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BORDERLINE
Tuesday 08 | Sunday 12 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
by Simona Lodi
Borderline disorder in psychiatry indicates the "status on the edge" or "personality case
at the edge". During the sixties Otto Kornberg, psychiatrist or psychoanalyst, invended
the organization of borderline personality definition, to propose a class (organization) of
personality disorders "in the middle", on the line at the border (borderline) between
neurosis and psychosis.
I chose Borderline as the title of a part of the exhibition of the Share Festival, to group
together the works of international artists, based on the interaction between the human
body and the machine: the border line is the contact that builds the poetry of the artists
of the exhibition. The subjectivity of the single user stays on the edge, metaphorically seen
as limes (border line) in between the opera and the author. The title strikes the public
with a definition that is a paradox of the psychological side of this subjectivity.
A system is said to be interactive when his behaviour isn't fixed, but changed according
to the user input. When the user sends, by any means, an information to the system that
he is using, he or she interacts with it. Thanks to this interaction, the system can change
his prefixed behaviour and adapt to the user needs. (from Wikipedia, the free encyclopedia).
Most of the systems we usually deal with, are interactive. A computer is interactive because
it shows us one data or another according to the input we supply through the mouse or
the keyboard.
SEED/TREE
Installation/Butoh Performance with Music/Video Live Electronic,
CONCEPT / SCENOGRAPHY / MUSIC di Claudia Robles (Colombia);
BUTOH DANCERS: Theo Janssen , Tobias Schmalfuß, Hubert Weiß (De).
Prodott da ZKM - Cube Center for Art and Media – Karlsruhe, 2005.
UNITA' ZERO
02L › Outside Standing Level, presents: UNITA'ZERO; year 2005-06
www.02L.net
02L is the acronym for Outside Standing Level.
GAME PLAY
By Anne Holst, Jean-Marc Matos and Antoine Schmitt (K. Danse company); Conception:
Antoine Schmitt, Anne Holst, Jean-Marc Matos; Choregraphy: Anne Holst, Jean-Marc
Matos; Programs, visuals, sounds: Antoine Schmitt
Dancer: Benjamin-Aliot Pagès, 2005.
www.gratin.org
NERVOUS
Björn Schülke, Interactive audiokinetic object .
Materials: Theremin, amplifier, servomotor,
loudspeaker, plush, wood, styrofoam.
1999/2003
RAW
Colectivo Anatomic, Concerto- multimedia -performance, Idea: Col·lectiu
Anatòmic. Creación: Alain Wergifosse, Joan Coll, Semolina Tomic, Lidia
González y Alvaro Uña, Guitarra: Joan Coll, Creación musical: Alain
Wergifosse, Performers/Pda Players: Semolina Tomic y Lidia González,
Video: Alvaro Uña, Diseño de software y creación multimedia: Tony Cabello
y Oscar Fernández. Infografía: _Txesculin_
LIFE SUPPORT MACHINE
Squame di pesce and pvc, sensors of Luca Gemma
2001
LA MEDITAZIONE DI YOLANDA
ConiglioViola
The first experiment of web meditation.
HELP
di Paola Lattanzi e Andrea Linke, Musica di Andrea Meloni (a.k.a.
bbs@nukesatori.org), Progettazione 3D IntrigueVision: Pietro Carlomagno,
(Installazione e performance commissioned by Publicis).
Free Entry
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ONEANDZEROWORLD
Tuesday 08 | Sunday 12 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
by Simona Lodi
This part represents the latest innovations and experimentations that
go well beyond any classifiable schemes. Here you will find an opus of
he who created his own world from the binary sequence (1_0= one and
zero).
The second edition of Share festival hosts:
Free Style: the limits of intellectual property
During this Olympic year, Share Festival simply had to have a section dedicated to the
youngest and most imaginative Olympic events. Free Style athletes are acrobats as well
as skiers, tight-rope walkers as well as athletes - disciplines that are fresh, dynamic, and
entertaining. Perfect for representing a documentation of artistic projects that use the
Creative Common license, or GNU GPL, or are active on the copyleft front and deal with
the issue of sharing, of the sampler as a medium, of peer-to-peer as a lifestyle of the
download generation.
the selected projects:
THESE BOOKS ARE MADE FOR WALKING
Bookcrossing at Share
Ten copies of Q, a book published with a copyleft caption, a global novel (it has the same
title worldwide - or almost).
Ten copies of Q, British edition, imperial language.
Q, a novel constructed on the saying "Omnia sunt communia". A Latin phrase, an imperial
language: all things in common. All of Creation belongs to everyone, all of creation belongs
to those who are creative, with no exceptions, all of those who are creative belong to the
Commons, all the Commons belong to those who are creative.
These books are made for walking. They must travel; they should be carried about, crossing
the confines of existences.
Ten copies for ten artists who participate in Share Festival.
Rhetorizor
Elena Miele and Alessandro Magni, 2006
Copyright criminal
www.archive.org/details/criminal02mov
www.archive.org/details/criminal02mov
Copyright Criminals, by Benjamin Franzen e Kembrew McLeod
This documentary sets a positive point in the issue of sampling. Do we have the right to
sample? yes, we do. But many fools must be told yet. Someone wants to control music,
but you can't stop the rain from falling.
