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 (76) Jobs (0)
EVENT

:::DIGIMAG 60 / DECEMBER 2010-JANUARY 2011:::


Dates:
Thu Jan 13, 2011 00:00 - Thu Jan 13, 2011

Sorry for any crosspostings

Digicult presents:

Digimag 60 - December 2010/January 2011
http://www.digicult.it/digimag_eng/

"...The history of code in culture has followed a line of increased access since the first digital computers. Now, for the first time, we have a large group of artists, designers, and architects who code extremely well, but who aren't programmers by profession. They are first and foremost artists, designers, and architects, but they use code as an integral part of how they think and make. (The same is true in the sciences and academic humanities.) We're excited about the emergence of a programming culture that's unique to the visuals arts. The arts have borrowed too much of the tools and culture from the sciences, the birthplace of computers. The arts rely too heavily on the constrained software tools produced by companies like Adobe. We hope to see new ways of thinking about code and new tools that map better to how people in the visual arts think and make. Perhaps the sciences and other disciplines will be able to gain a new understanding of software by looking at how it is used in the arts; learn from how artists articulate and approach problems in different ways.."

Casey Reas & William McChandler, from "The Machine that makes Art. Form+Code in art, design and architecture" - by Sabina Barcucci & Bertram Niessen

. . . . . . . . . . . . . . . . . . . . . . . .

[INTERVIEWS]:

THE MACHINE THAT MAKES ART
FORM+CODE IN ART, DESIGN AND ARCHITECTURE
http://www.digicult.it/digimag/article.asp?id=1963
by Sabina Barcucci & Bertram Niessen

THE LOST CEMETERY OF IMAGES
A CONVERSATION WITH CARLOS CASAS
http://www.digicult.it/digimag/article.asp?id=1964
by Pia Bolognesi

THE RULES OF IMPROVISATION
RUTH BARBERAN AND THE CATALAN SCENARIO
http://www.digicult.it/digimag/article.asp?id=1955
by Barbara Sansone

GOB SQUAD
NEVERENDING LIVE CINEMA
http://www.digicult.it/digimag/article.asp?id=1951
by Claudio Musso

MEMEFEST: OLIVER VODEB
CRITICAL AND RADICAL COMUNICATION
http://www.digicult.it/digimag/article.asp?id=1957
by Bertram Niessen

. . . . . . . . . . . . . . . . . . . . . . . .

[THEORIES]:

PAIN IS NOT THE GAME
VIRTUAL AND REAL IN VIDEOGAME ART
http://www.digicult.it/digimag/article.asp?id=1962
by Mathias Jansson

"TRACING" INFRA-SPACES
COMPLICATED BEGINNINGS & ELLIPTICAL ENDS
http://www.digicult.it/digimag/article.asp?id=1952
by Eugenia Fratzeskou

NECESSITY OR TABOO
HOW TO EVALUATE ART & SCIENCE PROJECTS?
http://www.digicult.it/digimag/article.asp?id=1953
by Silvia Casini

ORDER NUMBER TWO
MAJAKOVSKIJ AND THE CULTURE OF MACHINE
http://www.digicult.it/digimag/article.asp?id=1954
by Pasquale Napolitano

TO FEEL LIKE VOICES
VOCAL EXPRESSION: SOUND OF THE SUBJECT
http://www.digicult.it/digimag/article.asp?id=1956
by Simone Broglia

. . . . . . . . . . . . . . . . . . . . . . . .

[REPORTS]:

PASSAGES
TRAVELS IN HYPERSPACE
http://www.digicult.it/digimag/article.asp?id=1959
by Domenico Quaranta

SMART MISTAKES
THE SIXTH EDITION OF SHARE FESTIVAL
http://www.digicult.it/digimag/article.asp?id=1961
by Loretta Borrelli

DIGITAL ART IN FINLAND
CHRONICLES OF A TRAVELLING WEEK
http://www.digicult.it/digimag/article.asp?id=1958
by Annamaria Monteverdi

COLORITO
AN INTERACTIVE RENAISSANCE OF COULOUR
http://www.digicult.it/digimag/article.asp?id=1960
by Lorenzo Taiuti

. . . . . . . . . . . . . . . . . . . . . . . .

[ATTACHMENT]:

- CLUB 2 CLUB 2010
THE X SUPERSTITION
http://www.digicult.it/digimag_eng/allegato.html
by Giulia Baldi

[COVER]:

Aaron Koblin - Flight Patterns

. . . . . . . . . . . . . . . . . . . . . . . .

