Salvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012 and Eisenhower Fellow since 2013.

He currently teaches Interaction Design and cross-media practices at the Faculty of Architecture of the “La Sapienza” University of Rome, at ISIA Design Florence, at the Rome University of Fine Arts and at the IED Design institute.

He produced videogames, artificial intelligences, expert systems dedicated to business and scientific research, entertainment systems, mobile ecosystems, interactive architectures, cross-medial publications, augmented reality systems, and experiences and applications dedicated to providing products, services and practices to human beings all over the world, enabled by technologies, networks and new metaphors of interactions, across cultures and languages.

His artworks and performances have been featured worldwide at festivals and conferences.

Salvatore actively participates to global discussions and actions on the themes of freedoms, new forms of expression and on the future scenarios of our planet from the points of view of energy, environment, multi-cultural societies, gender mutation, sustainability and innovation on both society and business, collaborating with institutions, enterprises and international research groups.
Discussions (128) Opportunities (10) Events (19) Jobs (0)

second life dramas

an ordinary day...

aaaahhhh.. polygons...

sorry for the spelling.. live chat

[13:27] Sugar Seville: (Saved Sat Oct 06 18:42:16 2007) I am banning you from this region
[13:27] Sugar Seville: (Saved Sat Oct 06 18:42:37 2007) and reporting you for leaving these objects
[13:27] Sugar Seville: (Saved Sat Oct 06 22:26:58 2007) your objects were crashing the sim
[13:27] Sugar Seville: (Saved Sat Oct 06 22:27:26 2007) and you covered an other artists work in your objects
[13:27] Sugar Seville: that isn't funny or artistic
[13:27] Sugar Seville: its childish, selfish, and destructive
[13:28] xDxD Plante: :)
[13:28] xDxD Plante: it's your opinion
[13:28] xDxD Plante: it's not mine
[13:28] Sugar Seville: your opinion doesnt count - why should i respect you if you dont respect me?
[13:29] xDxD Plante: you see.. art is not like you're the best at doing brush strokes.. it's about making statements of some kind
[13:29] xDxD Plante: that's a thing that's missing in SL
[13:29] xDxD Plante: i'm sorry for the trouble, believe me, but i'm not sorry for the statement
[13:30] Sugar Seville: if you're trying to make a statement that you want people to respond to , try puting some thought into it
[13:30] xDxD Plante: there's loads of thought behind my squatting your sim :)
[13:30] xDxD Plante: if you don't see it it's your problem, more than mine
[13:31] Sugar Seville: loading a sim up with scripted objects that deface another artists work and cause the server to malfunction is just simple mindless griefing
[13:31] Sugar Seville: the act of a 12 year old
[13:32] Sugar Seville: and not of any interest to me, or to anyone else
[13:32] xDxD Plante: well, i guess, then, that you think the same about street art, and about pollock, and about manzoni's shit, etcetera etcetera
[13:32] xDxD Plante: shows lot of culture on your side.. does it..
[13:33] Sugar Seville: i wouldn't put yourself in the category of any real artists
[13:33] Sugar Seville: you delude your self
[13:33] xDxD Plante: :)
[13:33] xDxD Plante: wow, an art critic
[13:33] Sugar Seville: but that's your right
[13:33] xDxD Plante: you know what.. do as you wish, report me
[13:33] Sugar Seville: to live your own delusion
[13:33] xDxD Plante: don't bother me
[13:34] xDxD Plante: i have my statements you have yours
[13:34] xDxD Plante: let ourselves be
[13:34] xDxD Plante: if i ever buy an island, i'll invite you to fill it up with shit
[13:35] Sugar Seville: im not interested - the world is already full of shit
[13:35] xDxD Plante: i think taht all that art (portal apart) is just a technical showoff,and that there is no real sense in it
[13:35] Sugar Seville: that might be because you are senseless?
[13:35] xDxD Plante: i do lots of things that i don't have to account for.. you don't have a clue.. get back o your prim artists
[13:35] xDxD Plante: :)
[13:36] xDxD Plante: just a curiosity: what do you like in contemporary art?
[13:36] Sugar Seville: so you think making art has no accountability?
[13:36] xDxD Plante: if art had accountability, contemporary art from duchamp onward wuldn't exist
[13:37] Sugar Seville: afraid to stand behind the piles of shit that you make?
[13:37] Sugar Seville: i would be - if i were you
[13:37] xDxD Plante: i didn't get that.. afraid of what?
[13:37] Sugar Seville: you should be ashamed of yourself
[13:37] xDxD Plante: i even posted pictures on the odyssey website
[13:37] Sugar Seville: afraid to be accountable
[13:38] Sugar Seville: you said you dont feel you have to account for
[13:38] xDxD Plante: oh come on... take text serously
[13:39] xDxD Plante: i don't have to do things for people's liking.. that was the meaning for my sentence...
[13:39] xDxD Plante: i have to do things that communicate what i think i have to communicat
[13:39] xDxD Plante: (and BTW sorry for the missing letters.. i'm on a vintage computer right now)
[13:40] xDxD Plante: yu didn't answer my question: what do you like in contemporary art?
[13:41] Sugar Seville: well, the fact is, you interfered with two works :the one you defaced, and the live performance piece, by crashing the server
[13:41] Sugar Seville: I dont have time to answer your questions
