Marco Mancuso
Since 2005
redazione@digicult.it
Works in Milan Italy

BIO
Marco Mancuso is a critic and curator in the field of digital technologies applied to Arts, Design and Contemporary Culture. Founder and Director at Digicult and Digimag Journal (part of The Leonardo Affiliate Program), he teaches “Multimedia Arts Theory” at MAIND Interaction Design Master at SUPSI in Lugano, "Web 2.0 & Media Art Management" at NABA Academy in Milan, “Digital Publishing for the Arts” at Academy of Fine Art in Bergamo, "Art Industries" at IED Milan and is visiting professor at Transmedia-Postgraduate Program in Arts+Media+Design in Brussels.

With the Digicult Agency he curated and co-curated a number of exhibitions, screenings, lectures, meetings and partnered with most of the main media art festival in Italy and worldwide. Marco Mancuso has been expertising from years on wider subjects like open communication, social networking and digital publishing and is now studying new economical Internet models for art and culture: with the project “Fracty: Trasformazioni Affini”, he theorized an online platform creating open and p2p professional links between investors, public and private, from the scientific-technological field, professionals and students in the field of technologies applied to art, design and contemporary culture. He recently developed the “Digicult Editions” open-publishing online service.

Lecturing internationally and writing critical texts for media art publications and catalogues, articles, interviews and essays for Digicult, Marco Mancuso curated for MCD-Musiques et Cultures Digitales the publication “The Open Future” - Issue 63 in 2012 and the carde-blanche “Art Industries” - Issue 74 in 2014. He was included in the publication Cultural Blogging in Europe by LabForCulture.org in 2010
Discussions (12) Opportunities (6) Events (77) Jobs (0)
EVENT

Digimag 66 - July/August 2011: "A new Dark Age for Dutch Culture"


Dates:
Tue Jul 05, 2011 21:10 - Tue Jul 05, 2011

 
Digicult presents:
 
A NEW DARK AGE FOR DUTCH CULTURE
by "Sonic Acts" Festival
 
This text was written specifically for the new Digimag 66 - July/August
2011, and is signed by the entire staff of "Sonic Acts" Festival in Amsterdam:
Arie Altena, Lucas van der Velden, Martijn van Boven, Annette Wolfsberger, Nicky
Assmann, Femke Herregraven, Gideon Kiers
 
Link to the Italian version: http://www.digicult.it/digimag/article.asp?id=2113
Link to the English version: coming soon...
 
------

The letter ‘Meer dan kwaliteit’ (‘More than Quality’) by the State
Secretary for Culture, Halbe Zijlstra (VVD, People's Party for Freedom and
Democracy) arrived in the electronic mailboxes of Dutch art and cultural
institutes on Friday, 10 June 2011. It stated that €200 million would be
brutally slashed from the arts and culture budget, starting as early as 1
January 2013. Apparently, Zijlstra, who admits that he lacks any understanding
of art and culture, has blatantly ignored all the recommendations made to him on
this subject, including those from the Arts Council (the government’s official
advisory body). Subsidies for a limited number of ‘world-class institutes’ such
as the Nederlandse Opera, which already receive a substantial portion of the
existing budget, will be maintained. As far as Zijlstra is concerned, most of
the other institutes can disappear – they will no longer be able to rely on
structural support from the government. This not only applies to all the
production houses for theatres, half of the orchestras, the Muziekcentrum
Nederland (formed in a recent merger), the Foundation Art and Public Domain
(SKOR), renowned exhibition spaces and research facilities for visual art such
as De Appel, but also to the entirely new media sector with its internationally
acclaimed institutes such as V2_, the Netherlands Media Art Institute (NIMk),
Mediamatic, WORM, the Waag Society and STEIM, as well as to the Rijksakademie,
de Ateliers and the Jan van Eyck Academy. Support for critical-analytical
journals such as Open and Metropolis M, and for the literary magazines,
including De Gids, will be discontinued. Furthermore, the budget that will be
allocated to project subsidies, i.e., for individual artists, one-off projects
and festivals, will be more than halved. Only ‘international world-class talent’
and art that has already proven itself will remain.
 
This is not merely the austerity plan that was anticipated from a
centre-right minority cabinet that is at the beck and call of the populist PVV
(Party for Freedom): it is a direct attack on art, an attack on anything that
does not fit into a market economy, on anything that refuses to, or cannot be,
adapted to a populist-tinted, neo-liberal mindset. It marks the end of a
cultural sector that was birthed with a great deal of effort and difficulty. His
letter does include a few obligatory sentences that could fool a hasty reader
into thinking that there actually is a coherent vision behind this policy, but
each substantive phrase is contradicted by the proposed regulations. The letter
brims with resentment towards innovative and investigative art, towards
groundbreaking art, art that cannot survive if it is only supported by the
market. The letter expresses contempt for artists’ works, contempt for the
wealth of experiences that art can provide, and contempt for people who enjoy
it. The contributions that art makes to society and innovation have been
completely ignored. The idea that sustaining art and culture is in the public
interest is negated; in fact, the notion of the public interest is ignored
altogether. The right for works to exist is reserved only for those works that
‘the market’ – whatever that might be – or wealthy patrons will support.
Zijlstra’s letter is nothing more than a dictatorial ruling. We are being
spurred to our downfall by populist neo-liberalist policies.
 