[THE PROJECT]:

DIGICULT is an online/offline Italian platform, created to spread digital
art and culture worldwide. It focuses on the impact of new technologies and
modern sciences on art, design, culture and contemporary society. DIGICULT
is based on participation of quite 50 professionals, representing a wide
Italian Network of critics, curators and journalists in the field. DIGICULT
is the editor of the magazine DIGIMAG, which focuses on some cultural and
artistic issues like internet art, hacktivism, electronica, video art,
audiovideo, art & science, design, new media, software art, performing art

. . . . . . . . . . . . . . . . . . . . . . . .

[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)

[EIDITORIAL STAFF & TRANSLATIONS]:

Luca Restifo (Technical Consultancy) ; Claudia D'Alonzo (Press Office) ;
Giovanni Damiola (Web Strategies & Social Networks) ; Giuseppe Cordaro
(Podcast Editing) ; Riccardo Vescovo (Graphic Design) ; Laurea Magistrale in
Traduzione Specialistica, Università IULM di Milano (Website Translations) ;
Francesca Lattanzi - Henriette Vittadini - Stefano Avola - Andrea Cariello -
Jessica Williams ; Hannah Cooper (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 ; Silvia Bianchi
; Claudia D'Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravagg ;
Alessio Galbiati ; Antonio Caronia ; Clemente Pestelli ; Donata Marletta ;
Stefano Raimondi ; Loretta Borrelli ; Carla Langella ; Marco Riciputi ;
Elena Gianni ; 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

. . . . . . . . . . . . . . . . . . . . . . . .

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

HIDDEN WORLDS: screening & lecture


Dates:
Mon Dec 06, 2010 00:00 - Mon Dec 06, 2010

Sorry for any crosspostings

HIDDEN WORLDS
screening & lecture
by Digicult / Marco Mancuso

16th International Conference of Film Studies
“Cinema & Energy”

Rome, Teatro Palladium, “Roma Tre” University
8-11 December 2010

Link to video collection and description:
http://www.digicult.it/public/screening\_eng.doc

From the mid-Nineties, “Roma Tre” University’s Department of Communication and Spectacle (Di.Co.Spe.) reflects on changes in cinema and other arts, analysing new tendencies and perspectives linked to the evolution of languages, modes of production and making of films. The Conference for 2010 will be on the relationship between “Cinema and Energy”, being energy a concept that invest social life all over the world (besides of human science and scientific research).

Cinema histories often write about relationship between cinema and technology, underlining that cinema is the technological art par excellence, because it was born during industrial revolution and because its optical-chemical-mechanical device derives from scientific experiments on stroboscopic effect and movement’s deconstruction. Cinema histories also specify all technological conquers that have brought forward cinema expression, such as synchronization of sound, colour, lightening, film emulsions and so forth. Besides, contemporary reflections about “remediation” between cinema, television and new media highlight the redefinition of filmic language, because of the mingling between analogical and digital technologies.

Nevertheless, energy, in which all these process are rooted and that gives form and meaning to cinema, is often neglected in contemporary studies. But energy is considered in other science - from biology to chemic to astrophysics - as the most important and engaging field for research, present and future. Just think about that 80\% of cosmic energy called “dark energy” (in relation with the “dark matter”), that is defined “dark” because is still unknown; in this sense, really interesting are recent observations about neutrinos made by CERN and Gran Sasso laboratories.

The conference will map the relationship between cinema and energy, showing an articulated picture of various ways to understand this relationship in filmic and audiovisual language and forms through history.

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

A MYRIAD OF VIBRANT PHENOMENA
THE HIDDEN WORLDS OF AUDIOVISUAL ART-SCIENCE
Lecture by Marco Mancuso / Digicult

Between 1899 and 1904 the german philosopher and biologist Ernst Haeckel published "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. In this regard, the volume lends itself to multiple assessments: as a zoological work depicting the evolution of organisms, as a work of art and as a work of aesthetics that focuses on seeing and perception as a way of knowing. Aesthetics, as the science of beauty, intent on understanding the nature in relation to art.