[13:41] xDxD Plante: and hw did i manage to do that :) maybe because his SL thing is just crap?
[13:42] Sugar Seville: you overloaded the server with scripts
[13:42] xDxD Plante: and that artistic expressions are in most cses boring techincal showoffs with no feeling nor sensoriality to them
[13:42] xDxD Plante: that is my statement
[13:42] xDxD Plante: :)
[13:43] Sugar Seville: your a critic, but I wouldnt delude yourself into thinking you're an artist
[13:43] xDxD Plante: some cases apart, art is useless. hyperformalism is 20 years back from contemporary art.. it's out of time
[13:44] xDxD Plante: :) i'm no critic ... i just say what i think
[13:44] xDxD Plante: and for the rest ... you know. ...
[13:45] xDxD Plante: do you know how pollock's paintings were greeted?
[13:45] xDxD Plante: or duchmp's?
[13:45] xDxD Plante: i'm ot saying that i'm either one of them.. i'm asking to know if you know about art
[13:45] Sugar Seville: yes, and i know how Stravinsky's work wsa greeted
[13:45] Sugar Seville: you are not on the same level little boy
[13:46] xDxD Plante: why do you keep sayng that? you0re quite unpolite, may i point out
[13:47] xDxD Plante: i'm trying (and i don't know why) a polite nteresting discussion nd you keep on sayin stupid stuff
[13:47] Sugar Seville: i'm not usually unpolite
[13:47] xDxD Plante: of how you got mad at my little experiment
[13:47] xDxD Plante: so what? do you think you matter?
[13:47] xDxD Plante: well, good for you
[13:47] Sugar Seville: you were unpolite to begin with
[13:47] xDxD Plante: no you were! :)
[13:48] xDxD Plante: come on, can you keep this up?
[13:48] xDxD Plante: do you want me to say i'm sorry
[13:48] xDxD Plante: i won't
[13:48] Sugar Seville: you were the one that dumped a pile of junk
[13:48] xDxD Plante: my pile of junk is an atistic statement
[13:48] xDxD Plante: if you want i'll explain
[13:48] xDxD Plante: if you dont wnt an explanation... well.. speaks for yoruself
[13:49] Sugar Seville: you can explain yourself, but what's the poit? You failed in your attempt to make art. I t communicated nothing of value to anyone
[13:49] Sugar Seville: except maybe yourself
[13:50] xDxD Plante: have you spoken with many people about it? did they speak to me for explanations?
[13:50] Sugar Seville: and now I am rewarding you with a response
[13:50] xDxD Plante: maybe we should have a roundtable
[13:50] Sugar Seville: which is I guess all you want
[13:50] xDxD Plante: maybe we should freak out and scream
[13:50] xDxD Plante: no, i actually have loads of stuff to do.. but if you don't get it i'll be happy to explain
[13:50] Sugar Seville: hope you're satisfied
[13:51] xDxD Plante: satisfied? yes! i made my statement!
[13:51] Sugar Seville: as it stands, you are banned from this region. You are the first person I have had to ban since the region first opened in december
[13:52] xDxD Plante: well, isn't it nice you have to start from me.. as i said.. there's little art in SL
[13:52] Sugar Seville: if you wish to make a statement about what you did and propose it as a work of art
[13:52] Sugar Seville: I invite you
[13:52] Sugar Seville: to send it to me in a notecard
[13:52] Sugar Seville: with documentaion of your work
[13:52] Sugar Seville: in photo
[13:52] Sugar Seville: and I will present it
[13:52] Sugar Seville: to the group
[13:52] Sugar Seville: and if they vote to let you back
[13:53] Sugar Seville: you can come back
[13:53] xDxD Plante: sorry, dont have notecards in real life... never will i in second one... i do similar things in real life, you know...
[13:53] Sugar Seville: if you dont want to use the system, then dont
[13:53] xDxD Plante: there's loads of places i do stuff in... i just happened to get the announcement of teh gate and decided to drop by
[13:53] Sugar Seville: you wont be missed
[13:54] Sugar Seville: i'm giving you the chance to explain yourself
[13:54] xDxD Plante: oh, well.... i guess i'll just have to live without it...
[13:54] Sugar Seville: thats the best I can do
[13:55] xDxD Plante: you know what.. ill explain in Real life.. it is more significative
[13:56] xDxD Plante: or, better, i'll make a painting out of the explanation, and put it under a bridge, somewhere in europe, and i'll give you the coordinates, so that you can teleport there
[13:56] xDxD Plante: you know.. your etting so mad is really significant for my work.. thanks
[13:56] Sugar Seville: why dont you print out this conversation and pin it to your painting as well
[13:56] Sugar Seville: im not mad
[13:57] xDxD Plante: mad, angry... how do you say it
[13:57] Sugar Seville: im not angry
[13:57] xDxD Plante: bored, pissed off?
[13:57] Sugar Seville: just responding to what you put out
[13:57] xDxD Plante: exquisitely interested?
[13:57] Sugar Seville: not really
[13:59] xDxD Plante: ok, then.. so the agreement is: i make a painting with this chat, explanations on he side, i place it somewhere under a bridge in europe, give you coordinates and you teleport.
[13:59] xDxD Plante: happy?
[13:59] Sugar Seville: sounds wonderful
[13:59] Sugar Seville: you probably will fare better in a world you understand
[13:59] xDxD Plante: perfect! best of luck! did you see that movie.. the one whre the guy invented teleport.. and a fly got in it, and he transformed.... whach out!
[14:00] xDxD Plante: oh, man.. you soud like silvester stallone
[14:00] xDxD Plante: you're so dramatic
[14:00] Sugar Seville: : )
[14:00] xDxD Plante: byebye
[14:00] Sugar Seville: bye bye



