PORTFOLIO (17)
BIO
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)
DISCUSSION

Re: net art?


There is this thing.. post-media...

With the death of interaction-design critique is looking for "the next thing to sell". So they are inventing post-media.

It is a wonderful theory that effectively creates from scratch "something" that can be shown and sold in galleries and events.

Take the various disciplines of digital arts (be them network, software, generative.. whatever), apply post-medianism to them, and here you go: something materialized in the physical world, ready to be given a price tag, and sold.

"We make money, not art", ok. But is the focus changing direction?

The artist "was" dead. And it was a good thing.

Apart from that: welcome to all the event descriptions and reportages ( even mine :) ); i read them all. They are interesting and show that there is activity and thought, and a will to break the barriers running between who's connected and who's not.

s

Jim Andrews wrote:

> is it my imagination or is it the case that there are fewer and fewer
> posting on rhizome.org concerning net art, as opposed to news items
> about
> gallery or museum etc work?
>
> does this reflect more concern among the rhizome people for such work
> rather
> than net art?
>
> ja?
> http://vispo.com
>
>

DISCUSSION

Re: Re: Re: net art?


there's a lovely beach here, near rome, where they offer broadband internet
connection for free .. . :)

>-- Original Message --
>Date: Wed, 19 Jul 2006 21:04:57 -0700
>To: list@rhizome.org
>From: Eric Dymond <dymond@idirect.ca>
>Subject: RHIZOME_RAW: Re: Re: net art?
>Reply-To: Eric Dymond <dymond@idirect.ca>
>
>
>Good point Jim. I hope it's just that the summer creates a less charged
atmosphere,
>I think it's just a more reflective time.
>Hopefully when September rolls around the discussions re. net.art will resume.
>I remeber someone on Matrix (Interaccess' old BBS) posting a message about
>letting the computers rest when the weather is so nice (I think it was Tom
>Leonardt) and it's not such a bad idea. Input time rather than output time.
>
>Eric
>+
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php

DISCUSSION

Sabba


http://www.artisopensource.net/sabba

-_ sabba _-

Part of the iconology cycle.
We live a social context in which esotherism and mysticism have
lost their essence of catalyzers of the fenomenology of
the iniziatic Knowledge. Reclaiming iconography and
rituality, long lost to religious consumism, assumes the
characteristics of a social and aesthetical protest.

sabba has been a ritual, to all effects, lasting the
whole first 3 days of the "Crack, fumetti dirompenti" event held
at the Forte Prenestino in Rome (Italy) from the 8th to the
11th of June 2006.

-_ communinion with space _-

The first step has been a colonization.
Continuous occupying and changing of the space created solid
roots in the ancient stones of the cells.
Recycled materials found laying around in the Forte Prenestino
were used to build the elements of the installation, thus
creating a strong, physical link running between the
actual space, its embedded memory, and the installation.
Two software artworks were projected on the installation
elements:

fagocitosi,
built by creating a digital ecosystem inhabited by
software automas feeding on the shapes captured and identified
through a webcam, and replicating by visual feedback. Their virtual
ecosystem forcing them to obey the "natural" rules of
balance and behaviour.

timePainter,
a software interpreting reality using shape and motion recognition
and tracking algorythms: a painter of time's evolutions and of the
visual relationships intercurring throughout the objects
moving in our visual space.

During the first two days of the performance the installation space has
been re-thought from scratch several times, with three stable and recurring
visual assets. The adjacent spaces in the corridors
and in the next cells have been progressively infected by the
new parts of the installaion, denoting the spreading of the roots
that we were building with the performance.

At the beginning of the next phase the 3 nearest cells and all the
corridors connecting them were filled with objects and projections
of the images captured in the first part.

All along in the meanwhile, the software installation kept on
living autonomously, feeding itself on the webcam's view of the
space, conceptually charging itself up with the energies of the
passing visitors, of the artists, and of the changing of the light
conditions of the place. By feeding on them.

-_ the ritual _-

The ritual is a Pop reinterpretation of the rituals of the santeria (the
worhiping of the saints), mixed with some wiccan elements and with
several images and symbols coming from he traditions of the vampires.
In the execution of the ritual the various characters and elements
could be seen performing their roles:

the Entity. The ultra-human: a software reacts to vision and sound
found in the space, interpreting with fractal symbols their patterns
of evolutions in harmony and rythm. These were projected in the
space's walls, becoming the voice_through_symbols of the Entity.

the Master of Ceremonies. The Lady conducting the ritual. She executes
and controls the sequence of phases, suggesting with gestures and
movement the evolution of the actions. Her image is constantly fed to
the webcam, giving energy to the software automas that are the
kernel of the Entity's functions.

the Initiates. They are 2, and they serve different roles, operating
on different matters: the first working on image, the second on music.
The first one is the executor of the ritual body painting through which
the Lady is donated to the Entity.
The second one is the executor of the music, that is used as the
conducting Om of the mystical experience.
Both assume the role of executors of the ritual actons, as suggested
by the Lady. The moments when the Lady whispers instructions to the ears
of the Initiates represent the transfer of Knowledge, necessary to
reach the advanced states of initiation and the states of ectasy.

the Novice. he receives the initiation. Which is of two kinds.
On one side
it is a masonic initiation, where the Art to which the future Initiate
will obly to will be selected. In this case it is Music: the first
form of expression of the Novice is, infact, music. He accompanies
the arrival of the Lady and of the two Initiates, he performs in
evolutions reminding of dance, marking the vaious phases of the ritual;
after the second initiation he expresses the power of ecstasy, the
descending of which will mark the ending of the ritual.
On the other side
it is a spiritual initiation. The Novice gets tied and his body
ideally sacrificed to the Entity. The body of the Lady becomes
the mean for the sacrifice.

___ sabba - credits ___

Installation ................... Diego Vecchi & Lorenzo Guidi & Salvatore Iaconesi [xDxD]
Video e Software Art ............................. Salvatore Iaconesi [xDxD]

Iconography ................... Bruno Antonio Menei Hurtado [VRU]
Music .................... Salvatore Iaconesi [xDxD] & Vincenzo Core

Performance design ............. Bruno Antonio Menei Hurtado [VRU] & Nazzarena Ciabattoni
Camera operator ................ Antonella Ibba
Editing & post-production ................. Salvatore Iaconesi [xDxD]

Forte Prenestino & Crack, Fumetti dirompenti .......... <a href='http://crack.forteprenestino.net/' class='bod' target='_blank'>http://crack.forteprenestino.net/</a>

DISCUSSION

DISCUSSION

Re: Re: Re: namjune();paik()


noise is perfect

salvatore

>-- Original Message --
>From: "Jim Andrews" <jim@vispo.com>
>To: <list@rhizome.org>
>Subject: RE: RHIZOME_RAW: Re: Re: namjune();paik()
>Date: Sat, 20 May 2006 04:28:31 -0700
>Reply-To: "Jim Andrews" <jim@vispo.com>
>
>
>A
>
>Art is dead
>but sneaks out for fun.
>
>D
>
>Art is invisible:
>look at the paintings.
>
>A
>
>Art is dead.
>Accept no substitutes.
>
>D
>
>A surd and scream;
>black flower,
>moon
>sun
>above.
>
>A
>
>Art is dead
>except where strictly prohibited.
>
>D
>
>Art is invisible,
>slips past the borders.
>
>ja