The tables of the book, according to a geometric arrangement of the drawings, are based upon the microscopic siliceous skeletons of radiolarians and diatoms, the umbrellas of the jellyfishes, the tentacles of sea anemones and spirals shells of molluscs. These illustrations depict therefore the law that regulates natural energy phenomena: the evolution, the fact that organisms are formed and transformed over time, according to genetic relationships of descent, from a common original type. In other words, by analyzing the tables of his rich classification, it is wonderful to see how nature is not only capable of spontaneously creating veritable art forms, but also of establishing a direct connection between a certain algebraic and geometric aesthetics, starting from a fundamental unit/core and reaching a more complex entity, a consequent evolutionary practice of adaptation.

Moreover, one of the most currently fascinating mathematical theories is no doubt the theory of fractals: according to the definition of its recently passed away discoverer, the polish mathematician Benoit Mandelbrot (1975), who started his researched form the fractal structure found out by french mathematicia Gaston Julia in 1920, fractals are geometrical figures characterized by a repetition to infinity of a same pattern on a more and more reduced scale. Nature is in fact filled with forms very similar to fractals, which don't follow in any way any of the rules of Euclidean geometry. A coastline, the branches or the roots of a tree, a cloud, the snowflakes, the zigzag lightning bolts and the leaf venation patterns: these are only a few examples of fractal forms spontaneously creating in nature.

Among these ones there is the spiral, the fractal form par excellence. The procedural, generative, hieratic and evolutionary element can therefore be considered the key of this thought, turned to a modern "computational ecology": almost 40 years of study, analysis and research have passed between Alan Turing's revolutionary theories about morphogenesis (the capability of every living being to develop complex bodies starting from very simple elements, using self-assembling processes without an external guide), which followed those by bio-mathematician Thompson D'Arcy in his work "On the growth and form" (1917), and more recent studies (1980-1985) on genetic algorithms (a particular kind of evolutionary algorithms utilizing mutation, selection and other recombination techniques in order to guarantee a certain number of abstract representations of possible solution for optimization to become better solutions). Those researches were meant to point out the almost computational characteristics of Mother Nature on one hand, while on the other they confirmed the analog/digital machines' capability of simulating and replicating complex natural phenomena.

These examples show clearly how 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.

All of this is really evident in some video works that have been collected within the screening "Hidden Worlds", a critical reflection upon the existing connection between audiovisual art, energy and science on the borders of cinema, video and digital. A project that was born from a lecture held at Science Museum in Naples in 2008 followed by the curatorship at "Sincronie: music and astronomy festival" in 2009. "Hidden Worlds" doesn't some pioneering works which were not possible to include in the screening, like the studies on Cymatics carried out by naturalist Hans Jenny that explain how every existing sound can be reproduced starting from a waveform visualizable through precise geometrical forms, depending on the medium used. Moreover, some Mary Ellen Bute's works like "Abstronic", that examine the expressive potentialities of the electrons flow within a cathode ray tube, shooting the film with a number of abstract animations to the rhythm of music. And Johny Whitney finally, who with "Permutations", applied his "Computational Periodics" theories to the field of computer graphic, obtaining a "series of harmonic events in the audiovisual introduction", where a specific simulation of a musical progression can be achieved through the multiple superimposition of graphic objects.

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.

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

HIDDEN WORLDS
Videoscreening curated by Marco Mancuso / Digicult

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.

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" and "Brilliant Noise"), 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, if the work on "chemical grams" by the video maker Jurgen Reble ("Materia Obscura") underlines the structures born out of a film's chemical corrosion, in the same way 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 works by Carsten Nicolai ("Spray") and Karl Kliem ("Vienna Concert !! Excerpts").

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.


EVENT

:::DIGICULT_DIGIMAG 59 / NOVEMBER 2010_ONLINE:::


Dates:
Tue Nov 30, 2010 00:00 - Tue Nov 30, 2010

Location:
Italy

Sorry for any crosspostings

Digicult presents:

Digimag 59 - November 2010
http://www.digicult.it/digimag_eng/

The November Digimag Issue is finally online. Digimag is the Digicult's project monthly magazine, which focuses on the impact of new technologies and modern sciences on art, design, culture and contemporary society. As usual, the scientific pubblication is rich of interviews, critical essays, reports of festivals and joins some of the most intriguing artists, designers, theoricians, critics like: Janne Kyttänen/Freedom of Creation, Daniel Dendra/Open SimSim, Gillo Dorfles, Anders Weberg, Achim Wollscheid, Josè Luis de Vicente, Loris Greaud, Valentina Valentini/Tv-Arts-Tv, Susa Pop/Connecting Cities, Cao Fei, Morgan Nardi, Frieze Art Fair...

