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In he was assigned by the newspaper Corriere della Sera to cover the Giro. Buzzati was not a sports writer and although he loved cycling, he had never seen a bicycle road race in his life! It was probably because of this that he was able to experience and write about the Giro in a a unique, original, and touching way, capturing not only its drama and epic majesty, but its humanity, poetry, magic, and romance. The following passage is one of my favorites. No, non mollare, bicicletta. A costo di apparir ridicola, salpa ancora, in un fresco mattino di maggio, via per le antiche strade dell'Italia.

Tu non badarci, bicicletta. Vola, tu, con le tue piccole energie, per monti e valli, suda, fatica e soffri. And next year, the start will once again take place, and yet again the year after, from spring to spring Until but will we still be living? No, don't give up, bicycle.

Now for me and for Sonambiente this other side is at least as interesting, that visual artists have become more and more interested to integrate sound. Sometimes audible, sometimes not audible, we have to reflect this fact likewise, and the converging moment of this, from several sides.

Matthias Osterwold: Carsten Nicolai is a very good and outstanding example because in his work the technical process producing sound and image is the same. So, it comes from the same algorhytms, the same circuits. This is the a really completely integrated approach to it and that leads us to the importance of digital technology, which somehow by itself is neutral regarding the media, is just like a tool, and then it can be transformed in different formats it can be patched to different senses.

I think this is exactly the point, and also artists should be aware about that, they should be conscious, because one thing is to use sound because many works are based on sounds and another thing is to think to sound structures or sound processes. He is a very good example as a Berliner, as an artist who really grew up in Berlin where he builded up his esthetic which is both active in visual art and music.

Nicolai is well known as a visual artist and as a musician. And this reconversion is really interesting because it can only exists in that way through digital technologies. He relates strongly to history and memory. Very strong artist. In term of creation, in this kind of obsession for creativity, certain artists deal with found objects any kind of objects: sound, visual, found material from archives, museums or the city.

And they rewrite tracks, re-write pathways. Young people, senior citizens, kids. And the fact that you present works somehow also in the public space makes things different because the public space is not just a space. As soon you insert materials into a normal context, in a street for instance, in a shop whateaver in am meeting point. Matthias Osterwold: Yes, but this is of course dialectics. To present these all accessible and relatively cheap digital technologies for own sake as a fetish kind of show off tool is becoming more and more less interesting, as maybe a virtuoso handle becomes.

The dialectis: if you have it make use of it but leave it at the same moment behind in order to reflect something else maybe history, maybe very simple things, maybe social conditions or whateaver and I think that Paul DeMarinis is a master in playing with this dialectis that makes his pieces especially strong, and talking about him because he is an This place changes and it especially change in the perception of the people who are normally there.

Matthias Osterwold: Sound artists or this kind of art very often belongs or relates to a philosophy of non separation between life and art. Not the idea of isolated and ermethic artwork which sets up high barriers of knowledge pre-information of social attitude. It is really true for most or at least the vaste majority of sound art works.

From that point of view and also the use of materials, the situated approach, but also using sound which is… we have the ears! So you have actually two places with the same importance where you are at the same time visual and acoustical. But these two worlds shift each other creating something which is different from a simple visual approach. And actually is interesting, for instance, the level of irritation that soundart in public spaces can produce.

A tiny little sound repeteated for few hours in a very normal place is nothing special. But how comes that this little thing can become so strong in the perception point of view? Matthias Osterwold: Because you close off. Sound is the most accessible media, you cannot close your ears! Which means: relationship not only visual domain and sound domain but also productions. Between galleries, concert halls, theatres and these site specific works also in term of real production.

Does it work? Like how the artwork can be sold? Janet Cardiff and George Bures Miller are a good example because the they were always working with sound but mainly within the art world, dealing with art institutions, and they are successfull. There are many other cases which are not so succefull. Famous visual artists are unknonw in the music world and so on. You can listen to several different sources at the same time and select all the volumes, all the levels. Matthias Osterwold: Sometimes it happen that sound art works becomes a negative irritation. We have some experiences like that.