There are absolutely no policy reasons for the €200 million of cutbacks.
This deal was struck with the PVV in exchange for its support in parliament of
the minority cabinet. The intention is to inflict irreparable damage on an
entire profession. Zijlstra is striving to decimate and eliminate this
professional group’s creative, innovative and critical potential. Not a single
member of his own party (VVD), or anyone from its coalition partner, the CDA
(Christian Democratic Party) has opposed him. As far as they are concerned,
traditional art is merely the superfluous ornamentation of a society.
Contemporary art is labelled as alienating, and even, although no one actually
says it out loud, as ‘degenerate art’.
 
Prioritising world-class talent implies that the State Secretary makes a
distinction between ‘art that has already proven itself’ and all other art. This
is illogical and downright ignorant. Art is in a state of constant change, it
reflects on a society and the time in which we live, it is frequently at odds
with accepted norms and values, and reveals new and unexpected perspectives.
Zijlstra is of the opinion that there is only room for art from the distant
past, for cultural heritage such as centuries-old ballet, opera, classical music
and visual art. But classical art only has meaning in the context of new art,
they enhance each other and validate each other’s existence.
 
This means that from 1 January 2013 no money and thus no time will be made
available to create unique or ambitious artworks, for fundamental research, for
developing complex technological works, for art that critically examines our
complicated world, for artworks that enrich society and people in sometimes
unparalleled ways. What remains is ‘music for the millions’; all the rest will
be amateur art. Artists who are driven by their craft will have to create their
art in their spare time. Cultural vitality will disappear, as will the economic
vitality that is driven by art. We can forget about innovation and international
allure entirely.
 
Of course, the situation as it stands at the moment can and should be
criticised. For a long time many of those who are active in the sector have been
dissatisfied with the ways in which funds are allocated. But Zijlstra’s plan has
brought an abrupt end to this discussion, as well as to the discussion about how
funds can best be used to stimulate culture. He has opted for the simplest
solution: get rid of it all.
 
Reactions to the proposals have been manifold, and they have naturally
provoked a rebellion by artists and the employees at the affected institutes. It
has also inflamed a furious backlash from private funding organisations, wealthy
right-wing culture aficionados and patrons – after all, Zijlstra’s intention is
that they should fund the arts sector. During the parliamentary hearings they
repeatedly reminded Zijlstra that the Netherlands is a country where private
sponsorship of the arts has always been in short supply, and that there are
almost no financial incentives for patrons. They stated resolutely that they
feel betrayed, burdened with the impossible task of saving art, and declared in
no uncertain terms that the government has revealed itself to be an
untrustworthy partner. In their opinion, the proposed policy is offensive,
irresponsible and counter-productive. Rick van der Ploeg, a leading economist, a
former State Secretary of Culture and a proponent of professionalising the
economic aspects of art, wrote in the NRC (national newspaper) that it is “a
measure of their brazen brutality that this cabinet wants to be remembered for
its irreversible butchering of a closely-knit, high-quality and multi-faceted
network of cultural opportunities in our country,” and continued, “The policy
being proposed lacks the standards of quality which are necessary in a
democratic, constitutional society.” This sentence is worth reading twice.
 
It should be a cause of concern for everyone that a minority cabinet with
the feeble support of a parliamentary majority of only one seat would take such
draconian and drastic measures without paying any heed to the other half, which
has only one seat less than the ruling coalition. Zijlstra shamelessly admits
that the proposals have no basis in fact, and display a total lack of sympathy
for the field. This undemocratic attitude only compounds the suspicions about
this government’s much more drastic proposals for cutbacks in health care,
education and pension schemes, and it underscores the steps they are (not)
taking to discipline the financial sector.
 
Despite all the government’s hollow arguments, nobody has actually
explained why these cultural cutbacks are necessary. All those who were asked to
make recommendations about the plan advised against it in the strongest possible
terms, and all of the unsolicited recommendations were negative too. There is
unanimous agreement that the plans will have disastrous consequences. A
staggering number of institutes will have to be closed and there will be very
little funding for artists. There will be a wide-scale destruction of capital,
costs will not be offset by the profits, and the Netherlands will be downgraded
to a cultural backwater. It is clear what the implications of this will be for
the cultural and economic business climate: international companies or
professionals working in the knowledge industry will no longer consider basing
themselves in the cultural wasteland that the Netherlands will become.
 
The government has disdainfully cast aside all the recommendations and is
bulldozing ahead with its plans. The only possible conclusion that can be drawn
is that they are intent on the wide-scale eradication of art and culture in the
Netherlands. Halving the project subsidies – in an arts budget that was one of
the lowest in Europe, even before the cutbacks – means that art in the
Netherlands will cease to exist in its current form and diversity. After 600
years of growth and progress that started in the Renaissance, the Netherlands
will once again find itself in a Dark Age. 