. . . . . . . . . . . . . . . . . . . . . . . .

"...FOC was born at the same time as “digital culture”. We anticipated this trend and have explored and developed 3D printing technologies since the very first days of this new phenomenon. Nevertheless you might not think of digital culture while looking at our designs. Most of them are just subtle beauties that can also be appreciated and understood by someone who has never even turned on a computer. However, the world is quickly changing and this decade has given people in various fields of life the opportunity to become the star they always wanted to be. Be it cooking, dancing, singing or becoming a video artist, through all the new talent platforms and networks, it all seems possible today. The same will also happen to our new designs, which will give the people more freedom to interact with the designs online and have their wildest dreams come true...."

Janne Kyttänen, from "Freedom of Creation. Open Design will change the world" - by Luigi Ghezzi

. . . . . . . . . . . . . . . . . . . . . . . .

[INTERVIEWS]:

- FREEDOM OF CREATION. OPEN DESIGN WILL CHANGE THE WORLD
http://www.digicult.it/digimag/article.asp?id=1934
by Luigi Ghezzi / Eng: Stefano Avola & Jessica Williams

- GILLO DORFLES. AESTHETICS, ELECTRONICS AND TEXTUALITY
http://www.digicult.it/digimag/article.asp?id=1924
by Pasquale Napolitano / Eng: Henriette Vittadini

- DANIEL DENDRA E OPEN SIMSIM. OPEN SOURCE AND ARCHITECTURAL PRACTICE
http://www.digicult.it/digimag/article.asp?id=1928
by Elena Biserna / Eng: Stefano Avola & Jessica Williams

- ANDERS WEBERG. URL AND NETWORKS AS ARTWORKS
http://www.digicult.it/digimag/article.asp?id=1930
by Mathias Jansson

- A TASTE OF ILLUSION. THE ART OF LORIS GREAUD
http://www.digicult.it/digimag/article.asp?id=1923
by Mattia Casalegno

- THE CHARM OF PRECARIOUSNESS. A CONVERSATION WITH JOSE' LUIS DE VICENTE
http://www.digicult.it/digimag/article.asp?id=1932
by Barbara Sansone / Eng: Andrea Cariello & Hannah Cooper

- URBAN SPACE AND MOLTITUDE. ACHIM WOLLSCHEID'S WORK
http://www.digicult.it/digimag/article.asp?id=1926
by Claudia Maina / Eng: Stefano Avola & Jessica Williams

- SUSA POP: CONNECTING CITIES. NEW FORMATS OF URBAN COMMUNICATION
http://www.digicult.it/digimag/article.asp?id=1925
by Silvia Bertolotti / Eng: Stefano Avola & Jessica Williams

- TV/ARTS/TV - BEYOND THE SCREEN! AN INTERVIEW TO VALENTINA VALENTINI
http://www.digicult.it/digimag/article.asp?id=1936
by Herman B. Mendolicchio

- MORGAN NARDI. THE CHARM OF NEW CHOREOGRAPHY
http://www.digicult.it/digimag/article.asp?id=1933
by Massimo Schiavoni / Eng: Francesca Lattanzi

. . . . . . . . . . . . . . . . . . . . . . . .

[IN DEPTH]:

- CAO FEI: DEMOLISHING THE VIRTUAL. RMB CITY AND THE CRISIS OF ART-REALITY
http://www.digicult.it/digimag/article.asp?id=1935
by Robin Peckham

- WEB'S UNCONSCIOUS. WHAT DOES A TECHNICAL IMAGE SAY OF YOU?
http://www.digicult.it/digimag/article.asp?id=1929
by Loretta Borrelli / Eng: Henriette Vittadini

- INTERRUPTIVE SITE-SPECIFICITY. IN CONTEMPORARY DIGITAL ART
http://www.digicult.it/digimag/article.asp?id=1927
by Eugenia Fratzeskou

. . . . . . . . . . . . . . . . . . . . . . . .

[REPORT]:

- FRIEZE ART FAIR. ART TO TRANSFORM THE REALITY
http://www.digicult.it/digimag/article.asp?id=1931
by Alexandra Purcaru

. . . . . . . . . . . . . . . . . . . . . . . .

