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.
the re-materialization of art - Remixed
is my english so bad?
can't know everything, you know...
apart from that: what is my point with what? with he videos? with neo-realismo virtuale? with comments on websites?
can't know everything, you know...
apart from that: what is my point with what? with he videos? with neo-realismo virtuale? with comments on websites?
the simplest mashup
:)
the original website is down (too many angry replies from electors or simple maintenance? ... the bug turns into narrative..)
... and it's part of the mashing-up, isn't it?
and about your nude_studes: opening up the commentary right inside the code is a wonderful approach.
it could turn to be very narrative (to re-use a word i really like) .. too bad for the lack of curiosity in the audience.
and, on this issue: a really interesting thing i notice in arts that offer interaction of some sort is that many many times people are just "embarassed" and they just don't interact.
some times it's that they are used to art that you look at (and that's it), other times they don't understand, some other times they feel that someone is going to scold them because they are touching the artwork.
museums often being dead places filled with "don't touch" signs probably have something to do with this attitude, too.
once i spoke with the flute player in the Ozric Tentacles band and he told me "people just don't get involved in the music.. either they are on drugs or they just stand there, looking up at the stage with their arms crossed, and the most they do is nod to the music and try to look happy and comfortable".
i have nothing against "standing there nodding" without getting involved. I am just curious of why it happens, because if you do get involved you get a totally different experience/understanding of what you're looking at.
i feel that this is also true for interactive arts, and for arts on the web. either the works present something that is immediately recognizable or perceptively fun, or they just look (even for a long time, according to statistics) and leave.
the StumbleUpon web application is remarkable in this sense: i studied the access statistics coming from that service on about a dozen of websites and got really interestng measures. loads and loads of un-interacting, passive, practically-dead visits spending several minutes staring at a screen full of interaction hints.
to answer myself some of the questions, i am turning to the studies on visual fetishes and on things that are closer to marketing than thay are to art.
byebye
s
the original website is down (too many angry replies from electors or simple maintenance? ... the bug turns into narrative..)
... and it's part of the mashing-up, isn't it?
and about your nude_studes: opening up the commentary right inside the code is a wonderful approach.
it could turn to be very narrative (to re-use a word i really like) .. too bad for the lack of curiosity in the audience.
and, on this issue: a really interesting thing i notice in arts that offer interaction of some sort is that many many times people are just "embarassed" and they just don't interact.
some times it's that they are used to art that you look at (and that's it), other times they don't understand, some other times they feel that someone is going to scold them because they are touching the artwork.
museums often being dead places filled with "don't touch" signs probably have something to do with this attitude, too.
once i spoke with the flute player in the Ozric Tentacles band and he told me "people just don't get involved in the music.. either they are on drugs or they just stand there, looking up at the stage with their arms crossed, and the most they do is nod to the music and try to look happy and comfortable".
i have nothing against "standing there nodding" without getting involved. I am just curious of why it happens, because if you do get involved you get a totally different experience/understanding of what you're looking at.
i feel that this is also true for interactive arts, and for arts on the web. either the works present something that is immediately recognizable or perceptively fun, or they just look (even for a long time, according to statistics) and leave.
the StumbleUpon web application is remarkable in this sense: i studied the access statistics coming from that service on about a dozen of websites and got really interestng measures. loads and loads of un-interacting, passive, practically-dead visits spending several minutes staring at a screen full of interaction hints.
to answer myself some of the questions, i am turning to the studies on visual fetishes and on things that are closer to marketing than thay are to art.
byebye
s
the simplest mashup
aahh, lovely..
but i like them more chaotic:
this one features angry emails from electors in italy (offensive language shown) reinterpreted with images coming from flickr and remixed with a discussion about the original artwork on the AHA italian mailinglist, discussing "is it art or not?" :
http://www.artisopensource.net/hacks/elections.php
and del.icio.us poetry, an everchanging composition based on the things people love most in a specific instant (this one is truly chaotic and may freeze your browser):
http://www.artisopensource.net/hacks/deliciouspoetry.php
byebye!
but i like them more chaotic:
this one features angry emails from electors in italy (offensive language shown) reinterpreted with images coming from flickr and remixed with a discussion about the original artwork on the AHA italian mailinglist, discussing "is it art or not?" :
http://www.artisopensource.net/hacks/elections.php
and del.icio.us poetry, an everchanging composition based on the things people love most in a specific instant (this one is truly chaotic and may freeze your browser):
http://www.artisopensource.net/hacks/deliciouspoetry.php
byebye!
the re-materialization of art - Remixed
http://www.artisopensource.net/hacks/holy_fire_remixed.html
Hans Bernhard?
Eddo Stern?
Domenico Quaranta?
Paul Slocum?
Hans Bernhard?
Eddo Stern?
Domenico Quaranta?
Paul Slocum?
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