The Illegal Art Exhibit will celebrate what is rapidly becoming the "degenerate art" of a
corporate age: art and ideas on the legal fringes of intellectual property. Some of the
pieces in the show have eluded lawyers; others have had to appear in court.
Loaded with gray areas, intellectual property law inevitably has a silencing effect,
discouraging the creation of new works.
Carrie MacLaren Illegal Art show curator.
Free Entry
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UN-LIMITED CINEMA
Tuesday 08 | Sunday 12 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
by Luca Barbeni
An online moving image lives and renews itself through contamination with the different
new media that populate the Internet: chat lines, multi-user videogames, forums and
databases. Personal stories and collective narrations emerge using the hybrid language
of our post-media condition.
Webcinema re-combines the traditional language of moving images with Internet
interactive software; it remixes the contents of silent movies of the 20s with real-time
images of watch web cams. This originates a new language without limits of format or
contents that tells of our contemporary life.
Today, in the digital era, non-linearity has become the paradigm of our everyday life.
Compared to the standardised linearity of the industrial age, which offered both literature
and cinema masterpieces to mankind, contemporary storytellers can work within a creative
environment of interactive narrative settings, where the vehicle of narration isn’t time or
an actor, but the public or a software agent.
As Calvino says: ”each story runs around another story and while a person sitting at a
table on the left lifts up his banner, another one from the other side moves in the opposite
direction, because the stories narrated from left to right or from the bottom to the top can
also be read from right to left and from top to bottom and vice versa. We should bear in
mind that the same cards, presented in a different order often change their meaning and
that the same tarot simultaneously serves narrators starting from all four cardinal points.”
To tell the truth, the linear assemblage of traditional cinema has always forced reality in
an attempt to tell stories according to a linearity that our everyday experience doesn’t
possess.
Time is not linear, only cinema can make it so.
dbcinema
Jim Andrew (USA)
http://vispo.com/temp/Google2.htm
Artist, programmer and theorist, Jim Andrew is one of the pioneers of online audio-visual
experimentation. With this work, launched in 2005 and still in progress, he is part of a line
of research that, starting from Duchamp’s ready-made works, nowadays finds an
interesting realization in works of art that use Google as a support and tool. Our favourite
search engine is becoming the most popular media for retrieving images and sounds.
Oculart
Oculart (CANADA)
http://www.oculart.com/http://www.oculart.com
Jeoff Lillemon, known with the pseudonym of Oculart, is a surrealist artist based in Boston,
who, with this online project, expresses his surrealistic creativity through a series of
cinematic pictures. The screen becomes a veil to go through and the images recall texts,
poems and new horizons both figuratively and interactively. Obsessive sounds create small
interactive settings with a very personal style, made of loops, small videos, multi-level
perspectives, blurring and collages.
The Collective Intellingence project
Mutaforma (ITALIA)
http://www.mutaforma.com/collective/index.htm
Mutaforma is an artistic group created by Daniele Tito and Evilia Di Lonardo. The Collective
Intelligence Project is a project on sharing and manipulation of audio and video materials.
Nine artists each sought 10 audio files and 10 video files online that represent a store via
FTP. This store represents the basic material on which each of them has created his/her
own final video. By focusing on the theme suggested by Daniele Tito and Evilia Di Lonardo,
“MAN & MACHINE”, about the influence of machines in everyday life, every artist has
realized a video.
Triptych
Peter Horvath (CANADA)
http://www.6168.org/triptych
He considers himself an explorer and participant in the circle of media art on the web.
With this triptych video he explores three dynamics: movement, resistance and immobility.
By randomly assembling videos selected from three different subject databases, the artist
uses these three different movements as metaphors for universal emotional and perceptive
states. A video that - with its controlled/random structure - appears to evoke the same
emotions by presenting a different “triptych” each time.
imagepirate
Antonio Mendoza (USA)
www.imagepirate.com
Writer, artist and musician, Antonio Mendoza has realized a video by re-mixing film clips,
from “Taxi driver” to “The cabinet of Doctor Caligari”, and a sound-track that combines
various pieces from the Beatles to the Coldcut, and that he himself defined “an active,
non-narrative attack through the browser”. Imagepirate is the collective nightmare of our
pop culture presented again, through the schizophrenic assemblage of javascript and popup
windows.
Capsule Corridor-CU_people au
Fakeshop (USA)
http://fakeshop.com/cu_huhb
Two videos representing the subject of hotels and “watch rooms”, that the American artist
has treated several times, through installations, performances and web sites. The
monochromatic images with the faded and electronic colours of low-resolution cameras
present micro-settings of Tokyo hotels or a person in front of a webcam, where the contents
are only a metaphor of contemporary man imprisoned in his own audiovisual and mediacreated
corridors.