[ATTACHMENT]:

- CONNECTING LA HAVANA. CURATORIA MILITANTE, MEDIA TATTICI E LA SINDROME DI YOANI SANCHEZ
http://www.digicult.it/digimag_eng/allegato.html
by Lucrezia Cippitelli

[COVER]:

Freedom of Creation - 1597 Wall Light (D32)

. . . . . . . . . . . . . . . . . . . . . . . .

[THE PROJECT]:

DIGICULT is an online/offline Italian platform, created to spread digital art and culture worldwide. It focuses on the impact of new technologies and modern sciences on art, design, culture and contemporary society. DIGICULT
is based on participation of more than 40 professionals, representing a wide Italian Network of critics, curators and journalists in the field. DIGICULT is the editor of the magazine DIGIMAG, which focuses on some cultural and
artistic issues like internet art, hacktivism, electronica, video art, audiovideo, art & science, design, new media, software art, performing art

. . . . . . . . . . . . . . . . . . . . . . . .

[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)

[EIDITORIAL STAFF & TRANSLATIONS]:

Luca Restifo (Technical Consultancy) ; Claudia D'Alonzo (Press Office) ; Giovanni Damiola (Web Strategies & Social Networks) ; Giuseppe Cordaro (Podcast Editing) ; Riccardo Vescovo (Graphic Design) ; Laurea Magistrale in Traduzione Specialistica, Università IULM di Milano (Website Translations) ; Francesca Lattanzi - Sara Cavagna - Henriette Vittadini - Andrea Cariello - Stefano Avola - Jessica Williams - Hannah Cooper (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 ; Silvia Bianchi ; Claudia D'Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravaggi ; Alessio Galbiati ; Antonio Caronia ; Clemente Pestelli ; Donata Marletta ; Stefano Raimondi ; Loretta Borrelli ; Carla Langella ; Marco Riciputi ; Elena Gianni ; Francesco Bertocco ; Silvia Casini ; Jeremy Levine ; Serena Cangiano ; Micha Cardenas , Mark Hencock , Pasquale Napolitano ; Simona Fiore ; Zoe Romano ; Enrico Pitozzi ; Eugenia Fratzeskou ; Maria Chatzichristodoulou ; Mattia Casalegno ; Robin Peckam ; Sabina Cuccibar ; Silvia Bertolotti ; Simone Broglia ; Claudio Musso ; Elena Biserna ; Claudia Maina ; Henriette Vittadini ; Neva Pedrazzini ; Maria Chatzichristodoulou ; Felipe Zuniga ; Mathias Jansson ; Alexandra Purcaru 

. . . . . . . . . . . . . . . . . . . . . . . .

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

Digimag 66 - July/August 2011: International Version Online


Dates:
Fri Jul 22, 2011 12:00 - Fri Jul 22, 2011

Sorry for any crosspostings
 
 
Digicult presents:
DIGIMAG 66 - JULY/AUGUST 2011
http://www.digicult.it/digimag_eng/
 