If you present sound works you have to be very careful how to present them because by nature soundwaves get together and I have seen exhibitions which were very messy, sometimes cacophonic. Sounding together of different soundworks which somehow substract the essence of the single work actually because another one intervene.

This is one of the reasons. Matthias Osterwold: For the artists this is a very crucial point. They want to live with art as an economical aspect and it has the aspect of how to create spaces, networks in wich works can be developed and coming to existence. But from the single artist this point actually is very crucial. And also therefore makes sense to see these artworks because you have to go from place to place or on-site. Hard, really hard, really hard to explain. Now the question: why visual art places should be interested in sound art, as art without labels? Matthias Osterwold: The answer is simple.

Involving visual is even necessary because some of the works in the context of visual arts which make use of sound are pretty little developed in terms how they use sound. So there is still a certain ignorance or neglectance of the musical aspect. How can you convince a certain institution that a specific soundart work is interesting for them? Why Hamburger Bahnhof can be interested in Carsten Nicolai, as it happened a few months ago, or Gordon Monahan, which another very interesting artist.

So this means a lack of education in art schools about sound. So this is a kind of temporary school, which gives a very good cue because education is so important, and the education should happen before, during, and after Sonambiente. Matthias Osterwold: I believe this is necessary for the art education institute to reflect the processes and the development of these interdisciplinary intermedia art, including sound. This is really necessary, as necessary and true is for the museums art exhibitings and art presenting institutions to take notice and to take care of the fact that there are these integrated works.

That means programs, that means also architecture. This is neglectance of the acustical aspect. Educational institutions should integrate that, this is a little bit coming on the way. For us this was very important. Institute, even Weimar, Robin Minard. And for us this part of the exhibitions is really very essential, because they want to support us, and also the networking aspects Sonambiente related, and collaborators, so many producing networks. This is another very important aspect, and also somehow will support the no labelling, or label as less important for this forms of art.

How you deal with formats? Sometimes strategies are very simple, but they have to be part of the process, so artists and curators, they should think in term of process in a creative way, about all the possible. And then, very important, for instance for art places like museums, they should have post production facilities within the house, they should be able to do it inside, without running between studios or whatever, because now there are no excuses, technologies are very cheap, so you can make a full lenght movie with a simple pc, with the highest quality, and you can shoot in a digital way, you can record in a digital way, so there are no excuses, not like 15 years ago.

A few last things.. I think that a festival should produce online, which is an important place, the website is not just propaganda, should produce materials which are available for everybody for free, to be. So just wonder about that and if, again, the website, is gonna have a kind of media lab online, i mean this laboratorium. Does the laboratorium happens only in a physical place, which is also very good, or also online and in which way. Are there any strategies? And then webcasting. Is there any webcast?

And another question on the website: what about remote contributors? Are there any plans? Maybe yes, maybe not? From some remote partecipations which can go into the process. Matthias Osterwold: On the other hand I have to say like, due to certain limited capacities the Sonambiente website will be somehow conventional in that sense, that it is more used to presentations and documentaries for the exhibitions. But this is not completely true because we do have some web projects and open network creative projects like the Society of Algorithm. They will But this is not a very extended area.

We of course planned it already to has been done with Sonambiente, this was still on the net, at least as a document and completely visible. But if we hopefully have success with this concept maybe it helps us to set up and to find new sources in order to run this as an active performances, starting from this. People they really need spaces like these. Arrived in Barcelona from NSK State to present in a grotesque form the colossal project Inhabited Sculpture One Versus One , a show where the space has no gravity, in a training capsule that has 5 stages along 50 years, that provides the substitution of dead actors with mechanical avatar, assigned to be sent in the space at the end of the project.

In the long list of festival that follows during the year, and that gets longer and longer, The Influencers conquered an enviable position as a cult event. Organized in Barcelona by the d-i-n-a network, creator in Italy of net. A confrontation that often goes on even outside the event and remain in the memory as an experience, more than as a passive moment. A movie built as a reality, to verify the strength of the marketing in a country where this has supplanted since little the regime propaganda.