Free Entry
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RADICAL SOFTWARE
Tuesday 08 | Sunday 12 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
by Domenico Quaranta
If we leave aside its historical precedents, Software Art, in its classical definition formalized
by the Jury Statement of “Transmediale 2001” and extended by Florian Cramer, saw
the light in 1997 with The Web Stalker of the English Group I/O/D and with the theoretical
speculation started by one of the software authors, Matthew Fuller. Right from this first
example and definitions, Software Art reveals its radical nature. The fact itself of transforming
software from a mere instrument into “subject” and “contents” of a cultural and artistic
reflection represents a Copernican revolution liable to be considered as heresy. Similarly
heretic is the idea of adopting a language (HTML), a protocol of communication (HTTP) and
the whole system of cultural objects (the web) and make them visible in a form that contrasts
with their own original function. Software Art is radical even in its most harmless and
politically neutral manifestations; when, in addition, it overturns the structure of the browser
in controversy with the standardization of its interfaces, and when it adopts a slogan that
sounds like: “software is mind control, get some”, then the controversy turns into poetics,
the prime mover of a creative process.
RADICAL SOFTWARE is an exhibition including some recent examples of radical software.
The name pays explicit homage to the magazine founded by Ira Schneider and Beryl Korot
in 1970, that had the merit to combine, for the first time, political considerations and use of
the media (in that case mainly video and television).
][MEZ][
_[net]blog to log][ah!rhythm][_, 2006 -
http://www.livejournal.com/users/netwurker/
][Mez][ presents his blog as “a reverse-engineered weblog - read: _bio_log_ as opposed
to a standardized weblog”. In order to write it, you’ll need a “mezangelle”, the polysemic
idiom that you adjusting by making hybrid the natural language, code and metaphors on
the web, carrying on the experience started with e-mail art in the late 90s.
[EPIDEMIC]
AntiMafia, 2003 - http://epidemic.ws/antimafia/
It appears as commercial software for Windows, with a GPL licence. It is based on the
“peer to peer” programme, but instead of sharing files, its users share protest actions.
WSomebody launches a campaign, the others join it, the programme does the rest, in a
form of direct democracy bypassing any mediation or leadership.
AMY ALEXANDER
Scream, 2005 – http://scream.deprogramming.us/
Small software that, when activated, introduces in the application bar an icon modelled
upon the Scream by Munch. It stays quietly there until the machine, for some reason,
makes us angry. And we scream. Then the machine echoes our rage or our anguish and,
as it happens with the masterpiece of Symbolism, our scream “pervades the whole nature”.
CORY ARCANGEL
Super Mario Movie, 2005 - http://beigerecords.com/cory/
Super Mario falls endlessly into a world broken in a thousand pieces by a few
code: Cory Arcangel tunes up his electronic swan song to the landscape of our childhood,
accompanying it with an 8 bit sing-song and giving at the same time a lesson on
can produce a 15 minute video without wasting more than 40 kb of space.
MARKETA BANKOVA
Scribble, 2005 - http://www.initialnews.com/scribble
An ironical defacement of the CNN homepage, Scribble superimposes on it
are half way between urban graffiti and scribbles we draw absent-mindedly,
them in real time according to the contents of the news. The project uses a
drawings that are picked up according to the key words offered by the news,
be further extended, thanks to new drawings proposed by the users.
WAYNE CLEMENTSbr>
un_wiki, 2006 - http://www.in-vacua.com/un_wiki.html
Software that retrieves and visualizes the log file containing inclusions “rejected” by the
democratic system of Wikipedia: a consideration on the contradictions existing between
the apparent democratism of the software, that allows everybody to load contents, and
the substantial oligarchy of the community.
GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT
Where-next, 2005 - http://www.where-next.com/
A web page that makes it possible to bet on the place of the next terrorist attack, locatable
through a service of Google Earth. The winner is awarded with a T-shirt with a photo of
the attack and the caption “I PREDICTED IT!”. A strong reaction to the spectacular
representation of terrorism and expectation of new attacks, induced by the media.
PETER LUINING
Window, 2005; Giant Cursor, 2005; 100 windows, 2005 - http://works.ctrlaltdel.org/
Window opens a transparent window, through which one can see what is underneath and
work on it; Giant Cursor installs a cursor-pointer of abnormal size, but perfectly working;
opens about a hundred empty pages in sequence. Three minimal software products that
can be immediately de-coded, absolutely useless: but capable of revealing, like few others,
the conventional metaphors that curb our experience about digital space.
K-HELLO
Wasteoftime, 2003 - http://www.k-hello.org/wasteoftime/itindex.htm
Author of disrespectful and paradoxical conceptual software, K-hello invites us to an
unjustified waste of time (and space): fragmenting a text that we inserted into hundreds
of Web pages. The text is legible only by putting the pages into a grid but our computer
was not up to understanding it: an experiment of extreme dissociation between form and
content, but also in codifying the message in a form whose key to decrypting is just one:
patience.
MOLLEINDUSTRIA.IT
McDonalds Videogame, 2006 – www.molleindustria.it
A Flash Videogame Sim City Style, where the video player plays the role of the manager
of McDonald’s, busy with the management of the whole “assembly line” of the
multinational, from production, to sales and marketing. An overturn of the logic of
videogames used for advertising purposes.