"...Exploitation is a universal phenomena. We need to find out how it takes
place and how wide it is. We believe that ethical economy harbors the
possibility of a new way to reconnect economy to society and thus to democratize
the economy, especially for what concerns the value of attribution and
distribution issues. Even if unable to eliminate explotation itself, this model
could potentially lower the exploitation level of the system if we compare it to
the present neoliberal model. New forms of exploitation are less related to the
marxist idea of 'theft of labor time' and more connected to the ability of
common resources wealth appropriation, resources that derive form heavily
socialized productive networks. An ethical economy based on reputation might
become a way to determine, in a more democratic way, who can legitimately claim
those resources and in which amount......"
Adam Ardvisson, from "Ethical Economy. The new redistribution of value" by Zoe Romano
------
[INTERVIEWS]:
SOUND AS INFORMATION.  DJ SPOOKY AT KERNEL FESTIVAL
http://www.digicult.it/digimag/article.asp?id=2118
- by Alessandra Coretti
CERTAIN PLEASURE. ZHANG PEILI AND ELECTRONIC MEDIA
http://www.digicult.it/digimag/article.asp?id=2131
- by Robin Peckham
ETHICAL ECONOMY. THE NEW REDISTRIBUTION OF VALUE
http://www.digicult.it/digimag/article.asp?id=2125
- by Zoe Romano
I, ME AND TWENTY-THREE. SCIENCE AND NARCISSISM 2.0
http://www.digicult.it/digimag/article.asp?id=2123
- by Nicola Bozzi
CITY PORTRAITS. TEATRO A CORTE: INTERVIEW WITH BERLIN
http://www.digicult.it/digimag/article.asp?id=2129
- by Silvia Scaravaggi
THE IMAGE OF SOUND. YURI ANCARANI'S STOMACH
http://www.digicult.it/digimag/article.asp?id=2130
- by Alessandra Saviotti
THE NAPLES ACADEMY. TRAINING TO NEW TECHNOLOGIES FOR ART
http://www.digicult.it/digimag/article.asp?id=2128
- by Pasquale Napolitano
--------
[ESSAYS]:
A NEW DARK AGE FOR DUTCH CULTURE
http://www.digicult.it/digimag/article.asp?id=2127
- by "Sonic Acts" Festival
THE TRUTH OF EXPERIENCE. NOTES OF EXPANDED PHOTOGRAPHY
http://www.digicult.it/digimag/article.asp?id=2126
- by Alfredo Cramerotti
OPERATIVE TRANSFORMATIONS - PART 1
http://www.digicult.it/digimag/article.asp?id=2120
- by Eugenia Fratzeskou
DIGITAL ICONS AND DEATH. IRAN VS IRAN
http://www.digicult.it/digimag/article.asp?id=2122
- by Emanuele Andreoli
--------
[REPORTS]:
LATE "PRIMAVERA". RECORDED REPORT FROM THE FESTIVAL
http://www.digicult.it/digimag/article.asp?id=2121
- by Pia Bolognesi
OFFF 2011. YEAR ZERO, IN WHICH SENSE?
http://www.digicult.it/digimag/article.asp?id=2119
- by Barbara Sansone
THREE GHOSTS. "MADE REAL" AT FURTHERFIELD GALLERY
http://www.digicult.it/digimag/article.asp?id=2124
by Michael Szpakowski
--------
[ATTACHMENT]:
SINC: KERNEL FESTIVAL. LISTEN TO THE ROUNDTABLE WITH DJSPOOKY & TELENOIKA
http://www.digicult.it/public/kernel.mp3
[COVER]:
Dj Spooky: Terranova: Antarctica Project
--------
[THE DIGICULT 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 (Professor at Naba Academy of Milan, Visiting Professor
at Transmedia School of Brussels) ; 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 Professor at Fine Arts Academy of
L'Aquila)
[EDITORIAL STAFF & TRANSLATIONS]:
Marco Mancuso (Director) ; Claudia D'Alonzo (Press Office) ; Paolo
Ceresatto, Martina Panelli, Alessandra Coretti (Editing) ; Giovanni Damiola
(Technical Consultancy) ; Meryem Dipdere (Social Networking) ; Riccardo Vescovo
(Graphic Design) ; Marketing Manager (Chiara Colella) ; Marketing Accountant
(Paolo Laurea Magistrale in Traduzione Specialistica, Università IULM di Milano
(Website Translations) ; Lara Freschi, Francesca Lattanzi, Stefano Avola, Andrea
Cariello, Roberta Buiani, Roberta Meloncelli (Magazine Translations) ; Paola
Barisani (Translations Review)
 
[AUTHORS]:
Tatiana Bazzichelli ; Bertram Niessen ; Teresa De Feo ;
Luigi Ghezzi ; Giulia Baldi ; Domenico Quaranta ; Massimo Schiavoni ; Monica
Ponzini ; Valentina Tanni ; Lucrezia Cippitelli ; Silvia Bianchi ; Claudia
D'Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravaggi ; Alessio Galbiati ;
Antonio Caronia ; Loretta Borrelli ; Carla Langella ; Silvia Casini ; Jeremy
Levine ; Herman B. Mendolicchio ; Serena Cangiano ; Micha Cardenas ; Mark
Hencock ; Pasquale Napolitano ; Zoe Romano ; Enrico Pitozzi ; Eugenia Fratzeskou
; Mattia Casalegno ; Robin Peckam ; Sabina Cuccibar ; Silvia Bertolotti ; Simone
Broglia ; Claudio Musso ; Claudia Maina ; Elena Biserna ; Maria
Chatzichristodoulou ; Neva Pedrazzini ; Mathias Jansson ; Felipe Zuniga ;
Alexandra Purcaru ; Lorenzo Taiuti ; Pia Bolognesi ; Julianne Pierce ; Thomas
Schielke; Emanuele Andreoli ; Alessandra Saviotti ; Alfredo Cramerotti ; Martina
Panelli ; Alessandra Coretti ; Nicola Bozzi


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.