Re: RHIZOME_RAW: Re: RHIZOME_RARE: RHIZOME RAW: "We are all ready for a change". Interview with Steven Sacks

here i am!

>I don't try to persuade you that such artists as Casey Reas, Lia & Golan
>Levin are great artists: many people in this list can do it better than
>me. I just make you notice that when you say that kids can do a better
>job you remind me my mum when, in front of a Pollock, she says that
>everybody can do it better. That's quite strange said by you, an artists
>who is working with generative codes and software automata

That's exactly the point.
I do the same stuff. And that's the reason why i know that if you sell art
like that you might as well sell the kiddes' stuff, or commercial
because it wouldn't change a bit.
We're in a time in which there's a lot of people leveraging on other people's
ignorance on new media and on technology (not only in art). I don't know how
right/wrong this is. What I know is that i would love people having a choice.
If media-powerful (or, simply, institutional or institutional-like) voices
declare "X is art!".. well someone might believe that it's true without even a

And, btw, i deal with software automas in the same way that a painter deals
with pigments and brushes: they're instrumental to expression, but they're not
the center. I wouldn't like what i produce to be distributed as at software
space, because i don't think that it dignifies artworks, as it turns them to

>You can call art whatever you want - even kids' and fools' stuff, as
>Dubuffet did. But you always need a group of people who share the same
>vision, and who believe that this specific artifact has an aesthetic,
>spiritual and even economic value.

There are at least two ways of dealing with art.

Production and commerce.

Art history is about production. Magazine covers are about commerce.

Both are important. But one of them is clearly more significant and

Strangely, the other one rules the way people perceive reality in a more
powerful way.

>I don't discuss here if this is the right thing to do. New media art is
>a confortable niche. It lived for years without looking for the respect
>of the contemporary art world. But if you choose to follow this path,
>you have to take into account the codes, rules and languages of that
>world - maybe in order to break them from the inside in another moment.
>The limited edition (of software, of videos, of prints) is one of this
>codes. Maybe not the right one for new media art: this is a good point
>of discussion...

The whole deal is about people being afraid of loosing power, on one side,
and, on the other side, about people aiming at objectives that are just so out
of our time, significant no more. These two, combined, allow for the latter
ones to become tools for the former ones.

>The art market is a middle-aged world, built up - from Duchamp onward -
>on alchemical rules. A good seller can turn everything into gold. The
>problem is: are you discussing the art market or the way some people are
>trying to break into it?

This is not about people trying to break in the art market. It's about making
significant actions, and it's about telling stuff the way it is. Wired
is a conservative techno-yuppie magazine. They use language to reach media
targets, they're a superficial, conservative evolution of Mondo2000 and the
like. I'm not surprised about their consideration on steven sack's initiative.
Do you really think that his "software art space" is for artists? It's just
trying to sell something people don't understand in a way through which they
can think that it's something else.

