of their craft).

Grey Skies research is having a disastrous effect on creativity. Art research must be blue-sky, speculative, anticipatory, and visionary.  It involves thinking out of the box, seeking to move the mind, the senses, and the arena of action beyond the initial frame of inquiry. Art research must produce its own protocols; the artist as researcher must engage with knowledge in new ways, creating new language, new frames of reference, new systems and behaviour. Art research must be non-linear, associative, risky, connective, transformative as well as intellectually, aesthetically  and even spiritually challenging. If only industry and business could understand that! Then we’d really get the ‘enterprise culture’ that institutions so desperately seek.

S.L.: How do you manage to invent so many neologisms and new concepts? You haven’t stopped since the Sixties, with words such as “telematics”, “global consciousness”, “distributed authorship”, “cybernation”, “syncretic art”, “technoetics”, and “moistmedia”.

R.A.: Does anyone actually know how ideas arise, or where they come from?  We know little of the mind’s constitution (it’s not an epiphenomenon of the brain, I’m sure of that). Consciousness is the ultimate mystery, the final frontier.  The artist’s role is to navigate it.  I often feel like the agent of psychic forces.

In the search for new forms of behaviour and in trying to access the inner recesses of consciousness, I find that new language is needed, partly in explanation and partly to galvanise action in others. As we move out of the old order we shall develop new language behaviour, just as in, at a simple level, texting, and the use of the thumb. In short, new behaviours demand new language, new language generates new behaviours.

S.L.: These are all concepts that have inspired many artistic initiatives (including our own Action Sharing project). What brought you to formulating these theories and the projects you have put together (from Terminal Art to La plissure du Text)?

R.A.: The need to be distributed, to be present simultaneously in many places at different times. The asynchronic state of being is addictive. It’s the need to live many lives, to create many selves. I share the impulse of the Portuguese writer Fernando  Pessoa , who, through his creation of heteronyms, affirmed his belief that a man cannot possibly live and fully understand life by being only one person, but that you must lead simultaneous lives to achieve this higher understanding.

S.L.: You are also known to be an omnivorous thinker and experimenter. What common thread can be found between cybernetics and Michel Duchamp, the I Ching and shamanism in Brazil?

R.A.: I’d nominate change, transformation, non-linearity, connectivity,  associative thought, aperspectival perception, ability to create/move through a variable reality. But . . .it’s the weaving of discontinuities, not the commonality of the thread that I favour. That’s why I advocate syncretism in all diversity.

S.L.: What do you predict for the future? What prospects do you see?

R.A.: The mind is outgrowing the body, and its ability to manage identity is becoming less socially constrained. We shall be increasingly concerned, not simply with our own individual personal (re)creation (think Nietzsche!), but with the creation of multiple selves. We are no longer effectively a single-self organism. Early evidence of this can be found in Second Life and other multiverse scenarios, as well as in the social networking community. Computers and Architecture will learn to see, feel and anticipate; both interfaces and places will evolve emotional sensibilities and the capacity to think. We shall move seamlessly through material and virtual fields, recognising that we can build reality as we go.

The body will host our moist technology of communication (e.g. the idea of handheld tools will become quite foreign). As in the early Middle Ages, we shall increasingly turn to syncretism to resolve the geo-political, religious and civil disputes, such as those currently plaguing us. The importance to this process of  the syncretic impulse in art should not be underestimated. However syncretism calls for participant communities of thought that reject orthodoxy and celebrate change. Consequently art education will reform or perish. The same for universities: only their radical reform into  dynamic  organisms of transdisciplinary learning and inquiry will save them.

SL.: Thanks, Roy.

Simona Lodi

Special thanks to  Gianni Corino , professor at the University of Plymouth and member of supervisory team i-DAT Center.


Feedback Festival. Un piccolo festival che ha grosse potenzialità di crescita ha visto la sua prima edizione nella località San Casciano in Val Pesa, vicino a Firenze, dal 25/38 giugno scorso. Read more»

REFF is getting hotter by the minute!

Ecco come promesso l’intervista a Oriana Persico e a Salvatore Iaconesi (REFF) ancora sulla giornata dedicata a questioni legate all’open source, al diritto d’autore e all’hacking che si è tenuta al LPM 2009 Read more»

Generative Illusion in Aosta

Venerdì sera sono stato ad Aosta, per una serata di live cinema organizzata dall’associazione Presence Electronique, dal titolo Illusione generativa, molto interessante. Read more»

Internet Pavillon – Venice Biennal 2009

Seguendo la logica del tema della 53° Biennale di Venezia, “Fare Mondi“, Miltos Manetas ha pensato di creare un padiglione nuovo dedicato a Internet, che si è avvalso come curatore di Jan Aman e come producer di Art Production Fun. Read more»


La blogger Penelope.di.pixel riprende un tema trattato in un workshop organizzato da Piemonte Share raccontando di merci deturnate e supermercati che sembrano diventare luoghi che gli artisti amano di più stravolgere: Read more»

Two initiatives which you shouldn’t miss

Due iniziative da non perdere. Una arriva dallo storico amico di Share Festival Bruce Sterling e l’altra riguarda il progetto Montse Arbelo and Joseba Franco dove Piemonte Share è partner. Read more»

Inscriptions LPM 2009

Inscriptions LPM 2009

SEVENTH EDITION? live video performers meeting + festival
may 28th / 31th – Rome

From 28th to 31st of May 2009, at Brancaleone in Rome, will take place the seventh edition of LPM – Live Performers Meeting: International encounter of live video performers, visual artists and vj meeting, dedicated to live video performances.??The Rome 2008 edition, followed in September by a special mexican edition, registered the partecipation of 257 artists from: Algeria, Argentina, Austria, France, Germany, Japan, Guatemala, UK, Italy, Lithuania, Poland, Portugal, Spain, Sweden, Turkey, Hungary. 142 shows and performances gave life to the 900 square meters of the Macello IV – Mattatoio di Testaccio, setup during the four days with 13 beamers and screens.??This edition will take place in brand-new exclusive location, the historical Brancaleone. Its spaces perfectly fit the needs of the Meeting, which during this years has definetely enlarged its range of contents, artists and audience.

LPM will again use its 4-day formula, creating a unique and unforgettable event, which every year grants a program full of workshops and showcases of projects, softwares and brand-new products. ??LIVE VIDEO is the main focus of the four days and each day is highly characterized by the diverse themes and scenes contributing to the event:

The protagonists of this first day will be all the vj and visual performers of the broad roman scene, reunited for the first time in one only day and location. At the core of LPM there is the ideology of free software for audio/video mixing. Thanks to the community of “FLxER” and the Linux Club in Rome, LPM has been able to flourish and give back to worldwide community of live video performers. This year there will be a whole day dedicated to the live video scene connected with the concept of digital freedom. Not just Free softwares, Free hardwares, Open contents, Open sources, Hacking, among the protagonists of workshops, showcases, performances and vjsets, but also REFF, with the exhibition of the first artworks submitted to the contest RomaEuropaFakeFactory, curated by ArtisOpenSource and Marco Scialdone, dedicated to the artworks of artists, creativity passionates, law professionals with special interest in copyright, all inspired by the theme “Freedom Remix”.

whole audio-visual culture surrounds the 8bit scene; the video performers interested in these specific sounds and aesthetics will perform with 8-bit – and electropop musicians. With beats generated by nintendo sounds, samplers or synthetizers and toys, human voices processed with vocoders or various strange filters, we shall see what comes out of the mix. It certainly should be amusing for audience and participants alike.

Video performances and vj sets are typically found flowing with the intense sounds and the relentless beats of electronic club music. And you’ll find that here too, imagery following and interpreting the rhythm of the freshest Breakbeat and Drum n’bass, and from 2am to 4am going with the pulsating Techno and Electro sounds.??VISUAL GENDERS?A full day of Queer independent culture, a manifestation of the several projects which are working on a national and international level to experiment with the language of representation in terms of gender, politics and sexual orientations with the aim of deconstructing stereotypes and ideological power relationships.??There will be background videos and music for dinner, and after dinner dedicated AV performances and vjsets. As usual, at the end of the evening, open time for VJs will take place: vjs can perform freely, taking advantage of the many available video consoles, beamers and monitors.
LPM 2008 maintains the spirit of a meeting, which has been its main characteristic since the first edition. It is conceived to be a place for comparison and exchange of information and ideas among vjs, visual artists, live-video performers and passionates. Experimentation is one of the founding elements of its ideology. LPM is a non-profit organisation where any gained funds are invested back to support the research and development of the live visual field. ??Similarity of ideals and common roots has prompted the LPM to become member of the Avit network, whose aim is to improve and promote the culture of veejaying events worldwide. After the first festivals in England, the Avit network expanded worldwide, establishing collaborations as in C23 in Germany (AVIT Berlin) and Vision’r in France (AVIT France) and LPM in Italy. This partnership of “network” and “meeting” is possible thanks to the common cultural background and the strong affinity of spirit and purposes. ??LPM is not a festival, it is an opportunity of meeting to get a glimpse of what visual-artists are creating or, even better, what they could create. Therefore, and in order to allow the many interesting artists to perform, the maximum length of a performance is 30 minutes.