ROVEBOTICS
Bush Bot 0.4, 2004 - http://www.bushbot.ath.cx/
For who might have been impressed by Bush’s “cyborg-like” behaviour, this is the
programme governing actions and speeches. Based on an old chat system, the software
makes it possible to chat with Bush as well as to offer him new material for his speeches.
UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO CIRIO
GWEI [Google Will Eat Itself], 2005 – www.gwei.org
Or: how to buy oneself Google with its own publicity. GWEI is an organization that avails
itself of the support of a series of sites, subscribers of the Google service Adsense
(advertising links where the subscriber earns a sum for each link clicked by its users)
and of software that manipulate the programme to increase the number of clicks received
by Google. The money is reinvested in Google shares, bought and then distributed among
the users, after subscribing to GTTP Ltd. (Google To The People Public Company)
In other words, Google is becoming slowly but relentlessly devoured by its users, who take
the money paid for advertising.
Free Entry
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SLOVENIA: THE GEOGRAPHICAL LIMIT OF THE OLD CONTINENT
Tuesday 08 | Wednesday 08 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
Slovenia is the 2006 Host Country: a show within a show. Every year,
Share Festival focuses on expressive forms of digital culture, to be
global, but is rooted in the multiple diverse cultures that we meet
through interfaces with PC’s or mobile phones. Each edition of the
Festival will offer space and particular attention to the digital soul of a
country or culture. During this second edition, the young Republic of
Slovenia, which has recently joined the European Union, is a new
territorial confine of the old continent.
Slovenia: The geographical limit of the old continent
by the Aksioma – Institute for Contemporary Arts, Ljubljana, in
collaboration with Intima Virtual Base. Supported by the Ministry of
Culture of the Republic of Slovenia.
Problemarket.com
the Problem
Stock Exchange
www.problemarket.com
www.problemarket.net/aboutus.html
by Davide Grassi and Igor Stromajer
Special Guests: Antonio Caronia and Mare Bulc
by Davide Grassi and Igor Stromajer
Ballettikka
Internettikka
by Igor Stromajer and Brane Zorman
Production: Intima Virtual Base
www.intima.org/bi
SilentCell
Network
by Mare Bulc, Davide Grassi, Bojana Kunst and Igor Stromajer
Production: Intima Virtual Base
Co-production: Aksioma – Institute for Contemporary Arts, Ljubljana
www.silentcellnetwork.org
DemoKino
Virtual
Biopolitical
Agora
www.aksioma.org/demokino
www.demokino.net
of Davide Grassi
Screenplay: Antonio Caronia
Production: Aksioma – Institute for Contemporary Arts, Ljubljana
Free Entry
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LIVE SET NIGNIGNIG
Tuesday 08 - 19:00
Accademia di Belle Arti - via Accademia Albertina, 6
Free Entry
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LETITIA SONAMI LIVE
Tuesday 08 | Thursday 09 - 23:00
AB+ - via della Basilica 13
"This [The Lady's Glove] is for me the ultimate instrument in dealing with expressivity in electronic music -- if you move one finger, everything else moves. It's multiple controls to multiple variables in the sound ..."
Laetitia Sonami synthesizes advanced technology, original music, and narrative into an intimate, spontaneous art form all her own.
She worked with instrument-builder Bert Bongers in The Netherlands to develop the The Lady's Glove, which allows her to bend her fingers, raise and lower her arm, and touch her fingers together to control computer-generated and -processed sounds.
Her performances include the Berlin-Musikerinnen Festival, Lincoln Center Outdoors, Center for the Arts at Yerba Buena Gardens (San Francisco), The Kitchen (New York), Bang on a Can, Interlink Festival (Tokyo, Kyoto, Kobe, Sapporo), Le Garage (Paris), and in venues in Amsterdam, Zurich, Quebec, Berlin, Barcelona, Vancouver ...
A native of France, Laetitia Sonami currently resides in California. She continues to compose, and travels extensively performing with interactive electronics.
Available CDs
Free Entry
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STORY TELLING MACHINE
Wednesday 09 | Saturday 11 - 10:00
Accademia di Belle Arti - via Accademia Albertina, 6
LIMITLESS WORKSHOP
Participants: ANTONIO ROLLO
Free Entry
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PIONEERS AND EXPERIMENTERS
Tuesday 09 | Sunday 12 - 13:00 -> 21:00
Accademia di Belle Arti - via Accademia Albertina, 6
This section is dedicated to those people who have opened up the road
and experimented with artistic use of digital technologies - a taster to
some of the projects created today by artists with far more highly
sophisticated tools.
Just a few days after the father of video-art passed away, the community of artists, writers and academics taking part in Share 2006 will brief pay their respects to the Korean artist.
Nam June Paik, father of video-art.
One of the first artists to recognise the potential of the electronic media and its influence on culture and the economy was Nam June Paik (Seoul, 1932–New York 2006).
After having completed his studies in aesthetics, history of art and music at university in Tokyo, he settled in Germany for a few years. In 1958, he met John Cage, David Tudor, Gorge Maciunas, Joseph Beuys and he immediately became part of Fluxus.