The day after the opening hundred of clients went there. People like Vuk Cosic, Paul D. Vuk Cosic is the ineffable father of the net. An absolute European preview will be the intervention of Oscar Brahim , an Argentinean Taxi that has in his trunk the necessary to modify the visual ambient every time that the publicity comes into his eyes. During the night of the 8 th July the festival will close with the Chicks on Speed, the applauded mothers of the electroclash that conquered the fame deceiving public and critic with false registrations and merchandising.

As you can see, the link from different proposes is fleeting, but sturdy. A tradition that goes through the second half of the Twentieth Century, and that Influencers proposes to rebuilt. ON, dedicated to the mobile technology and culture. But his work is different from the other artistic projects that seem to parade the use of the new technologies, loosing sight of the real contents of the project.

This years-old English man proposes a simple, poetic and clever idea, whom realization goes further than the narrow expositive spaces. Artist, academic, activist, Christian Nold is one of those characters that moves on the line between Art and Science. And he does this in a very critical way. His Biomapping research project has moved around the most important new media art festival since a couple of years ago, last of all the Barcelona Sonar, inside the exhibition ALWAYS. The confluence between wireless and mobile technologies made our body, the space and the perception of it traceable, perceptible, able to be.

What happens when the desire of wireless ubiquity goes further than the consumeristic one proposed by the sparkle and pressing high-tech window? What if we get involved into biotechnologies and we decide to change the point of view of our maps? What happens if we decide to look over the of our connections and re-define the space of our daily physical and emotional experiences? We produce information, without being able to access to them and without realizing that. As data flow we move and live on pre-set paths created by the information society, as real actors we take our daily choices between guided routes and preexistent options, as diligent users we.

From anonymous presence on the surveillance system closed circuit screens, our physicalness turns into conscious corporeity that generates data, or better contents, and creates interesting questions on the definition and production of what we call space.

Poesia italiana "I grandi Amori" (s.p.)

It is just a question of re-configuring the power. Biomapping increase our perception and make visible to the society, but ourselves in the first place, the emotional states that determined spaces and situations provokes on us. The result is in fact tangible in the visualization of real personal cartographies that, shared with other users, enrich the mapping of the territory around us and open the sight to an unexpected and new way to look at it.

I software autore per la didattica - 2. I programmi autore - Ledizioni

The invisible interaction of the anonymous mass breaks the lonely simultaneous proceeding, and emerges in coloured paths, reinterpreting the digital passage where space and technology become, this. And he does this in the free creativity granted by the meeting of art, design and scientific research. He combines the GPS mobile technology with the biometrical GSR galvanic skin response , destined to find the stress level of our body. The dimension of an i-Pod, equipped with a webcam combined with a surveyor of pressure to wear on the elbow, Biomapping is nothing but a portable receiver connected on three satellites that records our emotional state in.

We talked about that directly with Christian Nold. Rigid and static geographical coordinates or a social dynamic space? How this last can be reached? The phenomenon of the Emotional Mapping has lot to give to the tactile media tradition. With a smile, I can think about futuristic wanderers that interact with the surrounding urban space. Sara Tirelli: How does the idea of this project was born?

Does your challenge develop from political reason or better focus on an innovation in the area of the portable wireless technology design? It is surely a new approach to the cartography that, in clear contrast with the institutional one, challenge the iconography imposed by the power, and leave the sight to alternative ways of participation from the people. Matter of power of vision, but not only. Christian Nold: My Biomapping pj has two strengths: from one hand is about responsible Biometric technology, wich are being kind of use and abuse a lot nowadays [ Tactile is not the instrument itself, though the entire.

From one hand biometric datas means smt to me but i think it become interesting when we also start to share it and start to commonly look at our usefull space and how we can represent this idea of production of space is really a crucial thing to me. Sara Tirelli: Have you ever thought about biomapping as instrument of democratic participation to people to make conscious social and political choices? Christian Nold: I think for me the idea how i want to use the tool biomapping, if i want to use biomapping or not as tool for changing the enviroment is a difficult question.

Creating maps is much more than creating maps in itself, is more about create a tool that allows to kind of see our enviroment in a different way. My project is also not quite a tool, is more a complicate overrelations with tools. Sara Tirelli: Biomapping is a project that exits the strict border of art. Which are your personal experiences in the role of artist who uses the techno-scientific industry instruments? Christian Nold: I think every artist has to be aware of their own pj and see in a kind of realistic way outside their own desire for their pj the potential use of it in the outside world.