The subscription to join LPM is FREE and is open now until the 30th of April, 2009. For details on how to subscribe, see the “participate” section of the website.


La scorsa domenica ero a Novello a seguire un piccolo festival di letteratura ideato e organizzato dallo scrittore Filippo Taricco . Read more»


Il Ladyfest romano è un festival “do it yourself” e no-profit che si svolgerà in maniera itinerante con workshop, mostre, concerti, djset, teatro, proiezioni video, installazioni e merchandising di autoproduzioni. Read more»

Futuresonic 2009

Futuresonic 2009 e il Social Technologies Summit si svolgerà 13-16 maggio 2009 a Manchester, con anteprime mondiali di sorprendenti opere d’arte, un esplosivo programma musicale, visionario e pensatori di tutto il mondo. Read more»

(Italiano) Non è un paese per (artisti) vecchi

Productions by internationally renowned media artists and the innovative works of new masters from the academies will be presented at the 22nd European Media Art Festival. The EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, gallery owners and an audience of specialists, the festival has a great impact on the topic and aesthetics of Media Art. Each year the festival offers its visitors a current overview of new experimental films, performances, lectures, an exhibition and the Media Campus. Around 250 current contributions will be selected this year for the festival from a total of 2400 submitted works, offering a comprehensive insight into the latest tendencies in Media Art.

An international jury will present the “EMAF Award” for a trend-setting work in Media Art and the “Dialogpreis” of the German Ministry of Foreign Affairs for the promotion of intercultural exchange. Furthermore, the jury of the German Federal Association of Film Journalists will award the prize for the best German experimental film of the year.

REFF / RomaEuropa Fake Factory. A detourned competition

REFF / RomaEuropa Fake Factory. A detourned competition

RomaeuropaFAKEfactory is an international Videoart, Music, Literature, GIF-Art, Architecture, Design, Landscape and Law Art competition started in January 2009 as a critical reaction to the Fondazione RomaEuropa’s WebFactory, to develop an action/reflection on the meaning of art, culture and creativity in the contemporary era, on the models for access and on the relations among intellectual property and new business models.

The competition, revolves around the “Freedom to Remix” theme, and is dedicated to young creatives, new media artists, writers, musicians, architects, designers, landscape artists, jurists and to intellectual property enthusiasts and researchers, but also to all those cybernauts that have a will to get their creativity involved.

:: 100Cuts -Videoart []
Curator: Gianmarco Bonavolontà
:: 100Samples – Music []
Curator: Marco Fagotti
:: 100Quotes – Literature []
Curator: Oriana Persico/penelope.di.pixel
:: 100Flashes – GIF-Art []
Curator: Francesco “Warbear” Macarone Palmieri
:: 100Spaces – Architecture, Design and Landscape []
Curator: Rossella Ongaretto
:: LawArt – Remixing the Law [
Curator: Marco Scialdone

All the works created using any technique related to remix, cut-up, mash-up, analog and digital, including works created using software and algorithms are accepted to the competition. To register and send in your works please refer to the website and to the specific sections.

The competition does not assign prizes or create linear rankings. The prize consists in the critical review of the works and in their active promotion through operators and distribution circuits, starting from the international network of the 70+ partners that are currently supporting REFF, and in the creation of public events creating involvement and visibility.

With this goal in mind, the works will be reviewed by the curators through an open, transparent and monitorable online process. The scientific committee will also participate to the evaluation process, just as the public audience, that will be able to contribute through the mechanisms of voting and commenting, available on the platform.

The works will be used to form a catalog that will be the final product of the overall evaluation and review process.

Everything will flow, in fall 2009, into a big exhibition/performance happening, distributed around several locations in Rome, London, New York, and possibly some more.

In alphabetical order:

Zafer Aracagök (aka SIFIR) – Loretta Borrelli (aka lo|bo) – Massimo Canevacci – Francesca Canu – Carlo Cappa – Martina Coletti – Stefano Coletto -Pier Luigi Capucci – Antonio Caronia – Casaluce/geiger Sinusi@ – Simona D’ambrogi – Davide D’atri – Derrick de Kerckhove – Arturo Di Corinto  – Antonin Josef di Santantonio – Marco Fagotti – Gennaro Francione – Maurizio Gargano – Marc Garrett – Alex Giordano – Barbara Gualtieri – Carlo Infante – Maria Rita Intrieri – Andreas Jacobs – Katrien Jacobs – Fulvio Lenzo – Simona Lodi – Geert Lovink – Andrea Masciantonio – Francesco “Warbear” Macarone Palmieri – Francesco Monico – Stephen Natanson – Rossella Ongaretto – Stefano Ostinelli – OtherehtO – Luigi Pagliarini – Antonella Passani – Luigi Prestinenza Puglisi – Domenico Quaranta – Federico Ruberti – Marco Scialdone – Guido Scorza – Luca Simeone – Adam Stanley – Luisa Valeriani – Tania Vetromile – Paola Zampa – Giovanni Ziccardi

The scientific committee will produce a collective publication that will constitute the methodological and theoretical introduction to the issues assessed through the competition.

June 21st 2009

* Due to the late start of the 100Spaces e 100Flashes competitions, their dedline is set to Julay 31st 2009

RomaeuropaFAKEfactory lives through the free and willing contribution of the people, networks and associations that form the equipe, the scientific committee and that support the initiative, allowing for the creation of a global relational network sharing experiences, resources, skills and capabilities.

RomaEuropaFAKEFactory has been presented on March 20th 2009 at the Italian Senate as the trigger that is stimulating the creation of an official “Table for Digital Cultures” inside the Cultural Commission of the Italian Senate.

The competition has been selected to become an official part of the European Year of Innovation and Creativity.

Recently, thanks to our action, the original regulations of the RomaEuropa WebFactory, containing vexatious clauses on intellectual property, has been partly modified by the promoters (

RomaeuropaFAKEFactory is an initiative created by

[A]rt is [O]pen [S]ource

with the fundamental collaboration of

Piemonte Share Festival – DegradArte – Istituto per le Politiche dell’Innovazione – BeatPick – ComputerLaw 2.0 – LPM, Flyer Communication – PerformngMedia – FLxER – – NeRVi – Digicult – Associazione Partito Pirata – – Les Liens Invisible – A.H.A. – Francesco “Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp – – CodiceBinario – PEAM – Artificialia – Biodoll – Ninja Marketing – Arturo di Corinto – Linux-Club – Guido Vetere – The National Cynical Network – NoemaLab – Nictoglobe – Free Hardware Foundation –  Collettivo Nove – Yesmoke – IPJustice – Rejected –  casaluce/geiger synusy@cyborg – Fake – Liber Liber – Rossella Ongaretto – Domenico Quaranta – ESpace paRtout – creActive commUnity – Metromorfosi – Descentro – Anomolo – Giovanni Ziccardi – Wilfied Agricola de Cologne – Isotype – aStronza – Ramallah Underground – Uqbar – Luisa Valeriani – SIFIR – m-node – muvideo – E32 – Leo Sorge – myMedia – Derrick de Kerckhove – OtherehtO – netBehaviour – Milano in Digitale – Castelvecchi Editore – – art a part cult(ure) – gruppo Infobyte – Cooper – Lorenzo Mazza – Chorusonline – Puglia Creativa…