The first
experience in video-art developed, in fact, within this artistic movement bordering on integration and disintegration, aimed on taking away the importance of the artistic object
and giving it instead to the situation or show. Fluxus was created in the United States towards the end of the '50s where tendencies like neo-Dadaist merged with anarchycommunist
Utopias. At that time, there was Soviet Union and United States confrontation on the international
scene and anti-Communist climate forced the group to move to the old continent.
The poetic part of this movement is essentially founded upon two principles that came to
represent the bases of Nam June Paik productions. They proposed to found a new sociocultural
environment in which a more immediate circulation of new aesthetics was
possible, aimed at reducing the distance between artist and audience. Secondly, they
proposed to supply new artistic models that went against the rules and conventions of
institutional art in order to establish a totality, an unknown entirety, redefining aesthetical
behaviour and active exchange of languages.
From 1960 onwards Nam June Paik frantically moved between New York and Berlin, Paris
and London, living first hand the concept of mobility as a stimulus to life. This stimulus
never abandoned him, despite always being conscious of his own cultural and civic roots.
On 11th June 1963 he presented the galleries Parnasse of Wuppertal with 13 TVs: 13
distorted TV sets, a performance in which prepared and up-side-down pianos are mixed
with different sound-making objects like pots, keys, a disjointed female manikin in a
bathtub and a bull’s head dripping in blood. 13 television sets were added to these showing
as many different distorted and deformed, abstract images, static but vibrating with light.
In this first installation Nam June Paik already showed his omnipresent tendency to destructure
the new “TV utensil” - and its enormous standardising potential - showing itself
in the decomposition of the various mechanical supports and giving them different
importance. In 13 TVs, Nam June Paik redefines the electronic image, a black and white
television image, intervening both horizontally and vertically on the bright modulation.
The electronic image is exalted in its primary bright component although it is contrasted
in its television image appearance that is credible and therefore unique. One year later,
Sony launched Porta Pack on the market, the first portable amateur television camera.
This event made Paik free to experiment with new synthesis of filming, allowing him to
throw himself headfirst into experimentation video and constitute a new image thanks to
critical de-structuring of the stable elements within television communication. In 1965,
he succeeded in realizing New York: Cafè Gogò, 152, Baker Street, 4 and 11 October, 1965.
In New York, Paik experimented filming outdoors and made the first transmission managed
by an artist. He concentrated on a moment of chaotic New York traffic, the very day of Pope Paul VI’s visit. He put his work on show - practically live - the same evening at the
Cafè Gogò in Greenwich Village. Paik was the first of a series of artists who made amateur
reporting into a real artistic event.
After this first experience – making Paik famous all over the world as the first video-artist
in the history of art - he worked in many countries, included Italy (the most famous possibly
the installations in Asolo, in the province in Vicenza, in 1991 and in Rome in 1992. Nam
June Paik: electronic arts, Cinema and Media towards the XXI century, Palazzo of delle
Esposizioni, Rome). Here, he put on personal exhibitions and, contemporarily collaborated
in numerous art exhibitions in Europe, Asia and the United States. His is the first television
experiment given over to artists via satellite that contemporarily transmitted art
programmes in Korea, Japan, France, Germany, England and the United States. It
emphasised his intention to integrate and exchange live in numerous languages and in
as many profoundly different and distant artistic and social cultures.
William Bolzoni
Noema - Tecnologie e società (http:// www.noemalab.org).
www.noemalab.org/sections/specials/tetcm/2002-03/nam_june_paik/paik.html
VEP – Virtual Electronic Poem project, Le Corbusier, VEP project - Virtual Reality & Multi Media Park – Director: prof. Vincenzo Lombardo
www.edu.vrmmp.it/vep
The Poème électronique was an unique experience, originating from the request made by Philips to Le Corbusier to design the company pavilion at the Brussels 1958 World Fair. The whole project was initiated and directed by Le Corbusier, who also selected the images for the audiovisual show. Together with this visual show, there was the organized sound, composed by Edgar Varèse and delivered through 350 loudspeakers distributed in “sound routes”, and the stunning surfaces of the building (hyperbolic paraboloids), designed by Iannis Xenakis.
The goal of the Virtual Electronic Poem (VEP) project, co-funded by the European Union through the Culture 2000 programme, is the realization of a virtual reality (VR) environment, capable of reproducing the global experience of the Poème électronique through a philologically accurate reconstruction of the original installation and a technologically innovative VR implementation, which is effective both in the visual and the auditory domain (using stereoscopic vision and binaural audio).
Free Entry
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TOMORROW NOW: PROBLEMS OF ORIENTATION
Wednesday 09 - 14:00
-
Stefano Coletto
Fondazione Bevilacqua la Masa - Tomorrow Now
Tomorrow Now is the title of a recent book by Bruce Sterling in which the American author
proposes and investigates certain themes which portray the near future. In an article
published in the magazine Domus, Philippe Parreno mentions this book when emphasizing
how writers like Sterling and Gibson, who some years ago imagined and told of the future
from an utopian slant, have today toned down their predictions by concentrating more on
the idea of "an updated present".
From this idea and with the willingness of the Bevilacqua La Masa Foundation Tomorrow
Now - Contemporary Art in the Digital Culture was born, a project that explores how digital
culture is influencing present-day transformations and how contemporary art is dealing
with these transformations.
