BIO
Salvatore Iaconesi (xdxd.vs.xdxd@gmail.com) works with technology in several ways.
Starting out in the hacking and pirating scenes all over Europe at the beginning of the '90s, he used several digital identities to experiment in various areas: ANSI/ASCII art, software art, mxed-media.
Rave parties and engineering represent the two turning points of his evolution.
Through engineering he started creating projects on web and mobile technologies for both artistic and commercial purposes: games, mixed-media concepts for events and performances, location based systems, distributed systems, computer/human interaction, artificial intelligence, robotics.
Through raves and rave culture he focused on the performative aspects of art.
In 2004 he assembled in Rome a 3-months continuous festival of the digital arts, called Art is Open Source (AOS).
Since then he has been performing mainly on the network and on performances.
His recent work focuses on the theories of the virtual, extended and mixed realities, on software as art medium, on hacking and hacktivism.
Starting out in the hacking and pirating scenes all over Europe at the beginning of the '90s, he used several digital identities to experiment in various areas: ANSI/ASCII art, software art, mxed-media.
Rave parties and engineering represent the two turning points of his evolution.
Through engineering he started creating projects on web and mobile technologies for both artistic and commercial purposes: games, mixed-media concepts for events and performances, location based systems, distributed systems, computer/human interaction, artificial intelligence, robotics.
Through raves and rave culture he focused on the performative aspects of art.
In 2004 he assembled in Rome a 3-months continuous festival of the digital arts, called Art is Open Source (AOS).
Since then he has been performing mainly on the network and on performances.
His recent work focuses on the theories of the virtual, extended and mixed realities, on software as art medium, on hacking and hacktivism.
architecture, Mexico and infiltration
oh, and here is some info about the installation we did in Mexico City, in a beautiful cloister of the colonia Coyoacan
rel:attiva presenza
http://www.artisopensource.net/2008/11/08/relattiva-presenza/
best,
xDxD
rel:attiva presenza
http://www.artisopensource.net/2008/11/08/relattiva-presenza/
best,
xDxD
architecture, Mexico and infiltration
we infiltrated an architecture congress in mexico.
the theme was the preservation and revitalization of the historical centers.
while most people talked about restoring monuments and making beautiful buildings we suggested interventions using digital technologies to implement relational architectures and urban practices that could get people involved in the urban tissues, stimulate, inspire and create opportunities.
here
http://www.artisopensource.net/2008/11/08/architettura-relattiva/
you can find some additional info and a PDF of the theories we presented. The PDF is only in italian for now, but it will be available in english, spanish and french by the end of next week, as we are expanding it to turn it into a book called "rel:active architecture" that will be freely available on the internet.
We will also be designing a series of lectures to be held on the subject in various universities and institutions in Europe and central/south america.
I would love to hear from people that are interested in these issues to receive comments and contributions and to see if we can get some of you involved.
best,
xDxD
the theme was the preservation and revitalization of the historical centers.
while most people talked about restoring monuments and making beautiful buildings we suggested interventions using digital technologies to implement relational architectures and urban practices that could get people involved in the urban tissues, stimulate, inspire and create opportunities.
here
http://www.artisopensource.net/2008/11/08/architettura-relattiva/
you can find some additional info and a PDF of the theories we presented. The PDF is only in italian for now, but it will be available in english, spanish and french by the end of next week, as we are expanding it to turn it into a book called "rel:active architecture" that will be freely available on the internet.
We will also be designing a series of lectures to be held on the subject in various universities and institutions in Europe and central/south america.
I would love to hear from people that are interested in these issues to receive comments and contributions and to see if we can get some of you involved.
best,
xDxD
Freedom not Fear: Angel_F and SuperAvatar attend the event on surveiilance and data retention
digital beings for digital rights :)
pictures:
http://www.artisopensource.net/2008/10/13/angel_f-and-superavatar-at-freedom-not-fear-in-rome/
the story:
http://www.artisopensource.net/2008/10/08/angel_f-and-superavatar-at-freedom-not-fear/
byebye
xDxD
pictures:
http://www.artisopensource.net/2008/10/13/angel_f-and-superavatar-at-freedom-not-fear-in-rome/
the story:
http://www.artisopensource.net/2008/10/08/angel_f-and-superavatar-at-freedom-not-fear/
byebye
xDxD
Angel_F and the SuperAvatar at Freedom not Fear
Dates:
Sat Oct 11, 2008 00:00 - Wed Oct 08, 2008
Location:
Italy
Angel_F and SuperAvatar are scared.
