William Burroughs – rejected from the Romaeuropa Web Factory Prize

William Burroughs - rejected from the Romaeuropa Web Factory Prize

William Burroughs, famous for his cut-up technique, allowing for the creation of beautiful literature compositions by remixing pieces of existing works, was rejected from the literature section of the RomaEuropa Web Factory. “This is not original work!” was the scream of the Jury’s competition, whose rules execlude artworks made with remix, mash-up, manipulations of contents.

Here his declaration recently appeared on a short video that is cicrulating on the web
http://www.youtube.com/watch?v=MdTBEFtrW2s

“I am William Burroughs.
I could not participate to RomaEuropaWebFactory.
Damn those bloody suckers couldn’t tell art if it hit them in the forehead.
Deep shadows, close down over culture when culture is not able to catch up with the world it lives in.
I could not participate to RomaEuropaWebFactory.
I could not participate because I am an old man, cutting up pieces of paper, lookig for hidden poetry, forgotten literatures in things that have been thrown away, forgotten, put away, stashed in the trash.
I am William Burroughs.
I could not participate to RomaEuropaWebFactory.”

William Burroughs now joined RomaEuropaFAKEFactory, here:
http://www.romaeuropa.org/

Share Festival postponed

This year’s Share Festival in Torino has been postponed. You will have to wait a little longer for this year’s Share Festival in Torino: “Market Forces” has turned out to be the theme of Share 2009 in more ways than we expected. This means that Share will not be held as planned in March 2009 but will now take place at 4th/8th of November 2009.
In recent months we have campaigned untiringly to prevent spending cuts to art and culture due to the economic recession. In the interview published at http://www.interviewingthecrisis.org/?p=32, Simona Lodi soughts to explain what is going on here in Torino. In support of culture and to protest the government’s spending cuts, a demonstration was held in Torino on 14th February. We were making our voices heard together with artists, directors, actors and DJs at Villa Capriglio during “Love Share”. Our efforts are already achieving important results, in the form of greater visibility in the media, sharper attention from institutions, and a broader audience.
The global difficulties of the moment have prompted us to stop and think profoundly. Together with our guest curator Andy Cameron, we have asked ourselves what we really want and do not want to do in the future. This pause for reflection has brought us to the decision to re-design the Share Festival in terms of its contents, and tie the initiative more closely to other events in Torino connected with music, entertainment and drama in the hi-tech field. We also hope to establish a closer dialogue with the local mainstream art system, as we believe that such a dialogue can only strengthen our activities and boost our ability to stage a more creative Share Festival of greater interest and appeal. For these reasons we have decided to postpone the Share Festival to 4th-8th November, 2009 – a month dedicated to contemporary art in Torino – so as to work on refreshing the project and building closer ties with our colleagues from other festivals.
See you soon.

ART & LOVE VI

aderisci

14th February, 2009 – 10.30 PM
ART & LOVE VI
LOVE SHARE – Love in the Age of Social Networks
VILLA CAPRIGLIO?Strada al Traforo di Pino 67, Torino

“Love Share – Love in the Age of Social Networks” is an event dedicated to love and eroticism at Villa Capriglio, on occasion of the “Innamorati della Cultura” night in support of culture, to be held on Valentine’s Day.

The event was conceived by Simona Lodi and has been organised by The Sharing, a Cultural Association for the creation and promotion of digital art and culture and organiser of the Share Festival, by Situazione Xplosiva, a Cultural Association for the promotion and development of a new electronic musical culture in Piedmont and Italy, and by Malafestival/Servi di Scena.

This year’s Art & Love VI will feature installations, screenings and Internet stations provided by the Share Festival, which light-heartedly explore the relationship between love and the Web 2.0. – How have sentimental relationships changed with the advent of mobile phones, chat sites, and social networks such as YouTube, Facebook, MSN and Flickr? What is love like today in the age of file sharing? Where did I leave my rechargeable love battery?