Such a project has posed many questions at curatorial, theoretical and organizational
levels. Thus, it is hard to avoid an open discussion that reintroduces the problems of
orientation in the immense database surrounding us.
Free Entry
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Wednesday 09 - 16:30
Accademia di Belle Arti - via Accademia Albertina, 6
Free Entry
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CONNECTIVE ARCHITECTURE: MOTOR OF CULTURAL DEVELOPMENT
Wednesday 09 - 18:00
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Derrik De Kerckhove and Assessor Gianni Oliva.
The connective architecture is basic for cultural development of a Region like Piemont.
Derrik De Kerckhove will analize this issue during intervention and meeting with the
Istitution.
Free Entry
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PROBLEMARKET.COM
Wednesday 09 - 19:30
Accademia di Belle Arti - via Accademia Albertina, 6
by Davide Grassi and Igor Stromajer
Special Guests: Antonio Caronia and Mare Bulc
by Davide Grassi and Igor Stromajer
Production: Forum Ljubljana 2001-2003, Grassi-Stromajer 2003 - 2006
Participants: DAVIDE GRASSI E IGOR STROMAJER
Free Entry
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PRESENTATION AWARD 2007
Thursday 10 - 12:00
-
Round table with Vicente Matallana, Juan Carlos De Martin,
Andrea Bairati, Guido Bolatto, Simona Lodi.
Free Entry
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A BILLION CREATORS: CREATIVE COMMONS
Thursday 10 - 14:00
Accademia di Belle Arti - via Accademia Albertina, 6
Juan Carlos De Martin
The Creative Commons project, created in 2001 in the United States, stems from the need to offer more flexible protection through author rights for talent production, with the aim of favouring diffusion of creative contents via tools of easy and free use.
The motto "some reserved rights" sums up the balance between protection for creators and that for community access.
The Creative Commons Public Licenses (CCPL), available in English from December 2002 and in Italian from December 2004, is the tool offered to authors to distribute their works with greater liberty, both in physical and digital formats.
In this second case, works released with the Creative Commons license can use a so-called metadata license that
not only clarifies the rights linked to the work beforehand – thus protecting the user - but also makes important innovations possible in the fields of research and sharing of digital
contents.
Free Entry
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FROM THE URN TO THE URL. REFLECTIONS ON DEMOCRACY, PARTICIPATING, STATE AND VIOLENCE
Thursday 10 - 15:00
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Antonio Caronia
“Beyond real democracy, then, is some other form of politics to look for.”
With these
words Jean-Luc Nancy raises a question that has been set several times over the last few years by the new social movements (not last - the question of TAV in Val di Susa and Piedmont) and Davide Grassi’s getting back to work, Demokino.
This matter is not just connected to the problem of decisions and participation within complex societies, but also to the new opportunities that emerge with digital communication technologies.
It could
even be that a term - by now misused - like “democracy” no longer expresses the
increasing need to participate expressed by individuals and social and local groups.
New political forms and new citizen lifestyles and participation must perhaps be sought - more consistent though to the human global condition in the XXI century.
Free Entry
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DIGITAL MEDIA FOR THE MAINTENANCE, PRESERVATION AND (RE)INTERPRETATION OF ARTISTIC PRODUTIONS
Thursday 10 - 16:30
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This round table will discuss the theme of the preservation, maintenance and
reinterpretation of artistic works in the contemporary age through digital media.
Contemporary works present a variety of media techniques that require strong
interdisciplinary skills and specific peculiarities in describing their exhibition.
According the relative sector, preservation and maintenance issues have been met with
specific methodologies that could benefit from intercommunications.
The speakers will share their experiences in sectors like cinema, videoart, and net.art,
music, cataloguing cultural treasures, contemporary art, and multimedia installations.
Speakers:
Andrea De Pasquale (Pasquale (Regional Office of the Ministry of Cultural Heritage and
Landscapes)
Massimo Ferronato. Luca Lampo (EPIDEMIC - PROGETTO VIDEOTECA, Turin Gallery of
Modern Art “GAM”)
Vincenzo Lombardo (CIRMA, University of Turin, VR&MM Park - Turin)
Antonio Rava (Albertina Fine Arts Academy)
Sergio Toffetti (National Film Library - Rome, VR&MM Park - Turin)
Free Entry
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DEMOKINO
Thursday 10 - 19:30
Accademia di Belle Arti - via Accademia Albertina, 6
by Davide Grassi
Screenplay: Antonio Caronia
Production: Aksioma – Institute for Contemporary Arts, Ljubljana
Free Entry
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02L DJ SET
Thursday 10 - 22:00
Accademia di Belle Arti - via Accademia Albertina, 6
02L is the acronym for Outside Standing Level.
02L is an international band-laboratory project of music, creativity and technological
innovation.
Free Entry
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PERFORMANCE LIVE "HELP"
Thursday 10 | Saturday 11 - 22:00
Accademia di Belle Arti - via Accademia Albertina, 6
by Paola Lattanzi and Andrea Linke
Music by Andrea Meloni (a.k.a.
bbs@nukesatori.org
3D IntrigueVision: Pietro Carlomagno
(Installation and performance commissioned by Publicis).