The response to my pj has been very curiose: from one hand i had people healt professional very interested in how to monitore the level of stress, and i had marketing people really enthusiastic of this pj who really felt this is a way to see how people feel, definitely seeing why people go in certain place. Off course we can never totally control it, but artists never tend to generate weapon, never tend to create powerfull scary thing anyway. Using new technologies, the work proves to be delightful, the more the message is comprehensible, the less the presence of technology is visible.

This is also s a great place for all our readers, Seattle Interactive Media School undergraduates to visit and to get some creative ideas. The Symposium organised is called [con. Eagerly awaited artists are Art Clay , artist and organiser of the symposium, and Steve Gibson, who will open the debate, talking about the situation of digital media art in Canada and emphasizing the widespread phenomenon of mapping; Virtual DJ will perform too.

The symposium includes the section Driftings which proposes works generated by a computer through processes conceptually different. In the work Emergent city , the Swiss Pascal Muller , with a generative approach, recreates a network of highways and streets emphasizing the uncontrolled growth of metropolis. Stefan Heinrich Ebner proposes Sterobilder where colour graduations create a hypnotic and calm atmosphere.

There will be presented Sakkara , a software application created by Peter Schweri and Jurg Gutknecht, which is planned to generate concrete art images. The process at the basis of the software converts prominent geometric forms into graphical elements of the code, creating new dynamic relations between the form and the colour itself. The third category, Other worlds, includes sounds belonging to both the natural world and to electronic or remix art.

Steve Bradley in oblique scatter recreates a rhythmical structure with sounds recorded in particular moments on the outskirts of Maryland , while Erik La Casa investigates on the perception of reality and on the consistency of contemporary music. Neil Rolnick from New York inserts speakers in his glasses to observe his neighbours of Washington Heights recording their particular sounds, the Spanish Andres Lewin-Richter in his work created for the En red O festival of Barcelona in , records sounds of daily events and ceremonies in Nepal and Rajasthan with a young voice guide as the narrating voice, the Belgian Maria Blondeel presents E stutt There are artists such as Peter Kutin , who has recorded the sounds of Vienna or even the Japanese Hiroki Nishino who has moved from Tokyo to Seattle for studying and has recorded the sounds of his new town in a private letter form.

The 12th of July a conducted tour, Digital Parcours, whose duration is about two hours conducts to the discovery of different installations in different areas of the city. Among the works you will enjoy a well-known installation by Amy Alexander SVEN Surveillance Video Entertainment Network , a network made up of a cameras, video display, speakers and software.

The software consists of a custom computer vision application that tracks pedestrians and detects their characteristics, and a real-time video processing application that receives this information and uses it to generate music-video like visuals from the live camera. The idea is to examine concerns about surveillance and computer systems not in terms of being watched, but in terms of how the watching is being done.

Paul, 13 volts. The tradition of the modern historical thought induces us to think about art and science as two separate entities. On one hand science, the reign of the rational, the cognitive and of research, on the other hand the field of creativity, sensoriality and intuition. Anyway, there are still strong analogies, contaminations and community between operativity, the sources and the results of these two spheres which suggest the porosity of the frontier.

Artists have thus the chance to work with any creative mean, to collaborate with scientific researchers and professionals. Jones or by Ernst. Anyway, the affinities between artists and scientists do not exhaust in the collaborations alongside. When the artists prove to be brilliant mediators of scientific culture, the survey must carry on, that is to say in the direction of the common elements of scientific and artistic operativity, whose basis are creativity and experimentation, while the ultimate aim is the research of innovation and the universal study of the world starting from theoretical models.

2. I programmi autore

Forerunner and deep scholar of this aspect is the philosopher of science Paul Feyerabend. It does not just consist in actions and conclusions, but in interpretations, mistakes, feelings and prejudices the scientist carries with him in the world of science. The point of view is pluralistic and the dynamics is historical and intercultural the premodern cultural and scientific traditions must be recovered and they should not merely labelled as irrational. That is to say that it does not develop only when it is included in the rigid fences of reason or of the method, but it is exactly when it overcomes those fences, thanks to fortuitousness, misleading interpretations and unfounded paragons, that, often, something of remarkable happens.