A wide variety of contents will featured over the night. At 10.30 PM, screenings will be presented of the film Mr. Raven Show by F. Zuliani and the video Ci sarà by Coniglio Viola, followed by amateur porn videos, winners of the second Come to Cut  festival in Berlin, by Tatiana Bazzichelli and Gaia Novati, and finally a selection of videos on the topic taken from YouTube. A visual background framing the event will consist of Flash animation by Minimal Porno, a web project hosted by the activist collective Isole nella Rete. Alongside the uninterrupted flow of images, a video-performance by Malafestival/Servi di Scena opus rt will also be presented, featuring Vanessa Vozzo, along with the address of Giacomo Verde – “The Evil Savage – Fragments of a People Battling for Survival PART II”. ?The loving-interactive setting will further be brought to life by the installation “Les amantes (loving the crisis)” by xDxD, featuring penelope.di.pixel.

The night will then kick on after midnight with club music, featuring guest DJs Titta, Taba, Nano, Step, Eniac, Pulsar and a live performance by The Pure.
Sergio Ricciardone will be presenting a special DJ set for two people at the Villa’s famous Cappellina.

The organisers of Art & Love VI at Villa Capriglio support the “Innamorati della Cultura” day, a special event culture, designed to shed light on the work of cultural operators and raise awareness on just how much they do and the quality of their initiatives. Foundations, associations, cinemas, galleries, museums, libraries, theatres and orchestras will be open and active all day long with a dense programme of events, in which you are all invited to participate.   www.abicidi.it.

ART & LOVE VI

www.villacapriglio.it
www.toshare.it
www.xplosiva.com
www.opusrt.it

RomaeuropaFAKEFactory

RomaEuropaFAKEFactory

GENERATION>>
The RomaeuropaFAKEFactory competition originates from the “Freedom for Remix” initiative, promoted by [A]rt is [O]pen [S]ource (Salvatore Iaconesi/xDxD and Oriana Persico/penelope.di.pixel] and Marco Scialdone, with the support of DegradArte, ComputerLaw 2.0, NeRVi and Valeria Bochicchio.

PROCESSING>>
RomaeuropaFAKEFactory draws on the Romaeuropa Web Factory competition to embrace a series of reflexions and practices focused on the issues of digital rights and information ownership.

DISTORSION>>
RomaeuropaFakeFactory is an international competition allowing its participants to do everything that is forbidden by the rules of the Romaeuropa Web Factory competition, subverting its logics.

CUT, COPY, PASTE>>
According to the rules of the Romaeuropa Web Factory competition , produced by the Romaeuropa Foundation and by Telecom Italia SpA, participation is not allowed to those artists creating their works using remix, mash-up and manipulative techniques on pre-existing content. Furthermore, to participate, the artists have to sign a legal disclaimer making them give up all the rights on their artworks: indefinitely, exclusively, for free, and also allowing the contest producers to freely edit, remix, mash-up, commercialize.

The Romaeuroma Foundation and Telecom SpA can remix. Artists can not.

CUT-UP>>
The overcoming of originality as space for production and its circumbscription in terms of multinational property – more than the real protection of the author’s rights – is used in this context as a critique to a conservative practice of cultural promotion  that is not able to grasp the possibilities offered by the intersections of the technological, cultural, social and economical-political planes, enabled by contemporary technologies.

MORPHING>>
This competition is addressed to all forms of creative profiles and to the experts of legislative disciplines with a specific predilection for intellectual property related subjects, inviting them to submit their artworks on the theme “Freedom to Remix”.

>>HOW-TO<<
The four categories in the competition:

– 100Cuts: videoart [ http://www.romaeuropa.org/videoart.html ]
– 100Samples: electronic music [ http://www.romaeuropa.org/music.html ]
– 100Quotes: literature [ http://www.romaeuropa.org/words.html ]
– LawArt [ http://www.romaeuropa.org/law.html ] , a brand new creative discipline dedicated to law experts and jurisprudence amateurs, whose works will be constituted by remix and production of legal texts regulating intellectual property

The works will be the object of a research, of public debate and will be collected in a catalogue together with the critical and legal texts. Furthermore, they will be supported by RomaEuropaFAKEFactory’s communicational apparatus. A public voting system will also be set up on ArtsBlog.it [ http://www.artsblog.it ] so that the general audience will be able to vote its favourite work in the 4 sections, thus declaring an audience-proclaimed winner.

RomaEuropaFAKEFactory will be finalized into a public happening during which the exhibition of all the generated content will take place.

RomaeuropaFAKEFactory is an initiative conceived by

[A]rt is [O]pen [S]ource

with the promotion and the support of

Torino Share Festival – DegradArte – Istituto per le Politiche
dell’Innovazione – BeatPick, ComputerLaw 2.0 – LPM, Flyer Communication –
PerformngMedia – FLxER – ShockArt.net – NeRVi – Digicult – Associazione
Partito Pirata – Nephogram.net – Les Liens Invisible – A.H.A. – Francesco
“Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp
– ArtsBlog.it – CodiceBinario …

Interviewing the crisis with Simona Lodi

Interviewing the crisis with Simona Lodi.

– Simona Lodi, art director of the Piemonte Share Festival, an event with international resonance dedicated to new media arts: a presentation for the readers of Artsblog.
The Share Festival was born as a sequel to a net.art exhibition that i curated during 2002 in Turin at the Murazzi del Po. The setup was very simple, as it featured some computers connected to the network and a flyer with my critique. In its simplicity it featured works of artsts that later became “classics” and real stars, such as Epidemic and 0101.org.

As a curator of contemporary art exhibitions with a marked interest on technology, that exhibit allowed me to realize how simply exposing art in a classical exhibit was a limit for net.art. The pervasivity of the “digital” and of the internet needed containers that were more articulate, to give space to the change that was happening, not only for what concerns visual arts, but also for moving images, cinema, theatre, music, literature.

Being able to grasp the global reach of these practices required to think about an event that was truly multidisciplinary and modulated on a set of events that were coordinated and organized in adequate spaces. Together with Chiara Garibaldi we designed the project of the Share Festival.

The premises were there, but the event’s first edition had to wait until 2005 to take place. Two years of incubation were needed to step from the idea to the project: developing contents, planning it for feasibility in the city of Turin, getting public institutions involved and believing in the event.

Obviously, everything didn’t happen in such a linear way: as it often happens after an action with a positive result, dead moments and problematic issues followed, that seemed to never resolve. The development of the contents changed continuously and often in autonomous ways with respect to what we had planned.

We were guided by the creative environments and by the artists we got in touch with. We continuously hacked the whole project down just to build it up from scratch again. When contents changed we also changed locations and budgets, but the base concept kept on being the desire to unite formal theoretical sessions to playful ones.

Today the festival is known all over the world for the quality of its offering and for the curatorial coherence. Since 2007 we activated the Share Prize aiming to discover, promote and support digital arts: it is based on an open call to which more than 400 artists from all over the world participate each year.

– The ToShare is an international event that consolidated its identity since the last 5 years. From your point of view does the financial crisis start to have its effects? What are the symptomes and repercussions?
Yes, as i said before we are a consolidated event, but in these times we just cannot predict what the future will reserve. The crisis seems long and stressing, even from our point of view. We are an event that is out of the mainstream, but as of today we have an audience that is 5 times the one of the first year (10.000 people in 5 days).

The signs of recession are everywhere. The same function of national states is ceasing to exist, as they are not able to guarantee a protection to their citizens anymore, as they don’t know how to defend them from a crisis that has its origins far away, in other countries, and that has indiscriminate repercussions on the lives of single individuals. This contemporary scenario does not give a chance to anyone.

Culture is the most sacrificed, again. The funding cuts bring to mind (as Salvatore Tropea, a journalist of “La Repubblica” stated in an article a few days ago) “the burning of books and other disturbing rituals on the altar of an economic crisis that as a malicious god demands the pagan sacrifice of culture”.

All the support policies and funding toward culture are failing in this very moment. Among these, in Italy, where 80% of the financial resources assigned to culture are used to mantain its immense wealth of historical arts and architecture – without a clue on how to create economic value from it -, the ones connected to territorial marketing emerge, specifically the ones assigned to requalify the cities that are in a state of post-industrial decline.

An example above all, the city where FIAT was born: Turin has been shining in its rebirth, investing billions of euros in a new look and in culture, in sport, but most of all in contemporary arts. It shined up to the point that the things that yesterday were a resource are now turning into costs. How could this have happened?

According to the official data reported by Turin’s Industrial Union it is calculated that 16.5 billions of euros have been invested in the Winter Olympics, 11 billions of which have been put towards the creation of major public works. The estimates made beforehand on such investments told that an added value of 17.4 billions of euros should have been produced, along with 57.000 new jobs.

Buildings such as the Pala Isozaki, the Oval and the Palavela are today closed during most part of the year, and the newly created ski slopes and infrastructures have suffered from a deathly oblivion.

– And what about culture? Will Turin be able to support the post-olympic phase?

The investments made in 2008 have totalled 44 million euros by Regione Piemonte and 49 million euros by the city administration, for the 4.4 million citizens of the Piemonte region and for the 2.2 million citizens of the metropolitan area. The investments have been distributed (rounding up the numbers) with about 13.518.000 euros going to cinema, 29.508.000 going to theatre and lyric theatre, 10.482.000 to music, 22.000.000 to museums and exhibitions, 11.000.000 to events, conventions, seminars and other cultural activities. Investments that are way higher than the ones reported by Helen Thorington when she quoted the data provided by the Guardian about Arts Council England that in 2007 financed 417 million UK pounds (855 million dollars) for a population of 61 million.

Museums and contemporary art foundations, fairs such as Artissima, events such as Torino World Design Capital, the Fiera del Libro (Book Fair), the Triennial of contemporary art, the Cineporto and the recent Oriental Arts Museum (that, from immediately after its opening, has to be closed for some days each week as there is no available money for the guardians) have proved Turin to be a winner in the challenge to renovation, achieving the goal of turning the city from an industrial, metalworking and engineering node into a city that characterizes its economic development on a plurality of roots. Investments in these sectors have been huge, but not at all radicated into the local economic substrate. And, today, the risk is of them failing completely.

We question ourselves on what the future of this city will be after the recession, and about what will be the future for culture. Last december 13th Giovanni Oliva, Regione Piemonte’s councillor for culture, summoned a general assembly to create a plan with a reach that bypassed the timespan of the crisis. Cultural organizations and associations massively participated to this meeting. They expected answers, and a concrete possibility to collectively create a plan.

But a surreal atmosphere characterized the event, with no-one asking direct questions or asking for explanations about the political responsibilities on the choices that turned out to be wrong, about the financial waste and about the lost opportunities. The uselessness of the meeting could be perceived. No-one turned out to be responsible. The crisis seemed to have hit the administration unpredictibly, as a tsunami. Up until the previous month the main issue of concern regarded movie director Nanni Moretti staying for one more year as the director of the Torino Film Festival. Then, the void.

During the general discussion it was clear how the associations and all of the cultural system will see their financial support cut by 50-60% in 2009. Investments coming from bank foundations will only be directed to infrastructures, to the restoring of buildings. Sergio Ariotti apart (RAI journalist and director of the contemporary theatre Festival delle Colline), nobody objected.

Someone present at the meeting questioned about what had been the principles that had been followed to make the choices about the cuts, what decisional parameters had been decisive, what had oriented the choices. Reforming and redesigning is harder that following the ways of the financial cuts.

But answers fell into an embarassing void. A void that is the emptyness of museums, because if nobody invests in exhibitions and events, in shows and conventions, in actors and artists, in curators and directors, the buildings will remain empty. The counsellor of the city of Turin has already decided to assign the small amounts of money left to safeguard museum workers employed with a permanent employment contract. If this will be reality, guardians will guard only the empty walls of museums and theaters, with no works, no projects, no shows and, obviously, no audience.

The lack of an unabiguous methodology to be used to evaluate the success or failure of proposals, exhibitions, events, shows, concerts and cultural spaces, is a real and evergrowing problem, and it has to be resolved immediately. Many events that took place in 2008 have been sensational flops, as the Compasso d’Oro prize, held at the Reggia di Venaria (only 25 thousand people attended), the Flexibility exhibition at the old prison Le Nuove (15 thousand people) or the Triennial of contemporary art, which cost 2 million euros without attracting any of the important international stars of the visual arts. And the Arena Rock: the structure, thought to host great concerts, is now a cathedral in the desert; opened since march 2008, it has never been used and today and it has no defined future. As reported by insiders, such as the organizers of the Traffic music festival (whom have never been asked to getting involved in the project), it cost 5 million euros and it is one of the worst structures in existence, with great limitations to host shows for 60 thousand people, and even for 15-20 thousand.

– Let’s talk about Action Sharing and about the Orchestra Meccanica Marinetti: while 2008 has been the year of the crisis, ToShare decided to move towards production. An interesting detail, in countertrend with the current scenario.
We didn’t think about dedicating to production as an answer to recession. On the contrary we hope that recession doesn’t slow down a project like the Orchestra Meccanica Marinetti (OMM).

Share Festival has the explicit intent of giving expression to an emerging scene and to promote the suggestions that new technologies brought onto the artistic thought.

From taking breathing spaces for reflexion, a need emerged, to produce and to let grow skills and professionalities on the territory. Working with digital artists, used to operating in highly technological environments, new interests emerged on research methodologies. I and Chiara Garibaldi realized that multimedia artists’ research paths, the ones used to create their works, are very different, and subversive, compared to the traditional methodologies of academic and industrial research, but they are also full of interesting points of view on technological innovation.

Many digital artists do not refuse to study technology, and often they master it, through hacking and reverse engineering.

Many of them do not only use existing technologies, they also create themselves the technologies they need. All of this is even more significant as it is placed in a city like Turin, a city that has totally changed during these last few years, growing in parallel, explosive ways on two fronts: contemporary arts and ICT industry.

This is the reason behind the launch of the Action Sharing project: a platform with the goal of enabling synchretic research. No more conflicts between technological sciences and humanistic ones, replaced by a collaboration, aiming to find practical and specific solutions , using scientific and art research methodologies, together.

Artists are normally on stages, in museums on in art galleries. Action Sharing takes them to research centers in companies and universities, side by side with engineers and computer scientists to build innovative paths that are totally different from traditional ones.

The objective is to create collective works in which digital technologies are used along two directions: as a language for creative expression, but also as a trigger for enterprises and for researchers to find new and valuable solutions, ones in which the technologies that derive from them act as readymades for the market.

The creation of an extended creative network is not to forget, as well. A “shared” network, composed by various actors, that can become a long-term value for itself and for the territory.

This is the reason behind the Chamber of Commerce of the city of Turin welcoming our proposal, financing the project and joining in the process of choosing among a set of possible projects and artists. The pilot project of the initiative has been chosen among them: the Orchestra Meccanica Marinetti, of the artist Angelo Comino a.k.a. Motor.

Motor has mainly been chosen for three reasons: for being one of the main representatives of the local artistic scene, for his experience coming from more than twenty years of multimedia shows, and for his great technical skill, which was fundamental to conduct a project of such complexity.

The work consists in a multimedia show in which an orchestra, made up by percussionist robots playing industrial bins and by digital choirs, is guided by a cabled human performer: something like a cyborg Tambours du Bronx!

– But there’s more: the theme of the 2009 edition of the Share, taking place around the end of march in Turin, is “Market Forces”. Which is the fundamental intuition and what is the path leading this choice?
For the next edition of the Share Festival (24/29 march 2009) we asked our guest curator, Andy Cameron, to confront the theme of complexity. According to Andy the key to discussing complexity is the concept of market. The market is a machine used to face the complexity of the future and the unpredictability of the system. The future cannot be imagined in a linear way, as every thing is in relation with other ones through a system of complex relations, an ecosystem.

In this way the unexpected plays a decisive role, but the theory of complexity does not provide practical answers, and a vision of the future that is credible and reliable is needed. What can we do? The speakers invited to the Share 2009 will discuss this question. The Share Prize, as well, will present works that take into account the variety of the connections running between the elements of complex systems. Works that are different from each other, but that share their ability in analyzing chaos and value, meaning and casuality, politics and economy. Unstable abstractions that have concrete and important effects on our daily lives.

The Share Festival will be hosted by the Museum of the Sciences, where visitors will be able to interact with the finalist works of the Share Prize, creating images with teir breaths through a dense powder [Ernesto Klar – Parallel Convergences]; while a neural network built using wood and ropes will simulate the processes of thought, even if it won’t have anything to say [Ralf Baecker – Rechnender Raum]. Then a cinetic sculpture modelling chaos through flying steel balls [Andreas Muxel – Connect] and an object constructed through a fan that will have pieces of paper floating in the air, and generating music through the action of the visitors’ hands [Francesco Meneghini-William Bottin – Sciame 1], while an army of mirrors will follow the public according to its own will [Random International / Chris O’Shea Audience]. In the meanwhile a classic net.art work will constantly grow creating evenrchanging patterns [Lia Proximity of needs].

– Which are the perspectives that you imagine for the ToShare for the next months? What are the strategies and the tools that you will use to face the crisis?
The crisis is a lapse of time that highlights various aspects of our work because it requires an active response. But I don’t believe that anybody is ever ready enough to confront a crisis of such magnitude. Anyhow we are constantly on alert to the general changes, and challenges don’t frighten us.

We are studying several solutions mostly connected to networks of events and on project sharing with other realities. The network allows for actions that, previously, were logistically unthinkable and, thus, it redesigns the strategies from the bottom, turning them into networked strategies, open, horizontal and, as Ned Rossites says, organized.

We are trying to get the private sector involved, but I only see support mechanisms as being positive when they work through new ways of assuming culture, ways that are alternatives to the “invest and resell” used by many collectionists and enterpreneurs.

– Art constantly and explicitly moves towards being process-oriented: can a business model be a work of art?
Your question resembles a word trick or an act of magic that has the power to turn everything into art. That was the artistic mission of the avant-gardes wishing to transform the world into a work of art (fururism but also Bauhaus and De Stijl). But art, which ended with Duchamp, did not disappear. Rather, the opposite is true. Business has the power to transform the most desparate human activities into more business. And we already had the chance to see art transforming into business. Business is a process and art constantly grows in its open processual characterization rather that being formally complete.

Althought the objective of contemporary artits is often, since the artistic avant-guardes, to transform everything into art, art is not in everything and it is not in every process. A pantheistic vision of art, even if it can be cute, would miss the creative/artistic component that characterizes it.

Thus the question is not “what is art”, but “what is not art”.

Nevertheless, Andy Warhol – in the famous “Philosophy by Andy Warhol” (1975) – says: “Business art is the step that comes after art. I started as a commercial artist and I want to finish as a business artist. After doing a thing called ‘art’, or however you want to call it, i dedicated myself to business art. I want to be a art business man, or a business artist. Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.“. Thus this question has to be asked to the artists. Who knows what would come out.

via Interviewing the crisis

Hypertext 2009

The ACM Hypertext Conference is the main venue for high quality peer-reviewed research on “linking.” The Web, the Semantic Web, the Web 2.0, and Social Networks are all manifestations of the success of the link.

The Hypertext Conference provides the forum for all research concerning links: their semantics, their presentation, the applications, as well as the knowledge that can be derived from their analysis and their effects on society.

Hypertext 2008, held in Pittsburgh, was a real success. The number of submissions and attendees was up, a successful Student Research Competition took place, and a rejuvenated social linking track added new ideas and connections to the traditional core of the conference.

Hypertext 2009 will feature papers, tutorials, and demos in all areas of hypertext, hypermedia, and social networks, including but not limited to traditional areas related to hypertexts and the Web, as well as emerging linking technologies and analytical frameworks, such as adaptive hypermedia, recommender systems, and complex networks models.

Hypertext 2009 will be held from June 29th to July 1st at the Villa Gualino Convention Centre, on the hills overlooking Torino.

Plan to attend Hypertext 2009 in Torino, after the next User Modeling, Adaptation, and Personalization (UMAP) conference in Trento and the next International Workshop and Conference on Network Science (NetSci) in Venice.

Conference webdocumentary “A Sud di Pavese”

A Sud di Pavese
web documentary by Matteo Bellizzi
interaction design by Antonio Rollo
27th November, 2008 – 3 pm
Circolo dei Lettori – Via Bogino 19, Torino

As part of the programme of the Torino Film Festival, Piemonte Share in partnership with SteFilm is presenting a preview of the docuweb A Sud di Pavese (South of Pavese).The project represents an interactive rendering of the documentary A Sud di Pavese, which Matteo Bellizzi will be presenting to audiences in the forthcoming cinema season.

Picking out three quintessential settings in the works of Cesare Pavese – the Langhe, Torino and the Calabrian seaside – this web documentary weaves its way between the writings of Pavese and images, creating new, unexpected associations between the places and the stories narrated.
The “open” documentary uses the cinematic material filmed by Matteo Bellizzi as its source, physically portraying the journey that lies at the heart of the film – a journey that takes literature as its starting point to arrive elsewhere, encountering along the way the stories told by Pavese.

It might seem to many that little, if not nothing, remains to be discovered about Pavese. For the vast majority of people, he is the writer most closely identified with the provincial imagination tied to the hills of the Langhe district, to Turin, and to the publisher Einaudi. In particular he is remembered for his novel “The Moon and the Bonfires” and for his tragic death. Today, however, his thoughts and intimate reflections have led many people, artists and common folk alike, to confront and rethink the “myth” of Pavese, through his novels, poetry and internal conflicts.

Matteo Bellizzi journeys in search of stories through the very places where Pavese found his own, to places still active as sources of inspiration.
A Sud di Pavese represents an all-encompassing approach to the rediscovery of certain foundations underpinning Italian culture. Designed for a young audience, he seeks to communicate the idea that literature, when truly great, can indeed burst the banks of a book and overflow into life itself, becoming a stimulus and lens for observing the world with new eyes, with an awareness that is renewed and enriched.

The interaction design was created by the net.artist Antonio Rollo, who since the beginning of the decade has experimented with the interactive possibilities of moving pictures on the internet.

http://www.asuddipavese.it

Preview Orchestra Meccanica Marinetti

ORCHESTRA MECCANICA MARINETTI
multimedia show by Angelo Comino aka Motor
Thursday, 20th November, 2008 6.30 PM
Chamber of Commerce of Torino – Palazzo Birago di Borgaro
Via Carlo Alberto 16, Torino

On Thursday, 20th November, 2008, the stage will be set at the baroque Palazzo Birago for an artistic performance combining art and technology. The Orchestra Meccanica Marinetti (Marinetti Mechanical Orchestra) by the artist Angelo Comino – Motor in art – has been specially chosen by the Chamber of Commerce of Torino and Piemonte Share to launch the initiative Action Sharing. The orchestra consists of robot drummers that play steel drums “live”, under the direction of a performer. Having literally built the city of Turin, the movement and work of factories will be on show, translated into the interactive digital languages of the contemporary world. Paying tribute to the futurist poet Filippo Tommaso Marinetti, the orchestra builds an ideal bridge between Turin’s industrial past and the city’s current transformation into a city of knowledge. Two robot drummers. Two steel drums. One human performer. Mechatronics and music. The repetitiveness of industrial production becomes a gesture of music. A project in which the past of the Italian avant-garde returns in all its contemporaneity to seal a new relationship between humans and machines. Orchestra Meccanica Marinetti is a project conceived by Angelo Comino aka Motor, who gives life to enlightening inspirations that were unrealizable in Marinetti’s day.