It takes me hours every time i setup an installation or a performance.
Lighting conditions, sound environment, user interaction and perspectives,
tuning, adjusting... we all know it: it's not bout the software! The product
not there, but in a vision/theory, on one side, and on a sensorial experience,
on the other side, and on the emotional relationship that it creates.

What is left of all this when a user grabs a CD and sticks it in a PC attached
to his plasma sceen in the living room?
everything happening in unspecified environemntal conditions?
without creating the correct level of attention?
without explaining what is going on?
without giving any dignity to the work of art?
Is there something more than what he could download for free from
with a better description, with comments, with the possibility to study the
source, to download another one or to freely search for related information or
for other stuff from the same artist?

Why is the guy asking money? :)

>>But I find it an interesting experiment.

That's the point, too: it's not an experiment

>Something happening
>outside another "conceptual jail", the one that confines new media art
>in such contexts as Ars Electronica, Transmediale and so on.

I actually think that those festivals are useful if you *really* have
something to say. If you don't.. well, you just go there, bring your stuff
cross your fingers hoping that someone notices you for some reason, so that
get the attention.

>I like when something happens.

i like it whan something nice happens.

my bests to you too!


R:_RHIZOME_RAW:_“We_are_all_ready_for_ a_change”._Interview_with_Steven_Sacks

hello domenico!

i saw the softwareartspace online gallery quite a while ago and, while
appreciating Steven Sacks' effort to find new business models for new media
art, i just can't help but think that the shown artists are just mediocre
programmers desining stuff that resemble interactive screen savers (which is
not something nice to say to a software artist: my sincere apologies, but
that's what i think).

if you look at the production of the kiddies shown (and it's just one example
among thousands) on you will see (and you probabily have,
already) productions that are much nicer. Presented with a bragging/showoff
attitude that is typical of kids, but way better in aesthetics and quality.
Just look at what they managed to stuff in 64kb of code in the "chaos theory"
64kb intro.

now: these kiddies don't call themselves artists, they would love to get a
regular 9to5 job at a software house, they don't put their screensavers into
fancy boxes or sell only 5000 of them for 125$. Yet they produce stuff that is
*way* better than the ones that proclaim themselves artists and that end up in
a gallery maybe just because they met its owner at a party in new york. They
don't have the fancy descriptions for their software, nor the elegant boxes,
nor the support of a famous art gallery in new york, but i'd rather have *them*
on my living room monitor anytime.

don't you think that all of this is a bit outdated to be called innovation?
"new media art"?

by the way: isn't the "limited edition" of the software products a mind
masturbation? a middle-aged mind masturbation, as a matter of fact? what about
all the era of reproducibility of art? what about the new paradigms? isn't that
sticking new media art into a conceptual jail?

are making art when they sell SL screenshots? it's full of examples!

will we end up selling digitally artistic ashtrays in portobello road, London?

as an experiment i sent an email to mr. Sacks presenting him some of my
software works. they took a long time to design the algorithms on which they
are based, a long time to think and write out the theorical texts, and about 3
minutes of aesthetics work. I didn't mention that. let's see what happens. :)