Animal Spirits: a bestiary of the digital commons

arch 28th, 2009

Animal Spirits: a bestiary of the digital commons

Animal Spirits: a bestiary of the digital commons.
Speakers: Matteo Pasquinelli, Bruce Sterling
Moderator: Luca Barbeni
1st April 2009 || 5.00 pm
Laboratorio G. Quazza, via Sant’Ottavio 20, Torino
Admission is free.
After a decade of digital fetishism, the spectres of the financial and energy crisis have also affected new media culture and brought into question the autonomy of networks. Yet activism and the art world still celebrate Creative Commons and the ‘creative cities’ as the new ideals for the Internet generation. Unmasking the animal spirits of the commons, Matteo Pasquinelli identifies the key social conflicts and business models at work behind the rhetoric of Free Culture. The corporate parasite infiltrating file-sharing networks, the hydra of gentrification in ‘creative cities’ such as Berlin and the bicephalous nature of the Internet with its pornographic underworld are three untold dimensions of contemporary ‘politics of the common’. Against the latent puritanism of authors like Baudrillard and Zizek, constantly quoted by both artists and activists, Animal Spirits draws a conceptual ‘book of beasts’. In a world system shaped by a turbulent stock market, Pasquinelli unleashes a politically incorrect grammar for the coming generation of the new commons.
Presentation of the book : Matteo Pasquinelli, Animal Spirits: A Bestiary of the Commons, Rotterdam: NAi Publishers / Institute of Network Cultures, 2008.
Introduction and  index of the book:

Share Campus

Share Campus

As we move closer to the next edition of Share Festival, scheduled for the 4th-8th November at the Regional Museum of Natural Sciences of Turin, Piemonte Share is organising two days of events dedicated to the students of Turin University and city’s Academy of Fine Arts.

Workshop Orchestra Meccanica Marinetti

27th March 2009 || 02.45-06.30 pm
Accademia Albertina di Belle Arti, via Accademia Albertina 6, Torino.
Angelo Comino, author of the show OMM plays Nag Hammadi and creator of the theatrical machine Orchestra Meccanica Marinetti, will be presenting to students the technology behind Max MSP, MIDI and DMX512, and will actively engage with students in the second part of the workshop to explain the potential of open source software processing.
Orchestra Meccanica Marinetti consists of two drummer robots that play live on oil drums, while interacting with a human performer. The workshop is reserved to students of the Academy of Fine Arts and to the students of Professor Gianni Corino of Plymouth University.

Followed by the screening of a video documentary on OMM
27th March 2009 || 7.00 pm
Microplex King Kong, via Po 21, Torino
All are invited to this presentation of the video-doc on the productive phase of the show Orchestra Meccanica Marinetti. OMM was the first project developed by Action Sharing, a platform dedicated to innovation that merges art and entrepreneurship. Sponsored by the Chamber of Commerce of Torino, the documentary is produced by Diecidecimi and directed by Guendalina Di Marco.
Admission is free.


Animal Spirits: a bestiary of the digital commons.

Speakers: Matteo Pasquinelli, Bruce Sterling
Moderator: Luca Barbeni
1st April 2009 || 5.00 pm
Laboratorio G. Quazza, via Sant’Ottavio 20, Torino
Admission is free.
After a decade of digital fetishism, the spectres of the financial and energy crisis have also affected new media culture and brought into question the autonomy of networks. Yet activism and the art world still celebrate Creative Commons and the ‘creative cities’ as the new ideals for the Internet generation. Unmasking the animal spirits of the commons, Matteo Pasquinelli identifies the key social conflicts and business models at work behind the rhetoric of Free Culture. The corporate parasite infiltrating file-sharing networks, the hydra of gentrification in ‘creative cities’ such as Berlin and the bicephalous nature of the Internet with its pornographic underworld are three untold dimensions of contemporary ‘politics of the common’. Against the latent puritanism of authors like Baudrillard and Zizek, constantly quoted by both artists and activists, Animal Spirits draws a conceptual ‘book of beasts’. In a world system shaped by a turbulent stock market, Pasquinelli unleashes a politically incorrect grammar for the coming generation of the new commons.
Presentation of the book : Matteo Pasquinelli, Animal Spirits: A Bestiary of the Commons, Rotterdam: NAi Publishers / Institute of Network Cultures, 2008.
Introduction and  index of the book:



The international competition RomaEuropaFAKEFactory re-lauches in Rome on March 20th and 21st with two dense days dedicated to the theme “Freedom to Remix“: at the Italian Senate, at the Libreria Flexi and at the Neo Club, with a triple event crossing the borders between different spaces and contexts of the metropolis, from institutional ones to the night clubbing scene of via Libetta.

The Italian Senate, it its “ex Hotel Bologna” (via di S.Chiara 4), hosts, on March 20th, 10:00 to 14:00
[ REFF.erence ]
Cultural politics and management of intellectual property in the contemporary era” (*)
a coference-debate in which the competition becomes the trigger to start up a dialogue on the meanings of art, culture and creativity, on the management of cultural politics, on the relationships between new business models and the law for what concerns copyright, patents and intellectual property, starring REFF promoters, featuring video interventions by Derrick de Kerckhove, Massimo Canevacci, Carlo Infante, with senator Vincenzo Vita summing up and drawing conclusions and perspectives.

Among the others: councillor Giulia Rodano, councillor Cecilia D’Elia, Luca Neri, casaluce/geiger synusy@cyborg, Simona Lodi, Arturo Di Corinto, Francesco Monico, Stefano Coletto, Francesco “Warbear” Macarone Palmieri, Gianluca del Gobbo, Valeria “Jemma Temp” Guarcini, Alex Giordano, Davide D’Atri, Guido Scorza, Marco Scialdone, Valerio Mattioli, OtherehtO, Marco Fagotti, Rosella Ongaretto, Francesco Magnocavallo.

On March 21st starting at 18:00 let’s meet for a
[ REFF.ternoon ]
at the Flexi Cafè Library, in the heart of Rione Monti, for the presentation of the book “Assalto al Copyright” (Assaulting Copyright) (Edizioni Cooper), introduced by Arturo di Corinto; after that the author, Luca Neri, will meet the guests and host a meeting-debate. The evocative ex factory will be animated with the “Flight SynEp” new media art installation by OtherehtO.

Following up, starting at 23:00 and into the night,
[ REFF.jected ]
RomaEuropaFAKEFactory Launch Party
In the invisible space of the Neo Club, Rejected invites its rejects to the continuous pirate remix of identities, playing on the concept of inclusion/exclusion and on musical remix, digital, human, experiential, in a series of performances, installations, live VJ sets and DJ sets.

For the newmedia art is time to restart from UNO – Unidentified Narrative Objects

I liked very much the challenge that Francesco Monico has launched by a debate on new media art at the “Centro Forma” in Milan on March 4th. Francesco Monico is the active Director Media Design School & Arti Multimediali at the NABA - Nuova Accademia di Belle Arti Milano, designed by himself, where he teaches theory and method of the Mass Media.

The symposium he organized on training and research in new media art, this is part of the doctoral research program Phd M-node, was focused on an issue that has hit the nail on the provoking an avalanche of contributions from many Italians critics, artists, writers, directors and curators.

The theoretical basis of the symposium was the critical evaluation that Wu Ming 1 made of contemporary Italian fiction called New Italian Epic. Extending its scope beyond the cultural literature and translating the paradigm from the novel to the audio and new media art is fulfilled the brief passage from Unidentified Narrative Objects leads to Unidentified Audiovisive Objects.

The famous essay by Wu Ming 1 on the New Italian Epic says:

In Italian letters is something happening. The convergence in one – albeit large – nebulous of several fiction writers …. Usually they write novels, but they don’t disdaining episodes in fiction and in other realms, and sometimes they produce ” unidentified narrative objects.” Several of their books have become best-sellers / or long-seller in Italy and other countries … but they are a literary generation: they shared segments poetiche, shreds of mental maps and a fierce desire that each time brings them to the archives, or on the street, or where archives and road match.

(only Italian and French version is available here)

Monico asked more or less to 30 of artists, critics and writers, directors if the mass of products such as short films, video clips, video art, short films, music clips or, interactive installations and multimedia performancesare are Unidentified Narrative Objects or rubbish? If the production of audiovisual media, as well as the works of new media art made in Italy from the nineties, were critically analyzed through a new paradigm and you share the critical premises that Wu Ming has found in the thesis of the UNO – Unidentified Objects Narrative- you would have a new Italian epic related to new media art? Is there anything that would combine newmedia art and literature in Italy today?
What are the boundaries within which the “nebula” of the new (media art) italian epic originated? There is a social and cultural history and it has identified a unique Italian that goes beyond literature, and opens out to an oil stain to artistic productions of recent years?
In the literature the blood Wu Ming 1 had the merit to trigger a debate, as he himself says, “no signs of burn out, indeed, it revives and raises every dribble of wind. The memorandum, published in the network, has been downloaded about 30,000 times, played in various forms and comments, read in depth or bed in a hurry, liquidated or celebrated, acclaimed, or crucified as frog in a museum. ”
This debate goes beyond what is NIE, that is his personal idea of reading. What is a fact, stresses Wu Ming, “is the existence of a body of texts, books written in the” second republic “with a common basic elements and allegorical nature of the fund. If this body does not exist, the memorandum would not be “played well” for so many people, it would not unleashed raise all this dust “.
These basic elements, this time belonging to an Italian politician and historian , which Wu Ming 1, identifies as a “second republic” are also common to Italian newmedia art?