In Science as an art of , Feyerabend suggests the vision of science as an art of the research of the truth, while art- as we consider it- must offer multiple choices of truth and reality. Popper suggests through hypothesis, experiments, data gathering, observations and rejection of conjectures or reformulation of hypothesis. According to Feyerabend instead, strong critic of Popper, this is.

His concerts, performances and installations are site-specific and often based on logical but absurd plays between the public and the artist. With his original experiments, Brand during last years exhibited all over the Europe, and then in Cuba, Botswana, Japan and U. From 15 to 17 June the first floor of CCCB in Barcelona gave hospitality to Sonarmatica , section of digital culture and projects of critical and creative use of the new media from Sonar festival, that this year had as subtitle Always On. That means: the culture of mobile communication and projects based on the idea of resort, with some of the interactive most accessible applications of the digital scene, thought for a stage build with streets and public spaces that express most of all through the participation of the public.

In Barcelona Brand presented the Global Player , work conceived in The G-Player or g-Pod knows the position of more than a thousand satellites and allows us, with a 3D model of the planet, to listen a virtual track of a flying object in real time. The majority of his installations are also sounded and the So it is possible to select a satellite on the menu and the device will analyze real time the topographic profile of the region that its flying over with the possibility to determine the position of almost 1.

The simulation of orbital path and the relevance of the distance between the satellite and the different sites of the region produces above unsuspected sounds, almost infinite. From the silence of the oceans to the high frequencies of the plains to the bass of the mountainous areas. An authentic satellites concerts. Miriam Petruzzelli: I think your g-Pod is an extremely poetic work.

Which relation do you think exist between poetry and technology in your work? How much does technology influence your creative work? Jens Brand: Its a complicate and confusing subject, as i am not so sure that i know what poetical means or poetic is and what it is not. The player to me is not a piece of technology but a combination of signes, words and gestures. There are leaflets explaining things and advertisement like sentences, suggesting directions of intention. Also the technology of the Gplayer is language based. Its programming language, but similar to a music score, even this language can be as metaphorical and rich as the language and material used for poetry or painting.

Most of this layers are hidden, of course. The technology is not given, but shaped by Sukandar Kartadinata the programmer and me. It could have looked like a clay pot or a table with a pile of cables. I am interested in the meaning of technology, not in the function. In that sense, technology has no influence on the creative process, but in a more abstract way, it might contain creativity, and its meaning or its expression not the functionality.

The device does nothing but showing the name, the type, the height and the position of the satellite selected over the Earth latitude and longitude and transpose a huge variety of data and positions sometime contradictory. The g-Pod becomes an odd device or a generator of an audio experience quite interesting, but can be also interpreted as a socio-political metaphor. We then tried to ask some question to Jens Brand on his work, but not on.

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In fact I think that one of the big problems in the area of new technologies related media art that is the fact, that its a lot of time focussing on the technology or the invention aspect of the work, rather than on the expression or the intention. Of course it has a relevence or it is a social statement when I am using a lifestyle thing like the Ipod and turn it into a gpod. Using a fetish gadget might intensify the communication. Its humorous, but at the same time its abusive. I work with this ideas because one aspect of the projections of the contemporary is realted to fashion and representative developments of its own time, that i am part of as well.

Miriam Petruzzelli: Someone interpreted the g-Pod in a sociopolitical key. Do you find this extreme or do you recognize yourself in this view? Jens Brand: The player and the pod are presented and constructed in a. I study an object or subject, the more confusing and contrary the two of us become Miriam Petruzzelli: Do you think art must propose new models of relation? And if yes, how? Its just my way of doing things. Thats the only rule I know. Miriam Petruzzelli: As polyhedral artist, do you think you can find one or more elements in common with your artistic research?

Jens Brand: i think one of the driving forces for my work is my interest in communication. The most interesting part of communication, is that it creates passages. But once you know the path you always tend to always take it. Its not my interest to change or create, but to describe and discuss perception.

