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
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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


EVENT

Digimag 63 - April 2011 /// most read articles


Dates:
Fri May 06, 2011 12:40 - Fri May 06, 2011

Waiting for the Digimag International - May Issue publication

The most read articles from the current online issue of the Digicult's
monthly magazine:

DIGIMAG 63 - APRIL 2011
http://www.digicult.it/digimag_eng/
PETER TSCHERKASSKY
AUDIOVISUALS FROM A DARKROOM
Txt: Marco Mancuso
http://www.digicult.it/digimag/article.asp?id=2034
Let's start from an assumption: I am not a film critic and more in general I do not work exclusively on experimental cinema. This analysis of the avant guard director Peter Tscherkassky, born in Wien in 1958 and winner at the 67th Venice Film Festival in the "Nuovi Orizzonti" section with the film Coming Attractions, will probably lack those lexical elements and elements of analysis used by the most orthodox film criticism, and will inesorably be exposed to a radical reading of the following text. In spite of that, my intention is to highlight the austrian director's work, in terms of the importance that I think it has not only as far as cinema is concerned, but also and especially towards the production and the audiovisual research taken as an aesthetic-expressive possibility of the sound-image relationship.

------------

MORE PERFECT UNION
THE EMOTIONAL CARTOGRAPHY BY LUKE DUBOIS
Txt: Pasquale Napolitano
http://www.digicult.it/digimag/article.asp?id=2037
More Perfect Union, the last work by Luke Dubois (United States, 1975), artist, scholar, musician, represeted by the Bitforms Gallery in New York (directed by Steve Sacks e Laura Blereau), one of the most influential exhibition centers in the digital art scenario, places itself as an interesting attempt to investigate the sentimental life of americans,
through the digital visualization potential. The work is about a mapping of the american identity through an analysis of the 21 main online meeting websites. A sort of media coverage and aestheticization of the most important experiences of investigating interpersonal relationships - like Comizi d'amore by Pier Paolo Pasolini or by Alfred Kisey if you want, who with his relationships defied the conventions taking care of issues until then considered a taboo.

------------

PAOLO CIRIO
WHEN STEALING BECOMES ART
Txt: Tatiana Bazzichelli
http://www.digicult.it/digimag/article.asp?id=2039
In the essay The author as a producer (1934), Walter Benjamin describes the author's role through the figure of the engineer. Instead of reproducing the production apparatuses, the author/engineer is able to intervene within them, transforming the cultural production function itself and opening it up to the collective intervention. The engineer figure described by Walter Benjamin reminds the "tactical" art by Paolo Cirio, who contributes to transform the meaning of the artistic practice from within, by unveiling the unsolved knots in the art field. Through his artworks, Paolo Cirio intervenes tactically locating some plugs of a puzzle which can be finished only by directly involving its referents, being them either corporations, media apparatuses, or the so-called network "users".

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THE DIGITAL GREGOR SAMSA
INTERVIEW WITH PIERRICK SORIN
Txt: Alexandra Purcaru
http://www.digicult.it/digimag/article.asp?id=2047
Paris is proving increasingly active on the artistic innovations of the
digital scene. New centers dedicated to Digital Arts have been flourishing in the last decade. The Cube was born in 2001 in Issy, the CentQuatre 104 was born in 2008, and the Gaîté Lyrique just opened in 2011. The three of them are platforms for creativity and avant-gardist sound, open to installations, exhibitions, performance, dance, rhythm and noise. Pierrick Sorin, a multimedia artist which expresses himself through various means such as sound and video installations, presented the project entitled: 22:13 (this title is likely to be changed at any moment) at CentQuatre.


EVENT

DIGIMAG 63 - APRIL 2011 /// INTERNATIONAL ISSUE ONLINE


Dates:
Fri Apr 22, 2011 13:00 - Fri Apr 22, 2011

Digicult   presents:
     
   
    Digimag 63 - April 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
   
   
    "...I would say that every advanced art and art   form has a tendency towards “enlightenment”, since to be understood and   appreciated it needs an “enlightened” or at least open minded audience, with a   willingness to reflect upon one’s own systems of understanding, of how we   perceive and decode the world. I doubt that this makes me a “political” artist   in the sense we normally use to consider that notion. But hopefully I’m a   political artist in the way Theodor Adorno would describe it....I would say that   I am influenced by new technologies, and formats, however ex negativo: These   forms are not just new and “innocent”, but were designed to replace analog film   – and analog film as a medium of fine art cannot be replaced by digital   technologies since the materiality of the two media are completely different and   have nothing to do with one another. I decided to make work that illustrates and   celebrates the qualities of analog film which cannot be replaced by non-analog   media".
 
Peter   Tscherkassky, from "Peter Tscherkassky. Audiovisuals from a darkroom", by Marco   Mancuso

    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    [INTERVIEWS]:
   
    PETER TSCHERKASSKY. AUDIOVISUALS FROM A   DARKROOM
http://www.digicult.it/digimag/article.asp?id=2034
    by Marco   Mancuso
   
    A MORE PERFECT UNION. THE   EMOTIONAL CARTOGRAPHY BY LUKE DUBOIS
http://www.digicult.it/digimag/article.asp?id=2037
    by Pasquale   Napolitano
   
    PAOLO CIRIO. WHEN STEALING   BECOMES ART
http://www.digicult.it/digimag/article.asp?id=2039
    by Tatiana   Bazzichelli
   
    THE DIGITAL GREGOR   SAMSA. INTERVIEW WITH PATRICK   SORIN
http://www.digicult.it/digimag/article.asp?id=2047
    by Alexandra   Purcaru
   