EVENT

Kernel Festival /011


Dates:
Fri Jul 01, 2011 12:00 - Sun Jul 03, 2011

Location:
Desio, Italy

Digicult presents:

KERNEL FESTIVAL /011:
01-03 of July 2011
Villa TIttoni Traversi,
Desio (Mi), Italy

Program: http://www.kernelfestival.net/en/festival-011-2/program/
Workshops: http://www.kernelfestival.net/en/festival-011-2/workshop/
Round Tables: http://www.kernelfestival.net/en/festival-011-2/meeting/
Exhibition: http://www.kernelfestival.net/en/festival-011-2/exhibition/
Temporary Architecture: http://www.kernelfestival.net/en/festival-011-2/architecture/

Digicult (Marco Mancuso) was part of The Selection Committee of the
Interactive and Digital Art section:
http://www.kernelfestival.net/en/open-calls-2/art/committee/

Digicult (Marco Mancuso) will also moderate the round table "SYNC" with Dj Spooky and Telenoika:
http://www.kernelfestival.net/en/festival-011-2/meeting/

-----

Kernel Festival /011 propose itself as a heterogeneous reality, an
international event devoted to the multiform languages of contemporary art: Interactive & Digital Art, Audiovisual Mapping, Electronic Sound & Music, Temporary Architecture, for three days of great entertainment and a skillful mix of tradition and modernity, thanks to the neoclassic lines of Villa Tittoni Traversi, eighteenth-century jewel in the heart of Brianza, which will be the location of the event. An harmonic union between important avant-garde artists, international electronic musicians and young emerging talents,
accurately selected among 250 proposals come from 39 countries, who will have the unique opportunity to show their skills.

Electronic music plan includes on Friday 1st Lab Frequency’s dubstep,
Kode9’s deep sound, the versatile Dj Spooky and Mother Inc. group. On Saturday 2nd the different shades of techno: from the experimental Tonylight’s rhythms to the concrete sound by Moritz Von Oswald Trio, from Shed’s dark beats, star of  Berghain, to the performance of the special guest Troy Pierce. The music plan is completed by the sound installation Oscilla, by Andrea Santini, inside St Francesco’s Chapel, open to public for the occasion.

Beside the Dj sets, big names of Audiovisual Mapping, as the Catalan
community Telenoika, Roberto Fazio and AreaOdeon: the neoclassic shapes of Villa Tittoni will become the screen of architectural projections which redefine physical space, creating a synesthetic cohesion between visual and sonic landscape.

At the same time, Unframed, collective exhibition of interactive and
digital art with works by Alex Posada, Angelo Plessas, Quayola and other artists who will investigate the several unpredictable and unrestrained visions of a reality beyond the senses.

In the park, Temporary Architecture installations by Michiko Yamada, Edi Sulga and Gianluca Milesi will explore the architectural language evolution through the production of new building and planning techniques, in favor of dynamic structures and innovative assemblages.

Finally, Kernel Festival won’t be a static event, but a special place of
interaction between rhythms, artistic techniques and different cultures, thanks to round tables, meetings and 5 workshops with famous artists specialized in the four areas of interest: Interactive & Digital Art, Audiovisual Mapping, Electronic Sound & Music, Temporary Architecture.

Kernel Festival /011: a breeding ground of minds, expert and emerging
talents, where it will be possible to share ideas, emotions, pictures and
sounds.