I really like to show things the way they are not, or at least share my experience, that is: The more carefully. Miriam Petruzzelli: Can you talk about your projects for the future? Jens Brand: I am hoping to finish the gplayer project by developing a internet platform for it. It will be a simulacra of the itunes store, but of course with different intentions and totally useless. It could seem a banality talk about audiovisual projects that use the infinite samples of multimedia contents that populates the Net on a review like ours. Besides is more and more on anyone lips, experts and not: the 2.

This magazine already paid attention to the phenomenon presenting the WJS project by Anne Roquigny in Digimag 12 of last March www. At the same time the French project is not the only one. Rick Silva with his Satellite Jokey , presented in the Digital a la Carte section of Sonar , steps forward, inserting important elements of the hacker ethic inside the dynamics over exposed. The Brazilian artist has been able to hackering the famous Google Hearth tool, using to his purpose the natural dynamic of the software.

With this type of approach Satellite Jokey is a project on line, an installation or performance of wjing where audio and video are taken real time on line and from the digital representation of the surrounding world, in a precise moment and precise place. Metaphors and words could be wasted, the socio-cultural analysis even. For a more concrete analysis on the meaning of being multimedia artist at the threshold of Web 2. Netartists maybe, audiovisual performers for sure, experimenters of extremes shapes of networking in real time.

It comes the time where definitions loose their meaning, theories and those who dispense them around the world are no more able to follow the dynamics and evolutions in act nowadays, because of their rapidity and Multilanguage. Marco Mancuso: How does the system technically work? How did you hackered the software? Marco Mancuso: Why did you decide to use a tool such as Google Hearth? Do you think that it is just a good source of images or are you obviously interested to a deeper meaning?

Marco Mancuso: Do you think that the multimedia performer future will be linked on its ability to use hackered software more than software under. Marco Mancuso: Do you consider yourself more a san artist, an hacker, an audiovisual performer or a netartist when this word can still have a meaning nowadays? Rick Silva: For this project, i think all those terms work in different ways, but all of them work. Marco Mancuso: How could the Net be important in the future of multimedia performances as an infinite hard disk of images and sounds and as a virtual space for the networking? Marco Mancuso: Have you ever experimented Satellite Jockey in a real live performance?

If yes, which kind of emotions and experiences have you felt? Rick Silva: Yes a couple of times. Marco Mancuso: What do you think about other net-audio-video projects, such as the WJ-S project, or platforms such as the Visitor Studio? Forse, come sempre, i mondiali di calcio hanno avuto la meglio su uno scambio di idee riguardo a come interpretare il momento storico in rapida e radicale trasformazione, e per questo ancora sommamente magmatico, nel quale tutti quanti viviamo. Dal 24 al 27 giugno, presso gli spazi del CCCB www. Niente di tutto questo.

Basta che. Le tavole rotonde sono accompagnate da proiezioni, che al CCCB hanno avuto luogo durante le prime due giornate e nelle ore che precedevano le conferenze. So the festival from its decennial edition in are exploring these hybrids and electronic became only a part of its program.

Thèmes parents

This edition graphics was based on photography figurative and hyper-real element. The message was not really clear though, it was a bewildering festival for everyone for both ones who were there in and who were not : thousands of lost, disoriented but amused souls crewed Sonar by day and by night looking for synthetic sounds and rhythms and mostly finding something else.

Sonar is considered the European musical festival par excellence but this is not absolutely true. Technology and electronic languages have noticeably played a significant role in recent communication and art thus Sonar has been a synonym of electronic and digital culture for its first ten years. For the ones who succeeded in re-tuning their thoughts on a now changed reality Sonar represented a special opportunity to discover something new and to feel exceptional emotions. It was obviously impossible to see everything and sometimes we got disappointed basically because we always have exaggerate expectations!

So for the first time the break of the dawn caught the thousands of persons who were there with their hands down and a somewhat jaded look. The first year of SonarMatica, , had been dedicated to Micronations , cyber nations, imaginary countries or projects for new countries that look like real independent nations but that are not officially recognized and exist on paper or online only.