The characteristics that make up the “force field” that many works that have made the mass of New Italian Epic, is the reservoir of images and references shared connecting apparently different works, but have deep affinities. Wu Ming1 is careful not to speak of “authors” but “works” because the New Italian Epic covers much more that the first seconds.
Works that are “mutants”, books that are either fiction, essays, prose poetry and journalism that is a memorial that is novel, fiction and non fiction, by hybrids between aesthetics essays and literary theory.

Books such as Lezioni di tenebra, Cibo, I viaggi di Mel, Gomorra e Sappiano le mie parole di sangue.
The amalgamation is defined by a play on words, the initials of “Narrative Unidentified Object” form the word “UNO“(it means one in Italian) , each of these items is a one, irreducible to pre-existing categories, a prime number.
So what are the unidentified narrative objects. And the unidentified art objects (more visual narrative but still) what they are, indeed, what works are they? There is an artistic nebulous? There is a force field similar to the Italian news madia art?

According to Wu ming behind this visual nebula there are the Media Garage,  concept dealt with Monico and the subject of a workshop MDAM NABA,  or the cultural self-legitimation of a spontaneous, both technical and critical prompted by the availability of video cameras, systems for recording and editing that have affordable for all, that allow a wide dissemination of the ‘personal media’, the cameras are to be incorporated in mobile phones to personal computers and with the arrival of Web 2.0 a lot of video content is published on line. These materials may be content for a New Italian Epic for audiovisual media and new media art?
The UNO have – says Monico – a new media approach to new stories and new stories and express new sensibilities, new items and turn to new markets.
The purpose of the debate is taking forward the definition of the first paradigm that starts from UNO and reaches to the identification of works that will reverberate in the ethics and aesthetics of the New (media art) Italian Epic. The UNO is seen as a tool to create a canon of reference and complete a memorandum, as it has done for literature Wu Ming 1.
The nebula of one of the new media art has aggregated immediately much of the Italian art scene, from OtheretO, and the artistic and collective avatar that as a nomad it was also a artistic work. Or the work of known artsista / paradigm Darko Maver of that, as in the conference Eva Mattes said he is an artist that does not exist and he is an example of UNO, because  as their other projects are part of a story and not from an image, from an idea and not a visual object.

But their work starting particularly from the “street” and “from the archives” because they used the road as a showcase in the case of culture jamming Nikeground, and were upset by media archives techniques cut up and mush up with Darko Maver , emulsified material shot by others to occupy a new space for art that is the space stage represented by the media.
The documentary by Nicole Leghissa the exploration of the late 800’s Pietro Brazzà, partly from the archives, but it goes beyond mere biography becomes something that does not just tell a story, but reveals a collectivity.

Or the team Aut Art that with the operation “Anna Adamolo” creates a reaction of activism that starts from the road and that becomes an artistic gesture, which performs actions with an imaginary not tamed. Or the last work of Studio Azzurro said that as Paolo Rosa is not an opera but an operation. All that work every time you apply to the narrated change and become something else from the start.

Like the stories told by Salvatore Iaconesi (xDxD), including in its project Art is Open Source, which departs from the streets of artificial intelligence computing is indeed a work created a virus in the womb of the mother, the child named Angel_f (Autonomous Not E-voli? Generative Life Form), for a Iaconesi is also telling a story in a new way, using the power of the narrative of fake RomaEuropaFakeFactory ,that deturn falsely labeled a competition in Telecom (Italian big telephon company)  what defines making skateboard (a nice way of telling stories on architecture ) or add a layer of reality of everything in a narrative already there, telling stories that is overlapping the other.

This is the purpose of the new virtual epic, the web there is accustomed to stories overlapped, meta narratives, from which follows the concept of mutation linguistic fiction. Objects are Interstitial Narrative, dedicated to small moments, a space of time, change that changing the scan time and thus how the story.
We too di Piemonte Share we have been invited to give our contribution to the meta-project Action Sharing and work Orchestra Meccanica Marinetti . An example of Unidentified Narrative Objects that prelude to the birth of an epic of newmedia art. A work from the commission and manufacturing adopts a different narrative that offers a new vision of the relation between art, highly innovative companies and research laboratories in the area, a visually epic narrative that reverberates meanings, connotations archetypes and languages in a cultural environment that OMM contains in itself, both humanist and technology. Commencing on the street collecting items such as waste bins and crop areas that are not of their own as the Interdisciplinary Mechatronics Laboratory, Politecnico di Torino and the company Prima Electronic robotics.

This implies a new vision of art as a driver of innovation and a new idea of patronage. The work is done by engineers, but the project is by an artist. Elements have been used in technology built by engineering companies but are part of a unique spectacle, a prime number. The force field was born in newmedia art, but the technology sector is by Piedmont robotics as an example of local production talent.

Also Motor when running the show “nagHammadi” with OMM, uses material repertoire photos and videos of war NATO (already used in cleanUnclean).

Here are all these still hear a talk, because the challenge has just been launched.

Follow-depth interviews with the protagonists of the New/mediart Italian Epic.
Simona Lodi

The artist Natalie Jeremijenko at LIFT2009 – Geneva

The artist Natalie Jeremijenko, well know for her extraordinary capacity to combine tecnological innovation with social and environmental causes, invited us at the Lift2009 conference in Geneva to reflect on tecnology resources from a new perspective, based on energy efficiency, recycling and the battle against pollution.

Simposium on New Media Art in Milan

Wednesday, 4th march 2009 – Forma, Centro Internazionale di Fotografia, Sala delle Capriate, Piazza Tito Lucrezio Caro 1. Milano, from  9.00 am till 18.00 pm.

New Media Art Education & Research 2009, along with the issue of the Workshop/Theory, wants to open a new reflection that starts with the Unidentified Narrative Objects, in other words what are students of the Media Design & Multimedia Art producing? Short films, video clips, art videos, short feature films, music clips, simple audiovisual artifacts, or a sort of junk? This reflection makes of the New Italian Epic narratological paradigm, conceived and proposed by Wu Ming, a benchmark for the critics.

William Burroughs – rejected from the Romaeuropa Web Factory Prize

William Burroughs - rejected from the Romaeuropa Web Factory Prize

William Burroughs, famous for his cut-up technique, allowing for the creation of beautiful literature compositions by remixing pieces of existing works, was rejected from the literature section of the RomaEuropa Web Factory. “This is not original work!” was the scream of the Jury’s competition, whose rules execlude artworks made with remix, mash-up, manipulations of contents.

Here his declaration recently appeared on a short video that is cicrulating on the web

“I am William Burroughs.
I could not participate to RomaEuropaWebFactory.
Damn those bloody suckers couldn’t tell art if it hit them in the forehead.
Deep shadows, close down over culture when culture is not able to catch up with the world it lives in.
I could not participate to RomaEuropaWebFactory.
I could not participate because I am an old man, cutting up pieces of paper, lookig for hidden poetry, forgotten literatures in things that have been thrown away, forgotten, put away, stashed in the trash.
I am William Burroughs.
I could not participate to RomaEuropaWebFactory.”