EVENT

DIGIMAG 65 - JUNE 2011 /// THE INTERNATIONAL ISSUE


Dates:
Tue Jun 21, 2011 19:05 - Tue Jun 21, 2011

Sorry for any crosspostings
Digicult presents:
Digimag 65 - June 2011 /// The International Issue
http://www.digicult.it/digimag_eng/
The World in which we live, move and operate is a complex adaptive
system, or a system continuously defining their borders and limits: the
concepts of subject and environment are relative (the distinction itself
belongs to an already obsolete logic) and the borders separating them are blurred. Architecture, in its aspect of artefact produced by a species that lives collectively, has always been the mediator between material systems, physical-environmental pressures, cultural, economical, political and social powers. The point is that adaptation times to changing, which in the past had different size among architectural works and estimated life, got closer and closer, up to reveal change as a perceivable condition, searching for equally rapid answers and adaptation periods. Organisms and environments are
in constant communication. There is a continuous exchange of information (under the shape of language, matter and energy) we can only perceive a part, because our limits are also operative needs (there is a limit for the amount of information we can handle - a limit in constant definition yet somehow always perceivable). Technology is just one of the aspect influencing evolution and search of new solutions, and it is often mistaken with its products.
Alessio Erioli/co.de.it, from "The Italian Hub. Interview to Co.de.It" - by
Sabina Barcucci
. . . . . . . . . . . . . . . . . . . . . . . .
[INTERVIEWS]
STAGING UTOPIA. STAGE ARCHIVE: INTERVIEW WITH ROSA BARBA
http://www.digicult.it/digimag/article.asp?id=2090
- by Giulia Simi
THE ITALIAN HUB. INTERVIEW WITH CO.DE.IT
http://www.digicult.it/digimag/article.asp?id=2091
- by Sabina Barcucci
RETINA.IT. SONIC UNIVERSES IN RANDOM
http://www.digicult.it/digimag/article.asp?id=2093
- by Pasquale Napolitano
THE COGNITION OF GESTURE. COMPOSITION BY WAYNE MCGREGOR
http://www.digicult.it/digimag/article.asp?id=2101
- by Enrico Pitozzi
[ESSAYS]
VITTORIO ARRIGONI ON WIKIPEDIA? TO BE DELETED OUTRIGHT
http://www.digicult.it/digimag/article.asp?id=2096
- by Maria Molinari
THE PRODUCTION OF TRUTH. THE AESTHETICS OF JOURNALISM
http://www.digicult.it/digimag/article.asp?id=2099
- by Alfredo Cramerotti & Simon Sheikh
THE COLLECTIVE SELF-PORTRAIT. ONLINE IDENTIFICATION PROCESSES
http://www.digicult.it/digimag/article.asp?id=2098
- by Martina Panelli
THE DIALECTIC OF NOISE. AN AESTHETIC PERSPECTIVE
http://www.digicult.it/digimag/article.asp?id=2094
- by Simone Broglia
THE "SCOPPIATORE". THE INTONARUMORI BY LUIGI RUSSOLO
http://www.digicult.it/digimag/article.asp?id=2092
- by Claudia Maina
REVEALING INTERSTITIAL SPACES - PART 3
http://www.digicult.it/digimag/article.asp?id=2097
- by Eugenia Fratzeskou
[REPORTS]:
NEW PROPOSALS AT LOOP 2011. FROM PERFORMANCE TO MOBILE ART
http://www.digicult.it/digimag/article.asp?id=2103
- by Herman Bashiron Mendolicchio
MEDIA ADVENTURES IN BELGRADE. THE "SHARE" CONFERENCE
http://www.digicult.it/digimag/article.asp?id=2095
- by Julianne Pierce
BYOB. BRING YOUR OWN BEAMER
http://www.digicult.it/digimag/article.asp?id=2100
- by Silvia Bianchi
SHOOT ME FROM LINZ TO VENICE. "VIDEOLUDICA" AND THE
ITALIAN GAME ART
http://www.digicult.it/digimag/article.asp?id=2102
- by Mathias Jansson
ATTACHMENT:
WWW. ASHARTONLINE. COM - NET.ART FROM RENDER
http://www.digicult.it/digimag_eng/allegato.asp
- by Luca Lo Coco
COVER: Rosa Barba
. . . . . . . . . . . . . . . . . . . . . . . .
[THE PROJECT]:
From 2005, Digicult has being an online/offline cultural and editorial
platform which focuses on the impact of new technologies and sciences on art, design, culture and contemporary society. Founded and directed by Marco Mancuso, is now based on the active participation of quite 50 professional people, who represent a wide
international Network of journalists, curators, artists, theorists,
practioneers and critics. Digicult is also the editor of the monthly
magazine Digimag, which focuses on some cultural, productive and
artistic issues like: internet & networks, hacking & hacktivism, video art & experimental cinema, sound art & electrinic music, audiovideo and live media, design & architecture, art & science, new media & social
media, software art  & generative art, performing art & interactive
dance, with a strong critic and deep journalistic approach.
. . . . . . . . . . . . . . . . . . . . . . . .
[DIRECTION & MANAGEMENT COMMITEE]:
Marco Mancuso (Digicult project Director and Teacher at New
Academy of Fine Arts / Naba of Milan) ; Claudia D'Alonzo (International
Doctorship in Audiovisual Studies, University of Udine) ; Bertram Niessen (Researcher at Sociology Deparment of Statale University Milan - Bicocca) ; Lucrezia Cippitelli (Phd at Sapienza University Rome and Teacher at Fine Arts Academy of L'Aquila)
[EDITORIAL STAFF & TRANSLATIONS]:
Giovanni Damiola (Technical Consultancy) ; Claudia D'Alonzo (Press Office) ; Paolo Ceresatto (Editing) ; Bertram Niessen (Social Networking) ; Laurea Magistrale in Traduzione Specialistica,
Università IULM di Milano (Website Translations) ; Lara Freschi - Francesca Lattanzi - Stefano Avola - Andrea Cariello - (Magazine
Translations)
[EDITORIAL BOARD]:
Tatiana Bazzichelli ; Bertram Niessen ; Teresa De Feo ; Luigi Ghezzi ;
Giulia Baldi; Domenico Quaranta ; Massimo Schiavoni ; Monica Ponzini ;
Annamaria Monteverdi; Valentina Tanni ; Lucrezia Cippitelli ; Claudia
D'Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravaggi ; Alessio
Galbiati ; Antonio Caronia ; Loretta Borrelli ; Carla Langella ; Francesco
Bertocco ; Silvia Casini ; Jeremy Levine ; Serena Cangiano ; Micha Cardenas , Mark Hencock , Pasquale Napolitano ; Simona Fiore ; Zoe Romano ; Enrico Pitozzi ; Eugenia Fratzeskou ; Mattia Casalegno
; Robin Peckam ; Sabina Barcucci ; Silvia Bertolotti ; Simone Broglia ;
Claudia Maina ; Elena Biserna ; Maria Chatzichristodoulou ; Felipe Zuniga ; Mathias Jannson ; Neva Pedrazzini ; Alexandra Purcaru ; Lorenzo Taiuti ; Pia Bolognesi ; Julianne Pierce ; Thomas Schielke ;  Emanuele Andreoli ; Alessandra Saviotti ; Alfredo Cramerotti ; Martina Panelli
. . . . . . . . . . . . . . . . . . . . . . . .
The Digicult Archive: past issues, articles and interviews
http://www.digicult.it/en/Archive/
The Digicult Board:
http://www.digicult.it/digimag_eng/board.asp
The Digicult website:
www.digicult.it/en
The Art-Agency Digimade:
www.digicult.it/agency


EVENT

SUBTLE TECHNOLOGIES FESTIVAL & DIGICULT PRESENT: "PHENOMENA: A JOURNEY AROUND AUDIOVISUAL ART-SCIENCE"


Dates:
Thu Jun 02, 2011 20:00 - Thu Jun 02, 2011

Subtle Technologies Festival 2011 | May 28 - June 5, 2011 & Digicult
present:
 
 
PHENOMENA:
A JOURNEY AROUND AUDIOVISUAL ART-SCIENCE
Curated by Marco Mancuso and Claudia D’Alonzo for Digicult
 
http://www.subtletechnologies.com/festival/film
http://www.iictoronto.esteri.it/IIC_Toronto/webform/
http://www.digicult.it/en/2011/SubtleTechnologiesPhenomena.asp
 
For official images and videos descriptions, please contact:
press@digicult.it
 
-----
 
Innis Town Hall, Toronto
June 02-03, 2011
Screenings:
"Hidden Worlds" - curated by Marco Mancuso for Digicult
"When the eye flickers (Quando l’occhio trema)" - curated by Claudia
D’Alonzo (Univeristy of Udine, Digicult) & Mario Gorni (archivio DOCVA)
 
Lecture:
"A Myriad of vibrant phenomena. The hidden worlds of audiovisual
art-science" - lead by Marco Mancuso for Digicult
 
-----
Digicult has been invited by Subtle Technologies festival in Toronto to
present 2 Videoscreenings: "Hidden Worlds" curated by Marco Mancuso and "When the Eye Flickers" (Quando l’Occhio Trema) curated by Claudia D’Alonzo (Univeristy of Udine, Digicult) e Mario Gorni (archivio DOCVA) .
 
"Hidden Worlds" is another chapter of Marco Mancuso’s research on
audiovisual art-science which started from Bruce Sterling’s Fabrica Workshop,
continued with the lecture taken at Museo della Scienza in Naples in 2009 and
fixed with the curatorship at Sincronie Festival 2009 and invitation at Cinema
& Science convention organized by University Roma 3.
 
"When the Eye Flickers" (Quando l’Occhio Trema) is a Claudia D'Alonzo's
critical research on reconstruction of the historical and methodological path of
the use of the Flickering technique, togher with Mario Gorni and Docva Archive
(Milan)
 
The videoscreening "Hidden Worlds" was enriched by a critical essay &
lecture, led by Marco Mancuso, entitled "A Myriad of Vibrant Phenomena: the
hidden worlds of audiovisual art-science"
 
Subtle Technologies is a gathering of artists, scientists,
technologists, engineers and the general public. The festival 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 festival and organization. The audience and
visibility have steadily grown since 1997. The festival is now 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.
 
The annual June Festival includes a symposium (3 days of interdisciplinary
presentations, demos, lightning talks and panel discussions), performances,
exhibitions and films, speed networking and more. Starting in 2010–2011, the
festival began a series of year-round events, partnering with many community
groups to run workshops, literary events, documentary screenings and other
events throughout the year—all focused on bringing together art, science and
technology.
 
-----
 
"HIDDEN WORLDS"
Screening curated by Marco Mancuso for Digicult: Short
Version
 
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.
 
What it is today recognized as "immersive art-science" is a form of
creative expression meant to rise above the notion of art as abstract
representation, in behalf of a multi-sensorial experience. The purpose here is
to create aesthetical fascinating objects and also to invite the public to go
beyond ordinary perception's border. Immersivity awakens a synesthetic awareness
both in the mental and in the physic space. A myriad of vibrant phenomena,
usually beyond the observer's reach, are instead made reachable through an
accurate psychophysical conditioning.
 
This video screening takes the spectators to wonderful "hidden worlds",
illustrated by artists and scientists who more and more often collaborate and
share experiences with one another on the research of new expressive
potentialities within specific mathematical processes and physical, optical,
chemical and electro-magnetic phenomena.
 
By watching the audiovisual representation of the existing energetic and
electromagnetic phenomena on the Sun's surface and of current interferences
generated from interaction of electromagnetic fields between the Sun and Earth,
as possible instrument of aestheticization of the space phenomena by the
Semiconductor duo (in works such as "Black Rain"), the passage to the
audiovisual representation of chemical-physical-optical reactions of the
Portable Palace duo (Evelina Domnitch & Dmitri Gelfand) is extraordinary
short indeed. In their first work present in this exhibition, ("Camera Lucida")
they study the chemical-physical phenomena of "sonoluminescence", while in their
second one ("10000 Peackcock Feathers in Foaming Acid") they analyze the
potentialities of optical phenomena generated by investigating the laser light
within the nanometric structures of foams. Moreover, the first work by Thorsten
Fliesch present in the exhibition ("Energie!") shows the scorches on
photographic paper produced by an high potential energy flow of an electron beam
contained in a cathode ray tube.
 