This year the exhibition revolved around mobile culture and locative media. By chance every day on the beach and in clubs the town offered us powerful emotions and wild dances. Que viva Barcelona. Always On considers iPod and mobile phone technologies as paradigmatic of the contemporary communicative ecology. The idea of urban territory nowadays encompasses also a very crucial, ubiquous yet intangible element:: connectivity and pervasiveness. S o S o n a r Mat ica ex p lored contemporary declension of what Marshall McLuhan called acoustic space in the Sixties, that is the new experiential dimension which came out from electric media telegraph, radio, tv spreading.

The sound you perceive through the headphones reflects the actual urban soundscape but with some surprises: the noises either come in mosaic or they are amplified or repeated. The subject, perceiving a shift between sight and sound finds himself in a new universe and,. Every day at 9 p. Always on artistic direction was great and appropriately and suitably chose the concept and pretty well defined it.

Expositive and outdoor projects association was aimed at re-writing the exhibition communicative method. Although the exhibition was yet linked to museum exhibition strategies with an a-sensorial installation approach. There was no room for interaction and hands on experience. With Biomapping people are sent in the streets with a BioMapping tool to record their Galvanic Skin Response, a simple indicator of emotional arousal in conjunction with their geographical location. Global Player works like a CD-player. But instead of playing CDs, it plays the globe changing earth surface into sound frequencies.

The psycho-geographic project. Bruce Sterling has recently wrote an article commenting on Ars Electronica last edition. He wrote media art is not welcomed in museums and it remains an art market outsider. But I think the important think is to learn to be an outsider. Can these projects be emphasised by museum expositive strategies.

In my opinion it is not yet valorised as the other festival events of great international impact. Here there are the exhibition of what we appreciated most, better leave out the things that are not on the following list:. He works with fears and anguishes hidden in human soul. The hardware was then presented on the last festival day at the conference spot. Very simple and funny installations presenting city or condo daily life.

Lars Arrhenius removes walls hiding people private lives ironically revealing their feelings and emotions. There will soon be the possibility to play with reacTables online. The boards can be assembled by hand or purchased preassembled; the open-source IDE can be downloaded for free. David Cuartielles presented an example of multiplicity of sensor data interfacing a computer using 20 Arduinos on stage simultaneously. He presented a new developmental phase of his project Mytozoos.

The sound system presented last month is now integrated in the application where bugs live. The idea is interesting but music is trite and the final effect is feeble. Sonarama grand finale: points, lines, particles, plans, volumes, cosmos atmospheric and weather effects of Datamatics project. Toshio Iwai: Tenori On Jp Maybe the most interesting Sonarama performance even if it was not very coherent with audio-visual concept. Iwai created a real digital and interactive music instrument. Minimalist: animation of a simple white circle on black background assuming different. Per il pubblico il Festival ha pensato due preziosi strumenti per aprire un dialogo reale: Santarcangelo.

Che cosa accade oggi nella vita quotidiana? I Forced si aprono alla drammaturgia nel segno di un minimalismo che scatena forti emozioni, per narrare storie di dolore e di abbandono, scaturite da. Mentre una band esegue dal vivo musiche dei R. Non manca uno sguardo attento ai giovani autori italiani vincitori di importanti premi come Maurizio Camilli , Premio Tuttoteatro.


Un attore e uno spettatore che si scambiano emozioni. Ora Delbono torna ad attraversare la sua biografia narrata a voce alta, fra storie, persone, spettacoli che hanno segnato anche la vita degli ultimi 20 anni del teatro. Le coincidenze tante del mese di giugno, il mese in cui sono nato. Tre artisti stranieri di grande livello sono presenti con performances e installazioni video sonore.

Il norvegese Ane Lan presenta The Dream Chamber e una video installazione di quattro canzoni performative. Il francese Pierre Giner con il gruppo rock Playdoh propone Elesewhere Japan un tuffo nel Giappone di oggi tra frenesie quotidiane, periferie, moda e consumi. Ecco allora che quello che capita in scena sorprende gli spettatori come autonomi artisti del pensiero..

Gli occhi vedono Motus propone a place. MK, protagonisti della danza italiana contemporanea, creano per il festival Funzione, un evento che unisce danza e musica e sigla la collaborazione del gruppo con I Sinistri. Roberto Castello, fondatore del collettivo Sosta Palmizi , propone in prima nazionale e in coproduzione con il festival Racconta. Prima tappa , una nuova sezione del.