    MULTISENSORY SPACE. INTERVIEW WITH SONIA CILLARI
http://www.digicult.it/digimag/article.asp?id=2045
    by Barbara   Sansone
   
    NET ART AT   EXHIBITION CENTERS. MARTA PONSA AND THE 'JEU DE PAUME'   CASE
http://www.digicult.it/digimag/article.asp?id=2042
    by Giulia   Simi
   
    AIM, FIRE, POETRY! JASON NELSON AND THE NEW LITERATURE
http://www.digicult.it/digimag/article.asp?id=2046
    by Mathias   Jansson
   
    FIDEL GARCIA'S   WORK. ART AS A COMPLEX   SYSTEM
http://www.digicult.it/digimag/article.asp?id=2043
    by Lucrezia   Cippitelli
   
    PAPER RESISTANCE: GRAPHIC (R)EXISTENCE
    http://www.digicult.it/digimag/article.asp?id=2035
    by Claudio   Musso
   
    ALFREDO COSTA MONTEIRO. EPHEMERAL   MATTER & UNSTABLE PROCEDURES
http://www.digicult.it/digimag/article.asp?id=2038
    by Barbara   Sansone
   
    FRANCESCA GRILLI. SEARCHING FOR THE DAILY MIRACLE
http://www.digicult.it/digimag/article.asp?id=2044
by Alessandra Salviotti
     
    .   . . . . . . . . . . . . . . . . . . . . . . .
   
    [ESSAYS]:
   
    REVEALING INTERSTITIAL   SPACES. PART 1
    http://www.digicult.it/digimag/article.asp?id=2040
    by Dr.   Eugenia Fratzeskou
   
    THE TIME AND THE NET.   MORPHOGENESIS OF A CURRENT   RELATIONSHIP
http://www.digicult.it/digimag/article.asp?id=2041
    by Emanuele   Andreoli
   
    . . . . . . . . . . .   . . . . . . . . . . . . .
   
    [REPORTS]:
   
    TRACING EXPERIENCES. DESIGN'S FICTION: THE "MADE UP"   EXHIBITION
http://www.digicult.it/digimag/article.asp?id=2036
    by Mattia   Casalegno
   
    . . . . . . . . . . . . . . . . . . . . . . . .
   
    [COVER]:   Peter Tscherkassky, Coming Attractions (2010)
   
    . . . . . . . . . . . . . . . . . . . . . . .   .
   
    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) ; Luca Restifo (Programming) ; Claudia D'Alonzo (Press Office) ;   Riccardo Vescovo (Graphic Design) ; Bertram Niessen (Social Networking) ; Laurea   Magistrale in Traduzione Specialistica, Università IULM di Milano (Website   Translating) ; Lara Freschi - Francesca Lattanzi - Stefano Avola - Andrea   Cariello (Magazine Translating)
   
    . . . . . . . . . . . . . . . . . . . . .   . . .
   
    [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


EVENT

Digimag 62 - March 2011 - The most read articles


Dates:
Wed Apr 06, 2011 10:36 - Wed Apr 06, 2011

Waiting for the International Aprile Issue publication of DigiMag...
 
DIGIMAG 62 - MARCH 2011
http://www.digicult.it/digimag_eng/

Constellations and Fragments: the sound of Stephan Mathieu
http://www.digicult.it/digimag/article.asp?id=2010
The last two works by the german sound artist Stephan Mathieu – A Static Place and Remain– follow instead this latest process. For both of them, Mathieu made use of published compositions of heterogeneous nature: a collection of 78 rpm vinyls of some of the first audio recordings dating back to the 20’s and the score of an installation by Janek Schaefer, Extended Play.Mathieu is not new to reprocessing, tecnique used since a long time to create set ups with instruments and analogical devices connected to hardwares working in real time, but in the last few years his passion for the first discographic recordings, the old instruments, the environmental sounds and the obsolete communication devices, has taken him to experiment new solutions also concerning contemporary compositions.
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Seaquence: audiovisual online micro-cultures
http://www.digicult.it/digimag/article.asp?id=2006
Seaquence is an on-line project developed by Ryan Alexander, Gabriel Dunne and Daniel Massey during an art residency at Gray Area Foundation For The Arts (GAFFTA),San Francisco, a non-profit organization dedicated to building social consciousness through digital culture. It is a platform that, through a biological metaphor, allows the online user to build sequencers visualized as micro-organisms, whose form changes according to the audio processing parameters. Assembled in virtual Petri dish cultures, sequencers are synchronized with each other creating simple but very evocative rhythmic compositions. Seaquence is a work of digital art that offers its users the opportunity to experience a free and fun synthesis and sequencing, learning changes on the audiovidual flow produced by some basic parameters (such as waveforms and duration).
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Memory and Media archeology. Interview with Tania Aedo
http://www.digicult.it/digimag/article.asp?id=2015

(Ready)Media: Hacia una arqueología de los medios y la invención en México, DVD box recently edited by the Alameda Laboratory Art of Mexico City, revisits the history of artistic practices in the twenties of XX Century in Mexico, on the border between art, science and technologicalexperimentation. The DVD box is an unprecedented work of research and diffusion, carried out by a team of researchers, artists
and curators, which throws light on a part of never historicized
Modernism. A work that in North America would likely be realized by
wealthy departments of some rich Ivy League's Universities, with a
comparative approach towards the study on Modernism, but in this case it has been carried out in a militant (and scientific at the same time), laboratorial way, by a group of actors playing personally in the
context.