The number is an ever present concept, being the fundamental element of
every mathematical and algebraic formula which involves not only a single energy
phenomenon present in nature, but also a series of disturbing/superimposition
phenomena, such as interferences, beats, accumulations, harmonies and other
optical event, like Moirè's (optical illusion created by geometrical sequences
of interference phenomena), as shown by the purely glitch and software work by
Carsten Nicolai ("Spray")
 
The number, in its highest abstraction of key element for a fourth
dimension representation , is still an important part of Thorsten Fleisch's
video ("Gestalt"), a sort of recognition of the quaternion worlds
(four-dimensional fractals) visualized in a three dimensional space through
appropriate software. Yet maybe John Campbell's masterpiece ("LI: The Patterns
of Nature") is the work that mostly evidences the geometric structures
spontaneously present in Nature, through a kind of magical and hypnotic
audiovisual document, perfect sample of a deep critical conviction: contemporary
audiovisual art, today more than in the past, has the technological instruments
and the ethical duty to confront itself with the empirical world and the
"natural" technologies within it. Technologies that should be collected,
observed and manipulated by man, who has already given proof of his skill with
light, sound, image and space.
 
SCREENING:
 
- Semiconductor
Black Rain (2009, GB)
col., sound, 3'02'', HD
Format: 16:9 widescreen
 
- Evelina Domnitch & Dmitri Gelfand
Camera Lucida: Sonochemical
Observatory (2006 - Rus, Bel)
col., sound, 8'57''
 
-Thorsten Fleisch
Energie! (2007, Ger)
col., sound, 5'18''
 
- John N. Campbell
Li: The Patterns of Nature (2007 – Usa)
col.,
sound 9'06'', original format: 16mm
 
- Evelina Domnitch & Dmitry Gelfand
10000 Peackcock Feathers in
Foaming Acid (2009 Rus, Bel)
col., sound, 2'52''
 
- Alva Noto
Spray (2006, Ger)
col., sound, 8'
 
- Thorsten Fleisch
Gestalt (2003, Ger)
col., sound, 5'20''
 
-----
 
"WHEN THE EYE FLICKERS (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.
 
If we decrease this frequency to between 6 to 18 frames per second, we
create a visual blinking leading to a direct stimulation of the optic nerve and,
thus, to a proto-vision where the visual rhythm becomes directly synchronized
with our cerebral waves.
 
The flicker belongs to what Edmund Husserl defines as perceptive ambiguity,
for its potentials to go beyond and offer a chance to overcome the habitual
conventions that govern our knowledge of the real. This may be achieved through
destabilizing—in some cases violently, or traumatically—perceptive common,
almost addicted, habits.
 
Artists experiment with flickering using a phenomenological approach,
through the anomalous stimulation of our perceptive apparatus, as well as
through the structural analysis of the codes that compose the moving
image.
 
Thanks to the collaboration with the Archive of DOCVA and Digicult, "When
the Eye Flickers (Quando l’occhio trema)" is meant also as a moment of research,
a way to conceive the archival material as a dynamic instrument through which to
establish relations and exchanges, a point of departure to establish comparisons
between the historical experiences of the audiovisual experimentation and the
most contemporary developments.
 
SCREENING:
 
- Claudio Ambrosini
Light solfeggio (Italia, 1977)
2'17'', b/w,
Courtesy Archivio DOCVA
 
- Paolo Gioli
Quando l'occhio trema (Italia, 1989)
12', b/w,
Courtesy Paolo Gioli
 
- Kurt Hentschläger/Ulf Langheinrich (Granular Synthesis)
Form (
Austria, 2000)
3', col., Courtesy Granular Synthesis
 
- Thorsten Fleisch
Superbitmapping (Germania, 2000)
2' 3'', col.,
Courtesy Thorsten Fleisch
 
- Graw & Bockler
Because (Germania, 2002)
3'47", col., Courtesy
Archivio, DOCVA
 
- Scott Arford
Untitled for television (USA, 2003)
5' 57'', col.,
Courtesy Scott Arford
 
- Alessandrà Arnò
Stars (Italia, 2003)
4', b/n, Courtesy Archivio
DOCVA
 
- Otolab
Vagina cosmica (Italia, 2009)
video: xo00, audio: _dies, ,
4' 50'', col., Courtesy of Otolab
 
-----
 
"A MYRYAD OF VIBRANT PHENOMENA.
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 and structures.
 
If science is considered an organic complex of knowledge obtained through a
methodical procedure, capable of providing a precise description of the real
aspect of things and the laws by which the phenomena happen, and if the rules
governing such process are generally called "scientific method", then the
experimental observation of a natural event, the formulation of a general
hypothesis about such event and the possibility of checking the hypothesis
through subsequent observations become fundamental elements in modern scientific
research.
 
What it is today recognized as "immersive art-science" is a form of
creative expression meant to rise above the notion of art as abstract
representation, in behalf of a multi-sensorial experience. The purpose of the
this lecture which enrich and complete the "Hidden Worlds" screening, is to
critically map those artists acting with a “discovery approach”, observing and
recording,  sharing experiences and ideas with scientists and science
communities, working without the use of cinematographic or video or digital
tecniques but obtaining the fluxus of sound and images only by natural and
spontaneous scientific phenomena (physical, optical, chemical, mathemical and
electro-magnetical). Hidden Worlds wants to create fascinating objects and also
to invite the public to go beyond ordinary perception's border. Immersivity
awakens a synesthetic awareness, both in the mental and in the physical space. A
myriad of vibrant phenomena, usually beyond the observer's reach, are instead
made reachable through an accurate psychophysical conditioning.
 