Free Entry
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NEW ARTISTIC PARADIGMS: INTERACTIVE INSTALLATIONS BETWEEN ART, TECHNOLOGY, AND SCIENCE.
Friday 11 - 14:00
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Mario Canali
ABSTRACT
INFORMATION TECHNOLOGY: The virtual paradigm: Information, Technologies, Reality and Imaginary. Abstraction and Experience.
SCIENCE: 20th century science and new views of the world: relativity, indecision, and involvement of the observer. COMPLEX SYSTEMS and determinist unpredictability.
RETROACTION CYCLES and emerging configurations.
AESTHETICS. Artistic experience and interactive installations: emotional involvement, sensorial interfaces, synaesthetic elaborations, significant coincidences.
Form emerging as a result of interaction processes.
THE NEW OPUS.
Free Entry
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INTELLECTUAL PROPERTY: A LIMIT OR AN INCENTIVE FOR CREATIVITY?
Friday 11 - 15:00
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Simone Aliprandi
A reflection/debate on the new role that copyrights and patents may assume in today’s digital and interconnected world.
Presented and coordinated by Simone Aliprandi, head of the Copyleft-italia.it project and author of several books on opensource culture and new distribution models for inventions.
With the participation of some spokespersons from Italian organizations active in the world of free IT (like "linux@studenti", part of the "open@polito" project) and in the world of alternative production and distribution of creative contents (like the “Rete TO&TU" network of the “Centri per il Protagonismo Giovanile” and those responsible for the
playandshare.net project).
This event will also serve to present the new book "Compendio di libertà informatica e cultura open" (IT Freedom and Open Culture Handbook), containing the most important landmark texts regarding this interesting theme.
Free Entry
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WIKIARTPEDIA (WWW.WIKIARTPEDIA.ORG) - THE FREE ENCYCLOPAEDIA OF THE ART AND CULTURES OF TELEMATIC NE
Friday 11 - 16:00
Accademia di Belle Arti - via Accademia Albertina, 6
Tommaso Tozzi
WikiARTpedia is an open read-write archive and part of the uCAN Research and Documentation Centre at the Accademia di Belle Arti (Fine Arts Academy) of Carrara .
Through notes, texts, and thematic and space-time organization, it promotes, studies, and documents the arts and cultures of telematic networks through the free participation of its users.
Wikiartpedia follows in the footsteps of BBS Hacker Art, begun in 1990.
It is coordinated by Professor Tommaso Tozzi, together with editors (Massimiliano Menconi and others) and the contributions of his students at the Accademia di Belle Arti of Carrara and the University of Florence, promoting the concept of the work of art as common ground.
Free Entry
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THE LIMIT OF WRITING
Friday 11 - 17:00
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by Fabrizio Vespa
The limit - or better limits - of writing are one side of a manifold series of reflections and interpretations.
The idea of the meeting then is to play on the concept of limit through individualizing some extreme, very contemporary, symbols of writing or graphic language.
These include: the world of blogs. The online diaries are widespread and launch the web towards a new spring.
Enrico Sola, computer and blogger and Axell, one of Turin’s prime bloggers will tell us the latest.
Writing. Art or crime against decorum? Roberto Tos, organiser of the recent review Re-Writing, takes part together with Turin writer/street artist Pixel Pancho.
To make a novel or write a song, but importantly - make a send up.
Max Bellarosa takes part, producer of the Sberlicchios and bastard pop craftsman together with other writers and journalists.
Free Entry
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“HYPER-SURFACES"
Friday 11 - 18:30
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Davide De Rossi and Christoph Wagner.
New computing technologies offer new expressive opportunities to architecture and increasingly influence our way of representing and conforming architecture.
What relationship can architecture have with a pervasive culture of the immaterial represented by images and sensorial factors that are strengthened by techno-computing?
Interactivity phenomenon and “hyper-surface” concept lead to changes in a building’s cladding to make it sensitive, like changing and living skins; new communication and interactive functions with the outside are then asked of them.
How will we know how to reconcile the new immaterial qualities of space with the architectural needs for lasting, heavy, solid structures?
What type of architectural identity could we establish in this continuous oscillation among virtual and real or image and body?
A good example is the 1350 square meter media-installation "SPOTS" in Berlin designed by realities.united and Christoph Wagner as project-architect.
It is an exhibition that pursues a unique concept:
an office building on Potsdamer Platz is being transformed into a seeing object.
Free Entry
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RAW
Friday 11 - 22:00
Accademia di Belle Arti - via Accademia Albertina, 6
Free Entry
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NUKE SATORI MUTANT FISH
Friday 11 - 22:00
Accademia di Belle Arti - via Accademia Albertina, 6
Mutantfish.net
Founded in Milan in 2004, MutantFish (MF) is a lab made up of
professionals from different sectors of communication united by their
interest in integrating different disciplines in order to go beyond the forms
of traditional communication.
The network is dedicated to research and experimentation thanks to open
collaboration among its members and by merging different expressive
forms: video / audio / graphics / preparation, from video clips to videopreparations
and from VJ sets to technical consultancy.