The lives of the young artificial intelligence and of the avatar who escaped from virtual worlds have been endangered more than once by the control, that is constantly perpetrated on people's information, habits and identities.
Forms of surveillance that are progressively and obsessively expanding through continuous control of our lives (and not only of the ones of our beloved digital beings). Along the streets, in the supermarkets, in public spaces, and even in our homes, through telephones and internet connectivity. An enormous amount of resources are wasted to control people's lives in multiple ways: from cameras to armed forces, passing through data retention systems spying on people's personal information.
Angel_F e SuperAvatar are feeling annoyed, alarmed and outraged by all of that and, therefore, decided to publicly show their dissent, together with their human friends.
The two digital beings will join the Freedom not Fear event, and they will attend the conference that will take place at the "Provincia di Roma" building on saturday, starting at 9:30am.
Who: Angel_F and SuperAvatar
When: Saturday, October 11th 2008, from 9:30am to 13:30am
Where: "Freedom not Fear", palazzo Valentini (Palazzo della Provincia di Roma, via IV Novembre n. 119/a, Roma
_________________________________________________________________
Freedom not Fear: International action day for democracy, free speech, human rights, civil liberties; against censorship, mass-surveillance, mass-data retention.
http://wiki.vorratsdatenspeicherung.de/Fnf08
Angel_F is the young artificial intelligence son of Derrick de Kerckhove and the Biodoll.
It was born on February 2007. Since it started interacting with humans' physical world it has been deeply interested about the international dialogue on digital rights. After a peculiar case of censorship, little Angel_F managed to attend the UN's Internet Governance Forum held in Rio de Janeiro all by itself.
Angel_F is a project by xDxD.vs.xDxD and penelope.di.pixel
http://www.artisopensource.net/2007/12/10/angel_f/
Fatherboard - the SuperAvatar - is an avatar that escaped from virtual worlds when its owner's computer exploded in a short circuit. It looks like a cyborg, but it isn't, as its body is built from the hardware parts of the computer from where it materialized.
Its relations with human beings are contradictory and intermittent: the SuperAvatar is a fugitive living a constant conflict with institutional control, either the virtual and the real ones!
Fatherboard is a project by Luigi Pagliarini
http://www.artificialia.com/Fatherboard/
_________________________________________________________________
Net.art Preservation
there are so many possible points of view on this!
on one side:
technology fades. It fades faster now (i had a really a hard time finding a RS232 port last week.. only USB) with technologies becoming obsolete and incompatibly different every what.. 6 months? :)
but it's part of the whole experience!
technologies make us do things. It's not that they are "just" enablers for activities and processes. They also "force" us to do things, such as hunting for software drivers, dealing with system behaviours, buying new components because you're the only one left with a specific one (it happened with floppy disks, with ports, with processors, video cards.. everything).
it's right in some ways, wrong in other ones, but it's part of teh experience we have of networks, computers etcetera..
so it's probabily part of the "artwork" as well..
on another side:
as someone said before platforms become fundamental for experiencing some works. cpu power, network connection speeds, media types, codecs, technologies... all of these combine to form the experience we have of a work. Even the fact that different people can have different experiences from it (or, to the extreme, someone can even have the experience of not being able to see the work completely, possibly because he has the wrong technology, not enough CPU power...) according to what they have available to access a work.
In many cases "preserving" just cannot be translated just in a matter of "keeping somewhere a computer on which this work sunctions correctly".
on yet another side:
it's surely romantic to have the idea of a "digital artwork" restorer, such as we have them for paintings, frescoes and antique furnitures.
but it would be a totally arbitrary work, i guess.
what would he/she do? adapt software? produce a virtualized platform? keep a PC or a C-64 working like a mechanic?
in any case it would look more like a re-enactment of the work.
and so it would be nice to make this thing explicit and significative, and leave it to open source practices, such as Rob sad a couple of messages before.
and yet on one more perspective:
and then, in the end... who would choose what to preserve? little old me? a community? "people"?
we are describing a complex thing here, that could be possible only if performed by an institution of some kind. Someone that could guarantee for a long time the availability and maintenance of a virtualized platform, a connectivity, a software/hardware expertise.... lots of stuff.
while it would be surely a lovely job to do (both at managerial and executive/technical levels) it looks a bit "strange" to say the least.
Especially when most of those works are highly "immaterial" in themselves.
And, even more, especially when many speak about the change from the kinds of processes in which "institutions do things", describing a more rhizomatic approach to life, made from emerging dynamics and processes, and from dialogue.
There seems a bit of an ecosystemic unbalance in these kind of efforts.
And, in my opinion, also a tragic disconnection from the meaning of many things.
and, possibly, in a last point of view:
we live on information and on communication. on documents, videos, images, comments, hyperlinks, relationships, emotions. it could prove more significative, ecological, sustainable and evolved to go beyond this model in which a "thing" is kept in "a dusty closet" (or in something thatis conceptually the same) to be able to experience it for ages, and to turn to models in which "things" are kept alive as people use them and modify them, and share, update, describe, film them.
as a model it's a bit far from the average egocentric artist :) but it's what it would be nice to do, no?
byebye!
xDxD
on one side:
technology fades. It fades faster now (i had a really a hard time finding a RS232 port last week.. only USB) with technologies becoming obsolete and incompatibly different every what.. 6 months? :)
but it's part of the whole experience!
technologies make us do things. It's not that they are "just" enablers for activities and processes. They also "force" us to do things, such as hunting for software drivers, dealing with system behaviours, buying new components because you're the only one left with a specific one (it happened with floppy disks, with ports, with processors, video cards.. everything).
it's right in some ways, wrong in other ones, but it's part of teh experience we have of networks, computers etcetera..
so it's probabily part of the "artwork" as well..
on another side:
as someone said before platforms become fundamental for experiencing some works. cpu power, network connection speeds, media types, codecs, technologies... all of these combine to form the experience we have of a work. Even the fact that different people can have different experiences from it (or, to the extreme, someone can even have the experience of not being able to see the work completely, possibly because he has the wrong technology, not enough CPU power...) according to what they have available to access a work.
In many cases "preserving" just cannot be translated just in a matter of "keeping somewhere a computer on which this work sunctions correctly".
on yet another side:
it's surely romantic to have the idea of a "digital artwork" restorer, such as we have them for paintings, frescoes and antique furnitures.
but it would be a totally arbitrary work, i guess.
what would he/she do? adapt software? produce a virtualized platform? keep a PC or a C-64 working like a mechanic?
in any case it would look more like a re-enactment of the work.
and so it would be nice to make this thing explicit and significative, and leave it to open source practices, such as Rob sad a couple of messages before.
and yet on one more perspective:
and then, in the end... who would choose what to preserve? little old me? a community? "people"?
we are describing a complex thing here, that could be possible only if performed by an institution of some kind. Someone that could guarantee for a long time the availability and maintenance of a virtualized platform, a connectivity, a software/hardware expertise.... lots of stuff.
while it would be surely a lovely job to do (both at managerial and executive/technical levels) it looks a bit "strange" to say the least.
Especially when most of those works are highly "immaterial" in themselves.
And, even more, especially when many speak about the change from the kinds of processes in which "institutions do things", describing a more rhizomatic approach to life, made from emerging dynamics and processes, and from dialogue.
There seems a bit of an ecosystemic unbalance in these kind of efforts.
And, in my opinion, also a tragic disconnection from the meaning of many things.
and, possibly, in a last point of view:
we live on information and on communication. on documents, videos, images, comments, hyperlinks, relationships, emotions. it could prove more significative, ecological, sustainable and evolved to go beyond this model in which a "thing" is kept in "a dusty closet" (or in something thatis conceptually the same) to be able to experience it for ages, and to turn to models in which "things" are kept alive as people use them and modify them, and share, update, describe, film them.
as a model it's a bit far from the average egocentric artist :) but it's what it would be nice to do, no?
byebye!
xDxD
RSS FEED