William Burroughs now joined RomaEuropaFAKEFactory, here:

Share Festival postponed

This year’s Share Festival in Torino has been postponed. You will have to wait a little longer for this year’s Share Festival in Torino: “Market Forces” has turned out to be the theme of Share 2009 in more ways than we expected. This means that Share will not be held as planned in March 2009 but will now take place at 4th/8th of November 2009.
In recent months we have campaigned untiringly to prevent spending cuts to art and culture due to the economic recession. In the interview published at, Simona Lodi soughts to explain what is going on here in Torino. In support of culture and to protest the government’s spending cuts, a demonstration was held in Torino on 14th February. We were making our voices heard together with artists, directors, actors and DJs at Villa Capriglio during “Love Share”. Our efforts are already achieving important results, in the form of greater visibility in the media, sharper attention from institutions, and a broader audience.
The global difficulties of the moment have prompted us to stop and think profoundly. Together with our guest curator Andy Cameron, we have asked ourselves what we really want and do not want to do in the future. This pause for reflection has brought us to the decision to re-design the Share Festival in terms of its contents, and tie the initiative more closely to other events in Torino connected with music, entertainment and drama in the hi-tech field. We also hope to establish a closer dialogue with the local mainstream art system, as we believe that such a dialogue can only strengthen our activities and boost our ability to stage a more creative Share Festival of greater interest and appeal. For these reasons we have decided to postpone the Share Festival to 4th-8th November, 2009 – a month dedicated to contemporary art in Torino – so as to work on refreshing the project and building closer ties with our colleagues from other festivals.
See you soon.



14th February, 2009 – 10.30 PM
LOVE SHARE – Love in the Age of Social Networks
VILLA CAPRIGLIO?Strada al Traforo di Pino 67, Torino

“Love Share – Love in the Age of Social Networks” is an event dedicated to love and eroticism at Villa Capriglio, on occasion of the “Innamorati della Cultura” night in support of culture, to be held on Valentine’s Day.

The event was conceived by Simona Lodi and has been organised by The Sharing, a Cultural Association for the creation and promotion of digital art and culture and organiser of the Share Festival, by Situazione Xplosiva, a Cultural Association for the promotion and development of a new electronic musical culture in Piedmont and Italy, and by Malafestival/Servi di Scena.

This year’s Art & Love VI will feature installations, screenings and Internet stations provided by the Share Festival, which light-heartedly explore the relationship between love and the Web 2.0. – How have sentimental relationships changed with the advent of mobile phones, chat sites, and social networks such as YouTube, Facebook, MSN and Flickr? What is love like today in the age of file sharing? Where did I leave my rechargeable love battery?

A wide variety of contents will featured over the night. At 10.30 PM, screenings will be presented of the film Mr. Raven Show by F. Zuliani and the video Ci sarà by Coniglio Viola, followed by amateur porn videos, winners of the second Come to Cut  festival in Berlin, by Tatiana Bazzichelli and Gaia Novati, and finally a selection of videos on the topic taken from YouTube. A visual background framing the event will consist of Flash animation by Minimal Porno, a web project hosted by the activist collective Isole nella Rete. Alongside the uninterrupted flow of images, a video-performance by Malafestival/Servi di Scena opus rt will also be presented, featuring Vanessa Vozzo, along with the address of Giacomo Verde – “The Evil Savage – Fragments of a People Battling for Survival PART II”. ?The loving-interactive setting will further be brought to life by the installation “Les amantes (loving the crisis)” by xDxD, featuring penelope.di.pixel.

The night will then kick on after midnight with club music, featuring guest DJs Titta, Taba, Nano, Step, Eniac, Pulsar and a live performance by The Pure.
Sergio Ricciardone will be presenting a special DJ set for two people at the Villa’s famous Cappellina.

The organisers of Art & Love VI at Villa Capriglio support the “Innamorati della Cultura” day, a special event culture, designed to shed light on the work of cultural operators and raise awareness on just how much they do and the quality of their initiatives. Foundations, associations, cinemas, galleries, museums, libraries, theatres and orchestras will be open and active all day long with a dense programme of events, in which you are all invited to participate.




The RomaeuropaFAKEFactory competition originates from the “Freedom for Remix” initiative, promoted by [A]rt is [O]pen [S]ource (Salvatore Iaconesi/xDxD and Oriana Persico/penelope.di.pixel] and Marco Scialdone, with the support of DegradArte, ComputerLaw 2.0, NeRVi and Valeria Bochicchio.

RomaeuropaFAKEFactory draws on the Romaeuropa Web Factory competition to embrace a series of reflexions and practices focused on the issues of digital rights and information ownership.

RomaeuropaFakeFactory is an international competition allowing its participants to do everything that is forbidden by the rules of the Romaeuropa Web Factory competition, subverting its logics.

According to the rules of the Romaeuropa Web Factory competition , produced by the Romaeuropa Foundation and by Telecom Italia SpA, participation is not allowed to those artists creating their works using remix, mash-up and manipulative techniques on pre-existing content. Furthermore, to participate, the artists have to sign a legal disclaimer making them give up all the rights on their artworks: indefinitely, exclusively, for free, and also allowing the contest producers to freely edit, remix, mash-up, commercialize.

The Romaeuroma Foundation and Telecom SpA can remix. Artists can not.

The overcoming of originality as space for production and its circumbscription in terms of multinational property – more than the real protection of the author’s rights – is used in this context as a critique to a conservative practice of cultural promotion  that is not able to grasp the possibilities offered by the intersections of the technological, cultural, social and economical-political planes, enabled by contemporary technologies.

This competition is addressed to all forms of creative profiles and to the experts of legislative disciplines with a specific predilection for intellectual property related subjects, inviting them to submit their artworks on the theme “Freedom to Remix”.

The four categories in the competition:

– 100Cuts: videoart [ ]
– 100Samples: electronic music [ ]
– 100Quotes: literature [ ]
– LawArt [ ] , a brand new creative discipline dedicated to law experts and jurisprudence amateurs, whose works will be constituted by remix and production of legal texts regulating intellectual property

The works will be the object of a research, of public debate and will be collected in a catalogue together with the critical and legal texts. Furthermore, they will be supported by RomaEuropaFAKEFactory’s communicational apparatus. A public voting system will also be set up on [ ] so that the general audience will be able to vote its favourite work in the 4 sections, thus declaring an audience-proclaimed winner.

RomaEuropaFAKEFactory will be finalized into a public happening during which the exhibition of all the generated content will take place.

RomaeuropaFAKEFactory is an initiative conceived by

[A]rt is [O]pen [S]ource

with the promotion and the support of

Torino Share Festival – DegradArte – Istituto per le Politiche
dell’Innovazione – BeatPick, ComputerLaw 2.0 – LPM, Flyer Communication –
PerformngMedia – FLxER – – NeRVi – Digicult – Associazione
Partito Pirata – – Les Liens Invisible – A.H.A. – Francesco
“Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp
– – CodiceBinario …

Interviewing the crisis with Simona Lodi

Interviewing the crisis with Simona Lodi.

– Simona Lodi, art director of the Piemonte Share Festival, an event with international resonance dedicated to new media arts: a presentation for the readers of Artsblog.
The Share Festival was born as a sequel to a exhibition that i curated during 2002 in Turin at the Murazzi del Po. The setup was very simple, as it featured some computers connected to the network and a flyer with my critique. In its simplicity it featured works of artsts that later became “classics” and real stars, such as Epidemic and

As a curator of contemporary art exhibitions with a marked interest on technology, that exhibit allowed me to realize how simply exposing art in a classical exhibit was a limit for The pervasivity of the “digital” and of the internet needed containers that were more articulate, to give space to the change that was happening, not only for what concerns visual arts, but also for moving images, cinema, theatre, music, literature.

Being able to grasp the global reach of these practices required to think about an event that was truly multidisciplinary and modulated on a set of events that were coordinated and organized in adequate spaces. Together with Chiara Garibaldi we designed the project of the Share Festival.

The premises were there, but the event’s first edition had to wait until 2005 to take place. Two years of incubation were needed to step from the idea to the project: developing contents, planning it for feasibility in the city of Turin, getting public institutions involved and believing in the event.

Obviously, everything didn’t happen in such a linear way: as it often happens after an action with a positive result, dead moments and problematic issues followed, that seemed to never resolve. The development of the contents changed continuously and often in autonomous ways with respect to what we had planned.

We were guided by the creative environments and by the artists we got in touch with. We continuously hacked the whole project down just to build it up from scratch again. When contents changed we also changed locations and budgets, but the base concept kept on being the desire to unite formal theoretical sessions to playful ones.

Today the festival is known all over the world for the quality of its offering and for the curatorial coherence. Since 2007 we activated the Share Prize aiming to discover, promote and support digital arts: it is based on an open call to which more than 400 artists from all over the world participate each year.

– The ToShare is an international event that consolidated its identity since the last 5 years. From your point of view does the financial crisis start to have its effects? What are the symptomes and repercussions?
Yes, as i said before we are a consolidated event, but in these times we just cannot predict what the future will reserve. The crisis seems long and stressing, even from our point of view. We are an event that is out of the mainstream, but as of today we have an audience that is 5 times the one of the first year (10.000 people in 5 days).