Free Entry
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TWELVE YEARS OF SONAR: A BET FOR ELECTRONIC CULTURE WITHOUT LIMIT.
Saturday 12 - 15:00
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Oscar Abril Ascaso
The Barcellona international festival of advanced music and multimedia art was created in the year 1994, in a historical moment of creative effervescence and reconstruction of the city, with the intent of organizing a limitless container of electronic culture.
Music and art are the ingredients of this festival that has now become an international reference for electronics when applied to creativity.
Even if the main event is music, Sonar is also an important show in the panorama of the latest artistic tendencies linked to new technologies. Over the last two editions, “SonarMatica” the largest exhibition area in the festival, has concentrated on projects dedicated to phenomena connected to the XXI century micro-nations and scenes.
Another interesting area is the one called “SonarRama” that is an interesting stage concentrated on the evolution of digital art.
Both spaces are witnesses of the evolution and progress of
art when linked to the new media and with its own implementation in contemporary society.
Living actively in the XXI century, Sonar is set as a thermometer on the state of electronic production in the globalized world.
Free Entry
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NOMINATION AWARD A TRANSMEDIALE 2006 WITH “GOOGLE WILL EAT ITS SELF”
Saturday 12 - 16:00
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Commercial Autocannibalism, (GWEI - Google Will Eat Itself)
We generate money by serving Google text advertisments on a network of hidden Websites.
With this money we automatically buy Google shares.
We buy Google via their own advertisment! Google eats itself - but in the end "we" own
it! By establishing this model we deconstruct the new global advertisment mechanisms
by rendering them into a surreal click-based economic model.
After this process we hand over the common ownership of "our" Google Shares to the
GTTP Ltd. [Google To The People Public Company] which distributes them back to the
users (clickers) / public.
How can a dictator be funny for the people? One chance is to know how to entertain the
people, while continuing to influence every decision they make, so invisibly maintaining
the totalitarian power untouched.
Google's management knows very well how to entertain surfers. They are not
(totalitarian) government, but they are the first, and almost only reference for most of
the internet users. Moreover they periodically announce and release new, effective (and
entertaining) services. People like these services. People want them and want even more
of them. It's not a Microsoft-like type of monopoly at all.
On the Google planet everything works and is easy and funny. Everything is light (as the
interface) and tasty (as the images search), resource-rich (as Gmail) or fast and updated
(as Google News). So the "cream" of fun and the "strawberries" of interesting results
talking of a monopoly, or so, in a certain number of strategical net economy sectors...
Participants: ALESSANDRO LUDOVICO
Free Entry
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TORINO FLASHFESTIVAL 2006
Saturday 12 - 17:00
Accademia di Belle Arti - via Accademia Albertina, 6
Virtuosities, boredom and flashes of genius.
Animations freed from the Net? But the Net isn’t a prison anymore, it travels fast; Does
it get to go first class? And can the monitor be expanded? What is the true size of a flash
film and how long does it last? In 2006, words move on the FlashFestival timeline partner
- WebMania-Grinzane Cavour.
Free Entry
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HEROES ON ICE, SHORT FILM 10'
Saturday 12 - 18:20 -> 18:30
Accademia di Belle Arti - via Accademia Albertina, 6
A collection of 12 short documentaries directed by Matteo Bellizzi and produced by Stefilm.
At 18, Ciaz was the local hero and ice hockey champion. Five years after he lost a leg in
a car accident he is appointed to create the first Italian ice sledge-hockey team. The Italian
para-olympics will start in Turin on the 9th of March 2006: an enormous challenge for
Ciaz, the ‘new’ players and the olympic organizers. And Ciaz had just a year to get ready!
Free Entry
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IL SENSO DEL LIMITE
Saturday 12 - 18:30
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Conference curated by Pino Zappalà (divulgatore - Extramuseum - Centro
Scienza) con Roberto Saracco (Tilab), Aldo Fasolo (neuroscienziato),
Motor (artista e informatico, esperto di intelligenza artificiale),
Gian Alberto Farinella (professore di Estetica Accademia Albertina),
Alessandro Isaia (Toroc), Giuseppe Vercelli (Università di Torino - Psicologo
dello sport), Franco Pastrone (Università di Torino - matematico)
The sense of limit is frequently connoted by tension, as if near to a boundary. These can sometimes be resolved through good relationships, or maybe by accepting the limit or
even going beyond it.
The limit is not the end - it very often represents a new beginning that, after temporary
disorientation, reveals new landscapes and opportunities. In a certain sense it is endless
- it almost always moves further away.
What is the limit of the life of a cell or person? What sense is there in surpassing yourself
to make a new record? What is the limit in art? A point of escape like in the perspective?
In general, telecommunications and technology produce new extensions beyond the limit
of senses or body. Often this helps us live better, other times it complicates our
relationships.
Free Entry
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CITIZEN JOURNALISM
Wednesday 25 - 11:00
Laboratorio Multimediale Guido Quazza-MULTIDAMS - Università di Torino Palazzo Nuovo,Via Sant' Ottavio 20
“shared” journalism
Participants: LELE DAINESI
Free Entry
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