VIDEO LECTURE
 
- Hans Jenny Cymatics Soundscapes (1967, Switzerland)
- Mary Ellen Bute
Abstronic (Usa, 1954)
- John Whitney Permutations (USA, 1971)
-
Semiconductor Magnetic Movies (USA, 2007)
 
-----
 
THE CURATORS
 
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. Within the Digicult
network she takes care of press office activities and curatorial projects. She
belongs to the management committee of Digimag magazine, with which she
collaborates also as writer in the audiovisual experimental cinema section. She
has published catalogues and articles for contemporary art magazines, among
which "Exibart" and "Luxfluflux Prototype. She collaborated with Galleria Sala1,
in Rome, MLAC, Museo Laboratorio di Arte Contemporanea, in Rome, DOCVA Centro di
Documentazione per le Arti Visive, in Milan. She has been curator for national
and international presentations, screenings and exhibitions.
 
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. With the art-agency Digimade he is working for international art
festivals, galleries, cultural and media centers as guest curator and media
partner, organizing exhibitions and cross media events, workshops, meetings,
performance and screenings and promoting, among others, Italian live media &
live cinema artists. As Digicult director, Marco Mancuso has been also
expertising and skilling in the last years on networking strategies, online
marketing & comunication developments and web 2.0 editing & journalistic
activities. His interviews and critical texts can be read on Digimag archive,
while his essays were published in festival and exhibition catalogues, and
lectures and presentations he joined, both nationally and internationally.Marco
Mancuso regularly teaches “Multimedia Art Languages” at NABA-New Academy of Fine
Arts in Milan and “Audiovisual Design” at IED-European Institute of Design in
Milan. He is also invited as guest lecturer and teacher of “New Media Art,
Design & Culture” to seminars and workshops at academies and labs in Italy
and Europe (like Transmedia-Brussels, Politecnico-Milan, Vasa Project…). Marco
Mancuso is member of international art-prices juries, like Celeste Prize, Kernel
Festival and In/Out Festival - http://www.marcomancuso.net/


EVENT

DIGIMAG 64 - MAY 2011 // INTERNATIONAL VERSION


Dates:
Thu May 19, 2011 17:10 - Thu May 19, 2011

Digicult   presents:
     
   
    Digimag 64 - May 2011
    http://www.digicult.it/digimag_eng/
   
    The archive section, past articles and   issues:
    http://www.digicult.it/en/Archive/
   
    The updated list of authors and   critics
    www.digicult.it/en/credits
   
   
    "...We tend to look for patterns everywhere. This   capability is embedded in our perceptual mechanism and has saved our ancestors   in critical events over millennia, from identifying a moving object in a   grassland or a threatening face in a crowd. But we also look for patterns in   data, information, facts, and stories as a central method for assimilating   knowledge. The way many of these maps and alphabets are displayed can certainly   influence our perception of reality, so it’s very likely that as representation   metaphors shift so will our sense of time and place [...] Despite this rich   graphical diversity, many projects tend to follow noticeable trends and common   principles, which in turn result in a type of emergent taxonomy. This embryonic   and evolving taxonomy provides a portrait of the current state of the practice   and reveals the initial building blocks shaping a new visual language. This   alphabet is not entirely new in the sense that many of its letters are recurrent   visual metaphors used for centuries. But some are combining and recombining old   metaphors in new original ways...."
   
    Manuel Lima , by "Manuel Lima.   Mapping the information space" - by Pasquale   Napolitano
 

    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    [INTERVIEWS]:
   
    VOLUPTUOUS DATA
    MATIAS DEL CAMPO AND SPAN   ARCHITECTS
    http://www.digicult.it/digimag/article.asp?id=2063
    by Sabina   Barcucci
   
    MANUEL LIMA
    MAPPING THE INFORMATION SPACE
http://www.digicult.it/digimag/article.asp?id=2074
    by Pasquale   Napolitano
   
    THE ROMAN SPRING BY STALKER
    WONDERING AROUND WITH LORENZO   ROMITO
http://www.digicult.it/digimag/article.asp?id=2068
    by Elena   Biserna
   
    SPARKLE LABS
    THE SPARKLE OF CREATION
    http://www.digicult.it/digimag/article.asp?id=2065
    by Zoe   Romano
   
    ZUL MAHMOD
    SOUND ART FROM SINGAPORE
    http://www.digicult.it/digimag/article.asp?id=2066
    by   Robin Peckham
   
    CRITICAL FUSION
INTERVIEW TO MAURICE BENAYOUN
      http://www.digicult.it/digimag/article.asp?id=2075
    by Lorenzo   Taiuti
   
    ROBERTO PUGLIESE
    DIGITAL BIO-ACOUSTICS
http://www.digicult.it/digimag/article.asp?id=2062
    by Claudio   Musso
   
    TRANSMEDIA
    POSTGRADUATE IN ARTS, MEDIA & DESIGN
    http://www.digicult.it/digimag/article.asp?id=2073
    by Silvia   Bertolotti
   
    . . . . . . . . . .   . . . . . . . . . . . . . .
   
    [ESSAYS]:
   
    ONLINE MIDDLE EAST
    THE INFINITE POTENTIAL OF MASSES
http://www.digicult.it/digimag/article.asp?id=2071
    by Emanuele   Andreoli
   
    REVEALING   INTERSTITIAL SPACES
PART 2
      http://www.digicult.it/digimag/article.asp?id=2069
    by Dr.Eugenia   Fratzeskou
   
    . . .   . . . . . . . . . . . . . . . . . . . . .
   
    [REPORTS]:
   
    THE INFLUENCERS 2011
    COLLECTIVE DREAMS, CONTEMPORARY   HEROES
http://www.digicult.it/digimag/article.asp?id=2067
    by Barbara   Sansone
   
    WEFAB: MAKE THE RIGHT THING
    DIGITAL FABRICATION IN THE HEART   OF MILAN
    http://www.digicult.it/digimag/article.asp?id=2064
    by Simona   Casonato
   
    JOSEPHINE BOSMA: NETTITUDES
    LET'S TALK NET ART
    http://www.digicult.it/digimag/article.asp?id=2072
    by Lucrezia   Cippitelli
   
    CAE: THE SPECTRE OF   PLAGUE
    BIOLOGICAL WARFARE,   POLITICS OF FEAR
    http://www.digicult.it/digimag/article.asp?id=2070
    by Loretta   Borrelli
   
    . . . .   . . . . . . . . . . . . . . . . . . . .
   
    [COVER]: SPAN   Architects
   
    . . . . . . . . . .   . . . . . . . . . . . . . .
   
    From 2005, Digicult has being an   online/offline cultural and editorial platform which focuses on the impact of   new technologies and sciences on art, design, culture and contemporary society.   Founded and directed by Marco Mancuso, is now based on the active participation   of quite 50 professional people, who represent a wide international Network of   journalists, curators, artists, theorists, practioneers and critics. Digicult is   also the editor of the monthly magazine Digimag, which focuses on some cultural,   productive and artistic issues like: internet & networks, hacking &   hacktivism, video art & experimental cinema, sound art & electrinic   music, audiovideo and live media, design & architecture, art & science,   new media & social media, software art  & generative art, performing art   & interactive dance, with a strong critic and deep journalistic approach.   Digicult produces an electronic music and audiovisual podcast, Digipod, linked   to the world of netlabels and independent audiovisual productions online, and   also has its own international newsletter service Diginews. Digicult is actually   working with the art agency Digimade as curator/promoter of some Italian   audiovisual artists and designers, presenting their work within festivals,   galleries, exhibitions, events and cultural centers in Europe and   worldwide.Finally, Digicult works as media partner for festivals, exhibitions   & events, developing special curatorial projects, writing texts for   catalogues, organizing workshops and seminars, joining lectures in academies and   universities
   
    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    [DIRECTION AND MANAGEMENT COMMITEE]:
   
    Marco Mancuso (Digicult   project Director and Teacher at New Academy of Fine Arts / Naba of Milan) ;   Claudia D'Alonzo (International Doctorship in Audiovisual Studies, University of   Udine) ; Bertram Niessen (Researcher at Sociology Department of Statale   University of Milan - Bicocca) ; Lucrezia Cippitelli (Phd at Sapienza University   of Rome and Teacher at Academy of Fine arts of L'Aquila)
   
    . . . . . . . .   . . . . . . . . . . . . . . . .
   
    [EDITORIAL BOARD AND   TRANSLATIONS]:
   
    Giovanni Damiola (Technical Consultancy) ; Claudia   D'Alonzo (Press Office) ; Bertram Niessen (Social Networking) ; Giuseppe Cordaro   (Podcast Editing) ; Laurea Magistrale in Traduzione Specialistica, Università   IULM di Milano (Website Translations) ; Lara Freschi - Francesca Lattanzi -   Stefano Avola - Andrea Cariello - (Magazine Translations) ; Paolo Ceresatto   (Magazine Editing)
   
    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    [ADVISORY BOARD]:
   
    An international advisory board for Digicult   will be announced soon...
   
    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    [AUTHORS]:
   
    Tatiana Bazzichelli ; Bertram Niessen ; Teresa De Feo   ; Luigi Ghezzi ; Giulia Baldi; Domenico Quaranta ; Massimo Schiavoni ; Monica   Ponzini ; Annamaria Monteverdi; Valentina Tanni ; Lucrezia Cippitelli ; Claudia   D'Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravaggi ; Alessio Galbiati ;   Antonio Caronia ; Loretta Borrelli ; Carla Langella ; Francesco Bertocco ;   Silvia Casini ; Jeremy Levine ; Serena Cangiano ; Micha Cardenas ; Mark Hencock   , Pasquale Napolitano ; Simona Fiore ; Zoe Romano ; Enrico Pitozzi ; Eugenia   Fratzeskou ; Mattia Casalegno ; Robin Peckam ; Sabina Barcucci ; Silvia   Bertolotti ; Simone Broglia ; Claudia Maina ; Elena Biserna ; Maria   Chatzichristodoulou ; Felipe Zuniga ; Mathias Jannson ; Neva Pedrazzini ;   Alexandra Purcaru ; Lorenzo Taiuti ; Pia Bolognesi ; Julianne Pierce ; Thomas   Schielke ;  Emanuele Andreoli ; Alessandra   Salviotti