The signs of recession are everywhere. The same function of national states is ceasing to exist, as they are not able to guarantee a protection to their citizens anymore, as they don’t know how to defend them from a crisis that has its origins far away, in other countries, and that has indiscriminate repercussions on the lives of single individuals. This contemporary scenario does not give a chance to anyone.

Culture is the most sacrificed, again. The funding cuts bring to mind (as Salvatore Tropea, a journalist of “La Repubblica” stated in an article a few days ago) “the burning of books and other disturbing rituals on the altar of an economic crisis that as a malicious god demands the pagan sacrifice of culture”.

All the support policies and funding toward culture are failing in this very moment. Among these, in Italy, where 80% of the financial resources assigned to culture are used to mantain its immense wealth of historical arts and architecture – without a clue on how to create economic value from it -, the ones connected to territorial marketing emerge, specifically the ones assigned to requalify the cities that are in a state of post-industrial decline.

An example above all, the city where FIAT was born: Turin has been shining in its rebirth, investing billions of euros in a new look and in culture, in sport, but most of all in contemporary arts. It shined up to the point that the things that yesterday were a resource are now turning into costs. How could this have happened?

According to the official data reported by Turin’s Industrial Union it is calculated that 16.5 billions of euros have been invested in the Winter Olympics, 11 billions of which have been put towards the creation of major public works. The estimates made beforehand on such investments told that an added value of 17.4 billions of euros should have been produced, along with 57.000 new jobs.

Buildings such as the Pala Isozaki, the Oval and the Palavela are today closed during most part of the year, and the newly created ski slopes and infrastructures have suffered from a deathly oblivion.

– And what about culture? Will Turin be able to support the post-olympic phase?

The investments made in 2008 have totalled 44 million euros by Regione Piemonte and 49 million euros by the city administration, for the 4.4 million citizens of the Piemonte region and for the 2.2 million citizens of the metropolitan area. The investments have been distributed (rounding up the numbers) with about 13.518.000 euros going to cinema, 29.508.000 going to theatre and lyric theatre, 10.482.000 to music, 22.000.000 to museums and exhibitions, 11.000.000 to events, conventions, seminars and other cultural activities. Investments that are way higher than the ones reported by Helen Thorington when she quoted the data provided by the Guardian about Arts Council England that in 2007 financed 417 million UK pounds (855 million dollars) for a population of 61 million.

Museums and contemporary art foundations, fairs such as Artissima, events such as Torino World Design Capital, the Fiera del Libro (Book Fair), the Triennial of contemporary art, the Cineporto and the recent Oriental Arts Museum (that, from immediately after its opening, has to be closed for some days each week as there is no available money for the guardians) have proved Turin to be a winner in the challenge to renovation, achieving the goal of turning the city from an industrial, metalworking and engineering node into a city that characterizes its economic development on a plurality of roots. Investments in these sectors have been huge, but not at all radicated into the local economic substrate. And, today, the risk is of them failing completely.

We question ourselves on what the future of this city will be after the recession, and about what will be the future for culture. Last december 13th Giovanni Oliva, Regione Piemonte’s councillor for culture, summoned a general assembly to create a plan with a reach that bypassed the timespan of the crisis. Cultural organizations and associations massively participated to this meeting. They expected answers, and a concrete possibility to collectively create a plan.

But a surreal atmosphere characterized the event, with no-one asking direct questions or asking for explanations about the political responsibilities on the choices that turned out to be wrong, about the financial waste and about the lost opportunities. The uselessness of the meeting could be perceived. No-one turned out to be responsible. The crisis seemed to have hit the administration unpredictibly, as a tsunami. Up until the previous month the main issue of concern regarded movie director Nanni Moretti staying for one more year as the director of the Torino Film Festival. Then, the void.

During the general discussion it was clear how the associations and all of the cultural system will see their financial support cut by 50-60% in 2009. Investments coming from bank foundations will only be directed to infrastructures, to the restoring of buildings. Sergio Ariotti apart (RAI journalist and director of the contemporary theatre Festival delle Colline), nobody objected.

Someone present at the meeting questioned about what had been the principles that had been followed to make the choices about the cuts, what decisional parameters had been decisive, what had oriented the choices. Reforming and redesigning is harder that following the ways of the financial cuts.

But answers fell into an embarassing void. A void that is the emptyness of museums, because if nobody invests in exhibitions and events, in shows and conventions, in actors and artists, in curators and directors, the buildings will remain empty. The counsellor of the city of Turin has already decided to assign the small amounts of money left to safeguard museum workers employed with a permanent employment contract. If this will be reality, guardians will guard only the empty walls of museums and theaters, with no works, no projects, no shows and, obviously, no audience.

The lack of an unabiguous methodology to be used to evaluate the success or failure of proposals, exhibitions, events, shows, concerts and cultural spaces, is a real and evergrowing problem, and it has to be resolved immediately. Many events that took place in 2008 have been sensational flops, as the Compasso d’Oro prize, held at the Reggia di Venaria (only 25 thousand people attended), the Flexibility exhibition at the old prison Le Nuove (15 thousand people) or the Triennial of contemporary art, which cost 2 million euros without attracting any of the important international stars of the visual arts. And the Arena Rock: the structure, thought to host great concerts, is now a cathedral in the desert; opened since march 2008, it has never been used and today and it has no defined future. As reported by insiders, such as the organizers of the Traffic music festival (whom have never been asked to getting involved in the project), it cost 5 million euros and it is one of the worst structures in existence, with great limitations to host shows for 60 thousand people, and even for 15-20 thousand.

– Let’s talk about Action Sharing and about the Orchestra Meccanica Marinetti: while 2008 has been the year of the crisis, ToShare decided to move towards production. An interesting detail, in countertrend with the current scenario.
We didn’t think about dedicating to production as an answer to recession. On the contrary we hope that recession doesn’t slow down a project like the Orchestra Meccanica Marinetti (OMM).

Share Festival has the explicit intent of giving expression to an emerging scene and to promote the suggestions that new technologies brought onto the artistic thought.

From taking breathing spaces for reflexion, a need emerged, to produce and to let grow skills and professionalities on the territory. Working with digital artists, used to operating in highly technological environments, new interests emerged on research methodologies. I and Chiara Garibaldi realized that multimedia artists’ research paths, the ones used to create their works, are very different, and subversive, compared to the traditional methodologies of academic and industrial research, but they are also full of interesting points of view on technological innovation.

Many digital artists do not refuse to study technology, and often they master it, through hacking and reverse engineering.

Many of them do not only use existing technologies, they also create themselves the technologies they need. All of this is even more significant as it is placed in a city like Turin, a city that has totally changed during these last few years, growing in parallel, explosive ways on two fronts: contemporary arts and ICT industry.

This is the reason behind the launch of the Action Sharing project: a platform with the goal of enabling synchretic research. No more conflicts between technological sciences and humanistic ones, replaced by a collaboration, aiming to find practical and specific solutions , using scientific and art research methodologies, together.

Artists are normally on stages, in museums on in art galleries. Action Sharing takes them to research centers in companies and universities, side by side with engineers and computer scientists to build innovative paths that are totally different from traditional ones.

The objective is to create collective works in which digital technologies are used along two directions: as a language for creative expression, but also as a trigger for enterprises and for researchers to find new and valuable solutions, ones in which the technologies that derive from them act as readymades for the market.

The creation of an extended creative network is not to forget, as well. A “shared” network, composed by various actors, that can become a long-term value for itself and for the territory.

This is the reason behind the Chamber of Commerce of the city of Turin welcoming our proposal, financing the project and joining in the process of choosing among a set of possible projects and artists. The pilot project of the initiative has been chosen among them: the Orchestra Meccanica Marinetti, of the artist Angelo Comino a.k.a. Motor.

Motor has mainly been chosen for three reasons: for being one of the main representatives of the local artistic scene, for his experience coming from more than twenty years of multimedia shows, and for his great technical skill, which was fundamental to conduct a project of such complexity.

The work consists in a multimedia show in which an orchestra, made up by percussionist robots playing industrial bins and by digital choirs, is guided by a cabled human performer: something like a cyborg Tambours du Bronx!

– But there’s more: the theme of the 2009 edition of the Share, taking place around the end of march in Turin, is “Market Forces”. Which is the fundamental intuition and what is the path leading this choice?
For the next edition of the Share Festival (24/29 march 2009) we asked our guest curator, Andy Cameron, to confront the theme of complexity. According to Andy the key to discussing complexity is the concept of market. The market is a machine used to face the complexity of the future and the unpredictability of the system. The future cannot be imagined in a linear way, as every thing is in relation with other ones through a system of complex relations, an ecosystem.

In this way the unexpected plays a decisive role, but the theory of complexity does not provide practical answers, and a vision of the future that is credible and reliable is needed. What can we do? The speakers invited to the Share 2009 will discuss this question. The Share Prize, as well, will present works that take into account the variety of the connections running between the elements of complex systems. Works that are different from each other, but that share their ability in analyzing chaos and value, meaning and casuality, politics and economy. Unstable abstractions that have concrete and important effects on our daily lives.

The Share Festival will be hosted by the Museum of the Sciences, where visitors will be able to interact with the finalist works of the Share Prize, creating images with teir breaths through a dense powder [Ernesto Klar – Parallel Convergences]; while a neural network built using wood and ropes will simulate the processes of thought, even if it won’t have anything to say [Ralf Baecker – Rechnender Raum]. Then a cinetic sculpture modelling chaos through flying steel balls [Andreas Muxel – Connect] and an object constructed through a fan that will have pieces of paper floating in the air, and generating music through the action of the visitors’ hands [Francesco Meneghini-William Bottin – Sciame 1], while an army of mirrors will follow the public according to its own will [Random International / Chris O’Shea Audience]. In the meanwhile a classic work will constantly grow creating evenrchanging patterns [Lia Proximity of needs].

– Which are the perspectives that you imagine for the ToShare for the next months? What are the strategies and the tools that you will use to face the crisis?
The crisis is a lapse of time that highlights various aspects of our work because it requires an active response. But I don’t believe that anybody is ever ready enough to confront a crisis of such magnitude. Anyhow we are constantly on alert to the general changes, and challenges don’t frighten us.

We are studying several solutions mostly connected to networks of events and on project sharing with other realities. The network allows for actions that, previously, were logistically unthinkable and, thus, it redesigns the strategies from the bottom, turning them into networked strategies, open, horizontal and, as Ned Rossites says, organized.

We are trying to get the private sector involved, but I only see support mechanisms as being positive when they work through new ways of assuming culture, ways that are alternatives to the “invest and resell” used by many collectionists and enterpreneurs.

– Art constantly and explicitly moves towards being process-oriented: can a business model be a work of art?
Your question resembles a word trick or an act of magic that has the power to turn everything into art. That was the artistic mission of the avant-gardes wishing to transform the world into a work of art (fururism but also Bauhaus and De Stijl). But art, which ended with Duchamp, did not disappear. Rather, the opposite is true. Business has the power to transform the most desparate human activities into more business. And we already had the chance to see art transforming into business. Business is a process and art constantly grows in its open processual characterization rather that being formally complete.

Althought the objective of contemporary artits is often, since the artistic avant-guardes, to transform everything into art, art is not in everything and it is not in every process. A pantheistic vision of art, even if it can be cute, would miss the creative/artistic component that characterizes it.

Thus the question is not “what is art”, but “what is not art”.

Nevertheless, Andy Warhol – in the famous “Philosophy by Andy Warhol” (1975) – says: “Business art is the step that comes after art. I started as a commercial artist and I want to finish as a business artist. After doing a thing called ‘art’, or however you want to call it, i dedicated myself to business art. I want to be a art business man, or a business artist. Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.“. Thus this question has to be asked to the artists. Who knows what would come out.

via Interviewing the crisis

Hypertext 2009

The ACM Hypertext Conference is the main venue for high quality peer-reviewed research on “linking.” The Web, the Semantic Web, the Web 2.0, and Social Networks are all manifestations of the success of the link.

The Hypertext Conference provides the forum for all research concerning links: their semantics, their presentation, the applications, as well as the knowledge that can be derived from their analysis and their effects on society.

Hypertext 2008, held in Pittsburgh, was a real success. The number of submissions and attendees was up, a successful Student Research Competition took place, and a rejuvenated social linking track added new ideas and connections to the traditional core of the conference.

Hypertext 2009 will feature papers, tutorials, and demos in all areas of hypertext, hypermedia, and social networks, including but not limited to traditional areas related to hypertexts and the Web, as well as emerging linking technologies and analytical frameworks, such as adaptive hypermedia, recommender systems, and complex networks models.

Hypertext 2009 will be held from June 29th to July 1st at the Villa Gualino Convention Centre, on the hills overlooking Torino.

Plan to attend Hypertext 2009 in Torino, after the next User Modeling, Adaptation, and Personalization (UMAP) conference in Trento and the next International Workshop and Conference on Network Science (NetSci) in Venice.

Conference webdocumentary “A Sud di Pavese”

A Sud di Pavese
web documentary by Matteo Bellizzi
interaction design by Antonio Rollo
27th November, 2008 – 3 pm
Circolo dei Lettori – Via Bogino 19, Torino

As part of the programme of the Torino Film Festival, Piemonte Share in partnership with SteFilm is presenting a preview of the docuweb A Sud di Pavese (South of Pavese).The project represents an interactive rendering of the documentary A Sud di Pavese, which Matteo Bellizzi will be presenting to audiences in the forthcoming cinema season.

Picking out three quintessential settings in the works of Cesare Pavese – the Langhe, Torino and the Calabrian seaside – this web documentary weaves its way between the writings of Pavese and images, creating new, unexpected associations between the places and the stories narrated.
The “open” documentary uses the cinematic material filmed by Matteo Bellizzi as its source, physically portraying the journey that lies at the heart of the film – a journey that takes literature as its starting point to arrive elsewhere, encountering along the way the stories told by Pavese.

It might seem to many that little, if not nothing, remains to be discovered about Pavese. For the vast majority of people, he is the writer most closely identified with the provincial imagination tied to the hills of the Langhe district, to Turin, and to the publisher Einaudi. In particular he is remembered for his novel “The Moon and the Bonfires” and for his tragic death. Today, however, his thoughts and intimate reflections have led many people, artists and common folk alike, to confront and rethink the “myth” of Pavese, through his novels, poetry and internal conflicts.

Matteo Bellizzi journeys in search of stories through the very places where Pavese found his own, to places still active as sources of inspiration.
A Sud di Pavese represents an all-encompassing approach to the rediscovery of certain foundations underpinning Italian culture. Designed for a young audience, he seeks to communicate the idea that literature, when truly great, can indeed burst the banks of a book and overflow into life itself, becoming a stimulus and lens for observing the world with new eyes, with an awareness that is renewed and enriched.

The interaction design was created by the net.artist Antonio Rollo, who since the beginning of the decade has experimented with the interactive possibilities of moving pictures on the internet.

Preview Orchestra Meccanica Marinetti

multimedia show by Angelo Comino aka Motor
Thursday, 20th November, 2008 6.30 PM
Chamber of Commerce of Torino – Palazzo Birago di Borgaro
Via Carlo Alberto 16, Torino

On Thursday, 20th November, 2008, the stage will be set at the baroque Palazzo Birago for an artistic performance combining art and technology. The Orchestra Meccanica Marinetti (Marinetti Mechanical Orchestra) by the artist Angelo Comino – Motor in art – has been specially chosen by the Chamber of Commerce of Torino and Piemonte Share to launch the initiative Action Sharing. The orchestra consists of robot drummers that play steel drums “live”, under the direction of a performer. Having literally built the city of Turin, the movement and work of factories will be on show, translated into the interactive digital languages of the contemporary world. Paying tribute to the futurist poet Filippo Tommaso Marinetti, the orchestra builds an ideal bridge between Turin’s industrial past and the city’s current transformation into a city of knowledge. Two robot drummers. Two steel drums. One human performer. Mechatronics and music. The repetitiveness of industrial production becomes a gesture of music. A project in which the past of the Italian avant-garde returns in all its contemporaneity to seal a new relationship between humans and machines. Orchestra Meccanica Marinetti is a project conceived by Angelo Comino aka Motor, who gives life to enlightening inspirations that were unrealizable in Marinetti’s day.