To define them only theatre does not give merit to their creative steak: photographs, videos, speaking objects, sounds outside field, a twisted love for linguistic games anagrams, charades, puzzles which are the main ingredients they put into their shows.

  • I software autore per la didattica.
  • Moon-lit Poems.
  • Healing Spirits.

The topics are stolen from the world of infancy and to its means: a schizoid childhood and its premature collapse. They are actors, writers, performers, photographers, video makers. A pair that stand out for volatility and goliardicity, certainly from the decidedly brainy features. Since photographer Enrico Fedrigoli has collaborated with them, too.

Both the choice of their name, and like so the literary titles from which their works are freely drawn, the colours, the settings, the scenery, testify their obsessive attention. But this, although nodal, is only one of the lines of research of the speleologists, always on the tracks, enlarged by the blown-up scenery, of slight post-modern perversions of the nevrosis: love and its other side, an exhibited pornography, morbid and patinated, the terror of the fairytale, the amnesia of the fragment. But this is only one notation.

Subjective scenery and narrative device as a deformed projection of the main character that merges dream and truth. It is the mania of childhood that guides the vision of Alice. A childhood read in its delirious omnipotence, enemy and deceptiveness. The saga Ada , Cronache familiare, the parameters are inspired by the vicissitude of the two siblings Ada and Van, and their incestuous relationship, during their life, narrated by Russian writer Nabokov in the novel Ada or Ardore.

The Heliogabalus , last plan of the pair faces the paradox of the reigning adolescent: roman emperor Mark Aurelio Antonio, inundated by the cult of the sun El-Galab, called to govern at 14 years old and murdered at 18 by his preTauruses. A hallucinating story that had already stuck the fantasy of Antonin Artaud.

Beyond the determined character of their themes, what strikes you is their methodology, nomadic, always in fairs, multi-shaped, that finds in its scenic frame only one of the many possible solutions. Video installations, continuous textual comments and enrichments to the drama that is renewed time after time, musical performances, a photographic documentation that becomes the same narration, conferences, makes.

But not only. Added to all of this is the photographic exhibition by Enrico Fedrigoli and the presentation of the two publications: a book game and Ada, romanzo per enigmi in 7 dimore , Ada, novel for enigmas in 7 dwellings, composed of enigmas, word games, charades that repropose the dynamics and the ins and outs of theatrical work. Ada, Cronache familiari , almost represented in its entirety at the Turinese festival, is a free re-visitation of the story Ada and Ardore by Nabokov.

The relationship between technology and personal memory and the man-nature relationship are keyword in her work. The collaboration between these two protagonist is really interesting, considering the possibility of a dialogue between conventional art and new tecnologies. The to are triying to create an interaction between digital and analogical media, with a metaphorical use of materials.

Capozzo and Noppes create their works as a synthesis, far from the concept of easy aesthetic, mediating between new tecnologies experiences and physical and sensorial sensations. The two artists have different technical competence and way of representation. Alessandro Capozzo, media artist and designer, interested in musicology, uses program languages as expressive medium. He creates generative softwares, where the code is something that create complex systems. Their works moved on a thin border, where inorganic has a dynamic life and organic is nothing but a trace.

Two opposite ideas become complementary in a dialogue about emptiness and fullness. Their works. Katja Noppes, scenographic artist, worked on video and painting. In her works is easy to see her interest for. In term of time, the 1 st installation is Exuvia, This name came from a word used in biology to describe the skeleton of an insect.

The installation is a form of a computer desktop in a syntetic transparent material, on a ldc screen covered with epoxy resin. On the resin are printed dragonfly wings. On the screen a generative software show a dynamic visualisation of the line that makes the wings flutter. The work suggests the metaphor of metamorphosis, through the absence of the insect, and find its life in the hypnotic movement created by the software. In the Exhibition we can see that works are made of different processes.

A complex interpretation. In the 2 nd part, 13 hearts in grey cement coloured gum are fixed in horizontal lines, just like a metropolitan skyline.