The cultural association The Sharing, under the artistic direction of Simona Lodi and Chiara Garibaldi, was established in 2003 to create and promote digital art and culture. Under the umbrella of the name Piemonte Share, the association promotes initiatives dedicated to digital culture and the drive for innovation tied to electronic and new media. Piemonte Share, which over the years has been supported by the ongoing sponsorship of the Chamber of Commerce of Torino, is a strategic occasion for the creation of moments of exchange, experience, and encounter between the public, artists, experts, researchers and enthusiasts. ACTION SHARING – multimedia productions is one of the topical initiatives featured on Piemonte Share’s programme of events. Action Sharing is a metaproject, an initiative “shared” with the local Torino territory, which builds a bridge between art and business by creating a multidisciplinary and interdisciplinary platform where artists and engineers, along with scientists, economists, social workers and teachers can come together on the common ground of technology, driven respectively by creativity and innovation.

The Chamber of Commerce of Torino has chosen to back the proposal put forward by Piemonte Share to promote a new vision of culture, where art is not confined within the walls of art galleries and museums. In this vision, art is opened to the business world to become an engine for economic growth and local development, drawing from the design, technological innovation and creative resources that can be found in our companies of excellence, and which make them more competitive every day.
The project has become a reality thanks to the Interdisciplinary Mechatronics Laboratory of the Politecnico di Torino, Associazione Robotica Piemonte, Prima Electronics, Actua, Erxa, Virtual Reality & Multi Media Park, and Visualeyes.

http://www.toshare.it/OMM/index_eng.html

Share Out @ Fusion Festival 2008

share-out-fusion-festival-2008

After SHARE OUT success at TRANSMEDIALE FESTIVAL, BERLIN and at KUNSTVLAAI FESTIVAL, AMSTERDAM we are proud to announce the next 02L event, that will take place this time at FUSION FESTIVAL.

FUSION FESTIVAL, now at the eleventh edition, is one of the most striven destinations for ravers, music lovers and idealists that love to dive, for four days, in a parallel universe. The festival will take place not so far from Berlin, one of the most exciting capital cities of Europe, in a suggestive environment of a former russian airfield, among the pulsating bass drums of 15 different stages, green fields and woods and old eastern wracks, with a predicted presence of 40 thousand hot people.

Taken to higher level of excitement by the undefined entity 02L > OUTSIDE STANDING LEVEL, a one-shot and unforgettable show will take place on Saturday night (July 28th) around 2 o’clock, in a fight between interactive technologies, devastating beats and delectable dancing, with the new proposal of THE SPECIAL PLAYER, this time proposed with a very RAVE flavor.

Under the white dome of the Luftschloss (’castle in the sky’) there will be played the rite of an unique synergy between DJ (THE SHAIDON EFFECT), a group of four talented dancers, drummer, VJ and public. A special arbiter will take care of pulling the triggers of your pleasure: a sophisticated motion tracking system, which takes in account the responsibility to add another virtual dimension to the show.

THE SPECIAL PLAYER “interactive live temple show”, presented as a premiere project at TRANSMEDIALE’08 BERLIN (Germany) and replayed at Hiroshima Mon Amour club, Turin (Italy), during the Warp label night and hosted by PIEMONTE SHARE FESTIVAL, has more than one change, this summer, to astonish and entertain, in a sequence of hot dates (Half Machine, Pop-eye, Gogbot,  Versch, STRP). Further information can be found on links.

29/06/2008 at 02:00
02L > @ Fusion Festival 2008, GERMANY
The Special Player + The Shaidon Effect
Location: Luftschloss
Airfield Lärz Rechlin
Mecklenburg-Western Pomerania (DE)

Links:
http://www.02L.net/clipboard
http://www.fusion-festival.de/en/2008/home/program/theater/
http://www.thespecialplayer.com/
http://www.myspace.com/theshaidoneffecet