The cultural association The Sharing, under the artistic direction of Simona Lodi and Chiara Garibaldi, was established in 2003 to create and promote digital art and culture. Under the umbrella of the name Piemonte Share, the association promotes initiatives dedicated to digital culture and the drive for innovation tied to electronic and new media. Piemonte Share, which over the years has been supported by the ongoing sponsorship of the Chamber of Commerce of Torino, is a strategic occasion for the creation of moments of exchange, experience, and encounter between the public, artists, experts, researchers and enthusiasts. ACTION SHARING – multimedia productions is one of the topical initiatives featured on Piemonte Share’s programme of events. Action Sharing is a metaproject, an initiative “shared” with the local Torino territory, which builds a bridge between art and business by creating a multidisciplinary and interdisciplinary platform where artists and engineers, along with scientists, economists, social workers and teachers can come together on the common ground of technology, driven respectively by creativity and innovation.

The Chamber of Commerce of Torino has chosen to back the proposal put forward by Piemonte Share to promote a new vision of culture, where art is not confined within the walls of art galleries and museums. In this vision, art is opened to the business world to become an engine for economic growth and local development, drawing from the design, technological innovation and creative resources that can be found in our companies of excellence, and which make them more competitive every day.
The project has become a reality thanks to the Interdisciplinary Mechatronics Laboratory of the Politecnico di Torino, Associazione Robotica Piemonte, Prima Electronics, Actua, Erxa, Virtual Reality & Multi Media Park, and Visualeyes.

Share Out @ Fusion Festival 2008


After SHARE OUT success at TRANSMEDIALE FESTIVAL, BERLIN and at KUNSTVLAAI FESTIVAL, AMSTERDAM we are proud to announce the next 02L event, that will take place this time at FUSION FESTIVAL.

FUSION FESTIVAL, now at the eleventh edition, is one of the most striven destinations for ravers, music lovers and idealists that love to dive, for four days, in a parallel universe. The festival will take place not so far from Berlin, one of the most exciting capital cities of Europe, in a suggestive environment of a former russian airfield, among the pulsating bass drums of 15 different stages, green fields and woods and old eastern wracks, with a predicted presence of 40 thousand hot people.

Taken to higher level of excitement by the undefined entity 02L > OUTSIDE STANDING LEVEL, a one-shot and unforgettable show will take place on Saturday night (July 28th) around 2 o’clock, in a fight between interactive technologies, devastating beats and delectable dancing, with the new proposal of THE SPECIAL PLAYER, this time proposed with a very RAVE flavor.

Under the white dome of the Luftschloss (’castle in the sky’) there will be played the rite of an unique synergy between DJ (THE SHAIDON EFFECT), a group of four talented dancers, drummer, VJ and public. A special arbiter will take care of pulling the triggers of your pleasure: a sophisticated motion tracking system, which takes in account the responsibility to add another virtual dimension to the show.

THE SPECIAL PLAYER “interactive live temple show”, presented as a premiere project at TRANSMEDIALE’08 BERLIN (Germany) and replayed at Hiroshima Mon Amour club, Turin (Italy), during the Warp label night and hosted by PIEMONTE SHARE FESTIVAL, has more than one change, this summer, to astonish and entertain, in a sequence of hot dates (Half Machine, Pop-eye, Gogbot,  Versch, STRP). Further information can be found on links.

29/06/2008 at 02:00
02L > @ Fusion Festival 2008, GERMANY
The Special Player + The Shaidon Effect
Location: Luftschloss
Airfield Lärz Rechlin
Mecklenburg-Western Pomerania (DE)


Share Out in Europe_Copenhagen

The Shaidon Effect presents:
** The Special Player Tour **
Live @ Halfmachine Festival 2008, DENMARK
Location: Kulturkajen Docken, Faergehavnsvej 35, 2100 Copenhagen (DK)
Date: 24/07/2008

SHARE OUT – EUROPE nights keep going, after the proven success of the cross-media live set sessions produced by 02L > Outside Standing Level.

With FUSION FESTIVAL as the latest experience, with more than 40,000 visitors, a new bookmark has been placed in Copenhagen, capital city of Denmark, hosted by HALF MACHINE event.

02L’s live performing project “The Shaidon Effect” (DJ and live set) will cast a burning session of the nowadays well known THE SPECIAL PLAYER project, on July 24th at Kulturkajen Docken.
Kulturkajen finds itself on the harbour near midtown. It’s a flexible space dedicated to expos, theatrical and music events. This year it will be used as an overland extension location of the 480 tons barge which has hosted for all this year the headquarter of HALF MACHINE collective.

Taken to higher level of excitement by the undefined entity 02L > OUTSIDE STANDING LEVEL, a one-shot and unforgettable show will take place on 24th’s night, in a fight between interactive technologies, devastating beats and delectable dancing.
Two dancers, DJ, VJ, drummer and the public will join an immersive show arbitrated by a sophisticated motion tracking environment that will take dance and sound into a complete merge.

THE SPECIAL PLAYER “interactive live temple show”, presented as a premiere project at TRANSMEDIALE’08 BERLIN (Germany) and replayed at Hiroshima Mon Amour club, Turin (Italy), during the Warp label night and hosted by PIEMONTE SHARE FESTIVAL, has more than one change, this summer, to astonish and entertain, in a sequence of hot dates.


Share Prize 2009


Share Festival announces the guest curator for the 2009’s edition: Andy Cameron.
Andy Cameron works with interactive installations since 1993 when he created the Hypermedia Research Centre at the University of Westminster, in 1995 he cofounded the influencial interactive design group “antirom”, in 1999 co-founds in London the Romandson studio and since 2001 he’s creative director of the Interactive Design department of Fabrica.

Share Festival 2009, at his fifth edition, will be in Turin from 24th till 29th of march 2009.

Also this year the hearth of the festival will be the Share Prize 2009.

Inscription since 15th of june till the 30th of september 2008 at

The main requisite for participating in the competition is to create a work in which digital technology is applied as a language of creative expression. There is no limitation to shape and format, combinations with analogical technologies and/or any other material (eg computer animation / visual effects, digital music, interactive art, net art, software art, live cinema, audiovisual performance, etc.).

A short list of no more than six finalists will be announced within November 2008.
The award candidates are invited to participate in the 5th edition of Share Festival in Torino that will be from 24th till 29th march 2009.
The six competitors, chosen from all the participants, will exhibit the work they have entered in the competition, during the Festival.

A Jury will award a prize of Euro 2,500 to the work (published or not) that best represents experimentation of arts and new technologies.

The jury is:
Andy Cameron (creative director department Interactive Design Fabrica) – president of the jury
Bruce Sterling (writer and journalist, Austin)
Emma Quinn (curator at Institute of Contemporary Arts, London)
Giovanni Ferrrero (president Accademia delle Belle Arti, Torino)
Rosina Gomez-Baez (director Laboral Centro de Arte y Creación Industrial, Gijon)

Share at Torino Geodesign

A project and competition, Torino Geodesign is first and foremost an idea which defines an extraordinarily large and productive field of action: self-determined design, produced in limited series by communities inside huge globalised metropolises.

Share Festival and Bruce Sterling collaborated with Radio Flash, Odaoardo Fioravanti Sutudio and M.I.AFRICA to realize a african radio show, Radio Africa, and a gateway for the all the Torino’s africans,

Design arising from a community of users organising restricted mass production to rapidly meet specific sorts of limited demand destined for instantaneous diffusion.
Vital, energetic and deeply experimental design, produced using poor materials and technology deriving from informal economies, and often full of symbolic content.
Highly creative design, which moves beyond the restrictive boundaries of international luxury production and meets precise needs linked to immediate survival or to lifestyles under constant change.

The project Torino Geodesign revolves around the collaboration between 40 communities in the area and a similar number of international designers and Italian companies.
Focusing attention on people instead of objects, Torino Geodesign aims to trigger off new forms of business enterprise in various local communities by setting up an intricate network of relations in which there is a blurring of the distinctions between customers and users, manufacturers and beneficiaries of design. In a dynamic system, a far cry from the idea of free aid or support, the designer becomes the catalyst of all kinds of experiments and reactions deriving from new forms of interaction.
The challenge behind this complex mechanism, where the traditional division of roles between the commissioning client, the designer and the consumer are tested, subverted and recomposed, is of an obviously political and social nature. The project aims in fact to seek out new energy for the world of design and new models for the relationship between city dwellers and city administration based on activating collective energy.
The designers, artists and architects, chosen through an international idea-seeking competition, work together with the communities in a series of design workshops on varying themes identified through a flexible, experimental process (magazines, packaging, brand images, objects for large-scale production such as clothes horses for council housing, the reorganisation of public areas).
The prototypes – together with sketches, designs, film and photos of the entire process – flow into a major show, the evidence of a new systematic way of organising design.