>----Messaggio originale----
>Data: 28/06/2007 9.40
>A: <>
>Ogg: RHIZOME\_RAW: “We are all ready for a change”. Interview with Steven
>by Domenico Quaranta
>Wired called him “the king of Digital Art”. Maybe this headline is a
>little bit exaggerated, but what's true is that Steven Sacks is one of
>the few people in the world who are able to make New Media Art
>digestible for collectors. Steven is the founder of the well known
>bitforms gallery in New York, but what tickled my attention, and gave
>rise to this little interview, is another - maybe less significant, but
>more visionary - initiative: softwareARTspace
>( He writes on the website:
>“softwareARTspace was started to distribute unframed software art pieces
>- art that is delivered on a CD and is viewed with a computer and screen
>of choice... Although you can use software art on existing systems, it
>is my belief and conviction that software art should and will become a
>dedicated experience, just as you hang a painting or a photo. Once you
>have a software art station in place, you can easily switch amongst your
>In my opinion, this idea of a “software art station” is 50\% naive, 50\%
>ingenious. So, I drop a line to the naive genius who conceived it...
>This interview was conducted via email in May, 2007 for an article
>published in Flash Art, June 2007.
>Domenico Quaranta. As a gallery owner, you are already dealing with
>Software Art, and with New Media Art in general. How do you sell digital
>works through the gallery? Video recordings? Prints? Installations?
>Steven Sacks. I do not like the term “digital”. It's too narrow and
>typically defined too commercially. I deal with New Media Art which many
>times integrates new technologies or the influence of media on society.
>Software-based works have been a major focus of the gallery and I
>believe is the most significant “art practice” change of my generation.
>We offer all types of media from video to sculpture, but the works must
>have a connection to new media. Much of what we offer is sold just as
>they have been for many years. Software Art works tend to be more
>challenging to sell, but offer the collector an artistic experience
>unlike any other. These works are driven by a computer and are either
>generative or interactive or both. The software is typically offered on
>a CD and/or embedded in a computer that the artist has specified.
>Depending on what the work is, there are a number of back-up and
>conservation methods that need to be addressed.
>DQ. Why did you decide to open softwareARTspace? What's the difference
>with bitforms gallery, concerning the way you sell Software Art?
>SS. softwareARTspace was started to introduce and educate the main
>stream and to some extent the art world about Software Art and some of
>the artists engaged in the practice. These works were offered in very
>large editions at affordable prices so more people could experience and
>collect New Media Art from a range of well known software-based artists.
>The work is only available through online purchase and is packaged very
>nicely. Some of the softwareARTspace artists also show at bitforms gallery.
>DQ. About experiencing the work, you talk about a dedicated machine, "a
>software art station". It seems to me weird and provocative at the same
>time. At the beginning, Net Art and Software Art tried to introduce new,
>democratic ways to experience art: but, entering the art market, they
>usually lost this visionary approach, looking for more traditional,
>“materialized” interfaces (prints, videos, sculptures and so on).
>softwareARTspace seems to look for a viable way to re-propose that
>visionary approach. Do you think that we are now ready for totally new
>ways to experience art?
>SS. There are some very simple reasons why we are all ready for a
>change. Access and price. It is now very easy to access computers and
>screens and the prices have dropped dramatically. The thought of having
>2-3 screens devoted to software or video art is not unreasonable and in
>fact will broaden and diversify most people's collection. Also, for some
>works of art it is ok to rotate between pieces on one screen which also
>offers collectors a nice option for easily and quickly changing their
>DQ. What I buy when I buy one of your multiples? Is it like buying video
>art? Or more likely buying a software or a game? Why do you make
>editions of 5000 instead of 50? Is it still art, when it costs 125 $?
>SS. It is not video. It is code - Software Art. The work is on a CD and
>must be viewed on a computer with a decent graphics card.
>This is not about “collecting” and value. It's about experiencing a
>sample of work from important software artists. When these artists
>produce more “fine artworks” they will have the attention of a wider
>audience who may be interested in smaller editions or unique objects.
>Domenico Quaranta
>mob. +39 340 2392478
>home. vicolo San Giorgio 18 - 25122 brescia (BS)
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Artificial Intelligence and Chocolate

- BeYourBrowser -

Forte Prenestino, 14th-17th June, 2007

The Angel_f (Autonomous, Non Generative E-volitive Life_Form) Artificial
Intelligence has been shown at the Forte Prenestino (Rome, Italy) during the
"Crack, Fumetti Dirompenti" international comics exhibition.

A distribution of the mini-USB sculptures containing the "Presence" software
was performed during the show. Starting the software for the first time
generates a unique ID for the users, matching a unique cartoon style icon-head,
both generated by the system. Users can use their icon-head to travel through
an infinite starfield, populated by the other "Presence" users: a P2P system
based on the emerging network allows for chat sessions and file search and

One of the small identities living in "Presence" is Angel_f itself. The text
exchanged by chatting with the little AI contributes to the definition of the
young digital being's language. The AI's mind is currently being fed by Derrick
de Kerckhove, Antonio Caronia and Carlo Formenti by using their blogs on

The Bloki FreePreXXX has also been distributed during the exhibition: this
free publication has been produced as a part of the Biodoll performance by
Franca Formenti.

Its text has been generated by Angel_f's linguistic intelligence. Its images
have been selected on the network by autonomous software agents coordinated by
our little child AI, instructing them to find relevant multimedia published
under Creative Commons licenses on the and http://images. websites.

The whole project has been designed to perform an integrated study on digital
life from artistic, philosophical, anthropological, sociological, legislative
points of view.

The project is autonomously financed with the sale of the USB mini-sculptures
containing the "Presence" software and of the B_Angels (the "Baci di Angel" are
chocolates with an Open Source recipe: in their label an AI-generated aphorism
substitutes the romantic sentences usually found in the "Baci Perugina"

The following people are currently working on the project:



Franca Formenti

Derrick de Kerckhove

Antonio Caronia

Carlo Formenti

Luigi Pagliarini

Complete Information can be found on: