lunedì 27 settembre 2010
New Media Book: a workshop on the next-steps of publishing
New Media Book: a workshop on the next-steps of publishing
New Media Book
FakePress and Art is Open Source will present a workshop titled
“Next-step publishing: ubiquitous, disseminated, emergent, multi author narratives”
[program and info at the bottom of the article]
We can transform any space or surface into a display using electronic devices combined with location-based technologies, sensors, augmented reality and innovative visual surfaces. Furthermore, interactive surfaces are transforming the world, people and their activities.
It is progressively more possible – and accessible – to “write on the world“, layering contents, meanings, visuals and sensations that anyone can compose, diffuse and communicate.
The world transforms into a cross-medial polyphony built from ubiquitously accessible points of view: augmented reality, QRCodes, spime, fiducial markers, wearable technologies, portable electronic devices allow accessing content and information, and interacting with them directly from places, architectures, objects and bodies.
All this brings the word “publishing” into a totally new perspective, deeply mutating all of the roles involved: editors, authors, audiences, critics, curators. Roles that remix just as the visions and the contents, mutually interconnecting and overwriting each other, creating multiple and fluid visions of the world whose adoption can be a key element to the creation of new forms of expression, new sensibilities, new spaces.
The availability of ways to effectively stratify interpretations on the world in autonomous and incontrollable modalities gives rise to infinite possibilities for self-expression, self-determination and for the creation of sustainable opportunities which we have a chance to catch. Doing it effectively is a linguistic act and a cultural process which we can only activate through the emergence of imaginaries that allow for creation of these autonomous realities, their integration in the flow of our daily lives and the escape from those “walled gardens”, dead ends and mouse-traps that constantly sit around the corners of technological adoption.
During the workshop we will present these concepts throughout the disciplines and practices of art design and communication sciences, of digital and visual cultures, of hacking and activism.
Theory will go side by side with practice: we will introduce our newly developed Open Source platform that will be released by november under a GPL2 license, through which any WordPress blog can be transformed into a multichannel publishing system with cross-medial features (web, mobile, paper, augmented reality, location based, digital book…).
We will then show, in practice and getting people involved, how it is possible to use the platform to create a cross-medial publication that is accessible geographically, in proximity, architecturally, from objects “filled” with content and information, in augmented reality, from mobile phones, tablets and computers, and also from paper publications.
For anyone attending: please bring your laptop. The workshop will be useful even if you don’t bring your laptop with you, but you’ll have a chance to create your own example publication if you do bring it.
An event inside Innovation Festival 2010 – www.innovationfestival.it
Innovation Festival
NEW MEDIA BOOK
CONFERENCE + WORKSHOP
curated by
Milano in digitale
Cristina Trivellin e Martina Coletti
Fondazione D’Ars Oscar Signorini onlus, Milan
October 9th 2010 – 14:00 / 19:00
Palazzo Affari ai Giureconsulti, piazza Mercanti 2, Milano
14:00-16:30 workshop
“Next-step publishing: ubiquitous, disseminated, emergent, multi-author narratives”
Salvatore Iaconesi/xDxD.vs.xDxD e Oriana Persico/penelope.di.pixel
FakePress http://www.fakepress.it/
16:30 Conference with:
- Antonio Caronia, scientific curator of the initiative
- Mario Gerosa, curator, and Roberta Peveri coordinator of: Parla come navighi. Antologia della webletteratura italiana, Edizioni Il Foglio
- Alessandro Bertante, writer, curator of the anthology Voi non ci sarete. Cronache dalla fine del mondo, X book
- Marco Ghezzi, BookRepublic (http://blog.bookrepublic.it/)
Link to the Facebook event: http://www.facebook.com/event.php?eid=152666021423234
domenica 26 settembre 2010
Nadia, the camera that understands beauty http://bit.ly/aKGT6e camera does not show photos, but judges your shots
sabato 25 settembre 2010
html5 video demo by mozilla drumbeat http://bit.ly/ammp2R watch around the screen, as the video connects social networks, maps, data...
venerdì 24 settembre 2010
txt couture http://bit.ly/9qoVPd real models show your dresses. people control them using txt messages
urban remix http://bit.ly/akft4I mobile software to capture sounds of cities and recreate them into remixed localized soundscapes
Technological disobedience by Ernesto Oroza http://bit.ly/dAZoHN great book on Cuba as a case-study for creativity
mercoledì 22 settembre 2010
Massimo Canevacci: F for Fake http://bit.ly/c2oaSr new scenarios for cultures and innovation thenks to digital technologies reff romaeuropa
lunedì 20 settembre 2010
take 500thousand+ people on dating networks and try to understand what people like http://bit.ly/9f4GvC
http://bit.ly/cpHiLu beautiful infoaesthetic maps of where locals and tourists take pictures in various cities
wonderful! http://bit.ly/bHpH24 infoaesthetic maps show 40 cities with ethnic distributions. neighborhod self-definitions emerge
http://bit.ly/c0GMbd this post by frog interactive is almost a manual for software engineer/interaction designer collaboration
after TED http://bit.ly/a6W1rK the economist launches sereis of confereces. 1st: human potential. doubts on the phylosphical framework
Cities telling stories: Atlas, ConnectiCity, reality and a nice event
from http://www.artisopensource.net/2010/09/20/cities-telling-stories-atlas-connecticity-reality-and-a-nice-event/
Just back from the event held yesterday at the Circolo degli Artisti in Rome, called “Love and Kill Your Own Town”. The event was created by the guys and girls at CityVision Mag in the Wi-Fi Art series of events.
ConnectiCity, cities tell stories
The event featured an incredible set of international projects being showcased using the style called Pecha Kucha, with each presentation being shown using 20 slides automatically moving to the next one after 20 seconds. My personal favourites of the night were maO, featuring some interesting thoughts on interactivity and on letting people define the borders of spaces, Michael Caton, a young designer who presented a software/photography project showing the “backstage” of the colossal architectural building grounds in Dubai and the rough condition of their workers, Weekend in a Morning, who presented a beautifully surreal and poetic project in which the traffic situation in Rome was confronted by designing an air transportation system using hot-air balloons from the borders of the city, and 2A+P/A, with their wonderful project about the productive condos in which a housign system was integrated with facilities for urban gardening, energy production and all sorts of activities that implement a sustainable living scheme. But all the projects were really interesting in proposing views on the city that created alternative interpretations of given reality, discovering how architectures could describe new forms of life either by suggesting – through spaces, materials and what you can do with them – different ways of living – more sustainable, more sensible to people and the environment and, most of all, intriducing the possibility for people to decide what to do with their spaces – or by doing it first-hand, following processes in which human beings, their self determination and their expression, are the most valuable thing that is taken into account.
At the event we presented two things: a project featuring wide sensing techniques to publish the stories of cities, and what we called the Atlante di Roma.
The first: Cities tell stories
this are the presentation slides we used:
FakePress presents: Cities tell their stories and “a Fake Project”
View more presentations from salvatore iaconesi.
As you can see by following the slides we told the story of how we gave thousands of people electronic devices capable of generating info and bio feedback, and combining this information with other sources to generate visual narratives of the city.
We chose 3 persons among the thousands and we created a story. On each person’s callout you can see the red bar, showing heartbeat rate, the blue bar showing stress conditions as gathered from galvanic skin response feedback, and the green bar showing emotional arousal information as collected from the interface of a mobile application that was given to them together with the devices.
The story followed the life of the three characters, describing a little urban love story, in which the sensors, traffic conditions, CO2 production, and mobile traffic profile of the the characters effectively created a time-based infoaesthetic tale.
The project was fake.
Together with FakePress we did similar projects and many people all over the world are currently creating and researching on these themes, making them more and more actual and feasable every day. So the fact that we presented a fake project is not really a big deal :) (and, halfway through the presentation we actually told people, and justified using the argumentation that I will use in a coule of lines or so)
We presented a fake project because it was probabily more real than any project presentation that we could have made.
Project presentations can be done in several ways: be them poetic, minimalistic, corporate… But, mostly, they represent only a single point of view. A single, incomplete, point of view.
So they do not represent, in any way, reality (or, at least, some indefinable, absolute “thing” that some people may have the temptation to call “reality”) which is, by definition, an interactive cohexistence of multiple points of view.
So we decided that it would be more significative to tell a lie, to describe a fake project, but, while doing this, to describe our perspective on the world and to delegate the discussion of our peojects to the projects themselves, that can be experienced online, used on mobile phones and even worn, in the case of our wearable technologies.
The second thing that we did during the event was to present one of these projects, in total adherence to what we described in the fake project presented with the slideshows. So, after all, it was not a fake. or, better, the presentation was a fake that described a real thing, so that the real thing could be more understandable. And, actually, it was fantastic how people believed more in the fake than in my expanations of the real project presented, which I will give you all a few lines below.
the project was presented as Atlante di Roma, but, after the presentation, it should actually be called “ConnectiCity“.
Let’s see why.
Atlante di Roma was an extraordinary architectural installation that we have been invited to create by Paolo Valente, the curator, for the Index Urbis Festa dell’Architettura in Rome. The installation featured a large-scale urban screen (about 35 meters long) that enacted a series of generative interfaces through which the visions on the city produced by institutions, organizations, studios and single individuals could be navigated using multitouch technologies, across space, time and subjects. The installation was though as something that could remain persistent, with an information system feeding its information that in a first phase (the one for the event) would have been fed by the responsibles of the organizations involved, but that would have been opened to public access so that anyone could express their vision on the city by uploading text, multimedia and their own voices.
Apart from the ever-present technical problems and some adjustments and changes in the interactivity that, after seeing it in action, we all agreed, together with Paolo, were needed, the Atlas perfectly did its job. And the online version is still working (if quite unattended, while we gather our forces and funds to keep the project going), and ready to be reproduced here in Rome and in other parts of the world.
What we presented at the event was something different.
You can see a scaled down version of the software used for the installation here at ConnectiCity: the City tells its stories
The concept shows a prottype for an urban screen that collects in realtime all the information generated by citizens on social networks and discussing their city, radiating outward from its geographical position. Imagine the screen placed in a neighborhood: walking by, you would could read what the people there, in that instant are saying about their city.
It is a way to communicate the multiple perspectives that effectively build the city, creating an architecture on top of it made from emotion, imagination, desires, ambitions and fears, and to make them part of the architectural landscape.
We decided to call this new concept using another name: ConnectiCity.
Atlas and ConnectiCity are two different things, thay have different objectives: the Atlas is a system that allows to create an environment with a specific form that is used to represent the visions on the city in which it is placed (as the Atlas of Rome does for Rome); ConnectiCity is a stream of consciusness, a situated collective stream of ideas, projects, visions and emotions emerging in a specific area thanks to whoever decides to express. While the Atlas focuses on the creation of a form, ConnectiCity focuses on the creation of a process.
Both share a vision: to create architectural spaces in cities that are dedicated to expression, emotion, and self-determination, tolerance, multi-culturalism.
domenica 19 settembre 2010
more on Ushahidi http://bit.ly/bDOVpY platform for sharing information in realtime for crisis response
http://bit.ly/cG2fv0 what is Ushahidi? global opensource social platform for people sharing realtime information during emergencies
martedì 14 settembre 2010
sabato 11 settembre 2010
venerdì 10 settembre 2010
giovedì 9 settembre 2010
on the Death of the Web
on the Death of the Web, Adam Richardson (frog design) keynote
http://ping.fm/e7Ls5
"Where this leads, Anderson and Wolff argue, is a recentralization of power back into the hands of large conglomerates - the ones who can aggregate the audiences, and create the large multi-screen, multi-device ecosystems to keep them engaged."
http://ping.fm/e7Ls5
"Where this leads, Anderson and Wolff argue, is a recentralization of power back into the hands of large conglomerates - the ones who can aggregate the audiences, and create the large multi-screen, multi-device ecosystems to keep them engaged."
Army Anthropologist?s Controversial Culture Clash
"Traditionally, the military has relied almost solely on so-called hard sciences, like nuclear physics and chemistry. But as a simple regime-change operation in Iraq descended into a baffling counterinsurgency, it became clear that you can have the most advanced sensors, the toughest armor, the most precise GPS-guided munitions, but without any insight into the civilian population — or at least some sense of how they’ll react to your moves — your war effort is sunk."
on Wired http://ping.fm/arWLQ
on Wired http://ping.fm/arWLQ
US military controversial social science program
http://ping.fm/Z5Fz4
turning social science into military intelligence
http://ping.fm/Z5Fz4
turning social science into military intelligence
FakePress @ Circolo degli Artisti: CITYVISION and Wi-Fi Art, Rome, September 19th 2010 http://ping.fm/psJ6J
FakePress @ Circolo degli Artisti: CITYVISION and Wi-Fi Art, Rome, September 19th 2010
fakepress wit cityvision mag and wifi art, at circolo degli artisti
FakePress: the next step of publishing.
The book explodes, and in this explosion its pieces disseminate, creating a new form of expression, a new way of writing onto the world.
Not books anymore, at least not in the classical ordinary way. Books become disseminated narratives, ubiquitous contents, traversable, wearable, shareable, interactive, emergent, time-based, location-based, relation-based.
Wearable technologies, Ubiquitous publishing, Augmented Reality, multiple-author, open ended narratives.
FakePress will present new forms of urban interaction and of critical innovation at:
LOVE AND KILL YOUR OWN TOWN
Curated by
Francesco Lipari and Ottavio Cialone
September 19th 2010
CIRCOLO DEGLI ARTISTI
VIA CASILINA VECCHIA 42, ROME
http://www.cityvision-mag.com/
Love and Kill your own town: Facebook event
Press Release
Flyer
Poster
Please link back to: http://www.artisopensource.net/2010/09/09/fakepress-circolo-degli-artisti-cityvision-and-wi-fi-art-rome-september-19th-2010/
Squatting Supermarkets @ Robot Festival, Bologna
Robot Festival 2010, Bologna, Italy
Augmented Reality can create opportunities for critical reinvention of the world.
Squatting Supermarkets uses augmented reality to break open the codes of commercial communication on the products we use every day. By taking a picture with your mobile phone to the logo of a product, individuas can contribute to a global, disseminated relational discourse on ecology, sustainablity and social responsibility issues of the things we eat, wear and use every day.
The logo gets recognized with computer vision techniques and is used as a fiducial marker that can be used by the Squatting Supermarkets application to create a discussion space onto which people can write their thoughts and interact with other individuals and groups.
An interpretative layer on top of reality where we can express ourselves, bypassing communication control strategies enacted by corporations and governments. Augmented Reality as a new space for self-expression.
FakePress and Art is Open Source present:
Squatting Supermarkets @ RObot Festival 2010
from 15th to 18th September
Bologna, Italy
click here for more info about RobotFest 2010
click here for more info about Squatting Supermarkets
click here for even more info about Squatting Supermarkets
please link back to: http://www.artisopensource.net/2010/09/09/squatting-supermarkets-robot-festival-bologna/
venerdì 3 settembre 2010
Garrett Lynch, “Video Network #1: Dialogues”
from REFF, RomaEuropa FakeFactory
Video Network #1: Dialogues is a two channel networked video installation conceived and created by artists Garrett Lynch and Frédérique Santune. It is the first work employing a prototype video networking system that allows the creation of works which are cinematic in nature yet break away from fixed linear narratives to explore concepts such as montage, collage, mixing, rhythm, looping, non-linearity in combination with simple interactivity in real time.
The installations networking system employs a combination of reverse engineered inexpensive consumer electronics and custom hardware to enable devices such as DVD players, monitors, video cameras, projectors etc. to communicate, in effect network and influence each other.
Video Network #1: Dialogues specifically investigates ideas of exploration, mapping and translation.
From the author:
"Each artist conceived of an exploratory video of the locality of the other. Two separate video works based on ideas of place, appropriation, exploration, walking, performance, rhythm and opposites (or binary); male and female, Irish and French, night and day etc., were to be created in isolation. Within the installation these videos are connected to each other by the video networking system, playback of each video is controlled by the other based on rules / patterns defined within that work. While the video work is a playback of the audio-visual documentation of the original walking performance it also functions as a non-linear extension of that performance which explores the space/time of the media which contains it."
Video Network #1: Dialogues
Video Network #1: Dialogues is a two channel networked video installation conceived and created by artists Garrett Lynch and Frédérique Santune. It is the first work employing a prototype video networking system that allows the creation of works which are cinematic in nature yet break away from fixed linear narratives to explore concepts such as montage, collage, mixing, rhythm, looping, non-linearity in combination with simple interactivity in real time.
The installations networking system employs a combination of reverse engineered inexpensive consumer electronics and custom hardware to enable devices such as DVD players, monitors, video cameras, projectors etc. to communicate, in effect network and influence each other.
Video Network #1: Dialogues specifically investigates ideas of exploration, mapping and translation.
From the author:
"Each artist conceived of an exploratory video of the locality of the other. Two separate video works based on ideas of place, appropriation, exploration, walking, performance, rhythm and opposites (or binary); male and female, Irish and French, night and day etc., were to be created in isolation. Within the installation these videos are connected to each other by the video networking system, playback of each video is controlled by the other based on rules / patterns defined within that work. While the video work is a playback of the audio-visual documentation of the original walking performance it also functions as a non-linear extension of that performance which explores the space/time of the media which contains it."
Video Network #1: Dialogues
Eugenio Tisselli, “MIDIPoet” and “Media Trash”
from REFF, RomaEuropa FakeFactory
Multiple levels: a freely available software, a manifest, a series of performances using recycled media and recontextualized and remediated literary clips. Effective and convincing example of the creative possibilities offered to contemporary arts by the practices of reuse and reinvention of contents. The two works by Tisselli fascinate for the literary approach. Far from the feasts of visuals, words have often acted as bridges between different domains, with architects inventing readable buildings, bodies that fill with words, dances that forward informatin and paintings that, having abandoned the canvas, start showing words and their revelations.
Here approach is visceral: the performer selects the text, disassembles it, destroys it and gives re-birtg to it in interactive, other, forms in which visual elements re-communicate in other conceptual places the content of the original text, accessing perception through different paths. Image and word are treated with the same methodology, connected to the possibilities of sharing, processing, representing and, specifically, interacting.
From the author:
"I invented MIDIPoet because I wanted to become a Text Jockey. Back in 1999, software for playing with texts and images in real time using MIDI messages was either expensive or very difficult to use and, in some cases, both things at once. Facing this scenario, I knew I had to develop my own tools.
MIDIPoet is an environment for the composition and performance of pieces in which texts and images can be controlled, altered and remixed in real time, using a computer keyboard or any MIDI device (musical instruments, sensors, etc). In its current version, which was released in 2002, MIDIPoet consists of two applications: MIDIPoet Composer and MIDIPoet Player. As their names suggest, Composer contains a set of tools for creating MIDIPoet pieces, and Player performs them. The MIDIPoet environment has its own programming language, made up from relatively complex text commands. In order to make things easier, (and allow other people to approach the tool with realtively little pain) MIDIPoet Composer offers a visual way of creating MIDIPoet pieces, so there is no need to write code."
Megafone
Midi Poet
Midi Poet
Multiple levels: a freely available software, a manifest, a series of performances using recycled media and recontextualized and remediated literary clips. Effective and convincing example of the creative possibilities offered to contemporary arts by the practices of reuse and reinvention of contents. The two works by Tisselli fascinate for the literary approach. Far from the feasts of visuals, words have often acted as bridges between different domains, with architects inventing readable buildings, bodies that fill with words, dances that forward informatin and paintings that, having abandoned the canvas, start showing words and their revelations.
Here approach is visceral: the performer selects the text, disassembles it, destroys it and gives re-birtg to it in interactive, other, forms in which visual elements re-communicate in other conceptual places the content of the original text, accessing perception through different paths. Image and word are treated with the same methodology, connected to the possibilities of sharing, processing, representing and, specifically, interacting.
From the author:
"I invented MIDIPoet because I wanted to become a Text Jockey. Back in 1999, software for playing with texts and images in real time using MIDI messages was either expensive or very difficult to use and, in some cases, both things at once. Facing this scenario, I knew I had to develop my own tools.
MIDIPoet is an environment for the composition and performance of pieces in which texts and images can be controlled, altered and remixed in real time, using a computer keyboard or any MIDI device (musical instruments, sensors, etc). In its current version, which was released in 2002, MIDIPoet consists of two applications: MIDIPoet Composer and MIDIPoet Player. As their names suggest, Composer contains a set of tools for creating MIDIPoet pieces, and Player performs them. The MIDIPoet environment has its own programming language, made up from relatively complex text commands. In order to make things easier, (and allow other people to approach the tool with realtively little pain) MIDIPoet Composer offers a visual way of creating MIDIPoet pieces, so there is no need to write code."
Megafone
Midi Poet
Midi Poet
Quayola, “Strata”
from REFF, RomaEuropa FakeFactory
Street art disciplines show how it is possible to act on urban spaces to activate expressive and riappropriation processes. The aesthetic and performative actions that transform walls into the object of the marvelled gaze of the passerbys and elements of urban furniture into the places for the spectacular acrobatics of skateboarders are precise interventions in the flow of daily life that can create imaginaries, doubts and variations in that which is too often perceived as "given reality".
Quayola takes this kind of intervention to classical arts, algorithmically augmenting its possibilities: perspectives run away, drawing becomes the texture for new opportunities for expression, aesthetics become new aesthetics in which classical vision, renaissance perspective and the shape of the object of the interventio radically shift in direction, multiplying, disassembling, becoming other.
From te author:
"The term Strata defines a geological formation made of multiple layers of rock. Each one of these layers has its own individual characteristics and history, which combined produce beautiful and unique formations…
The Strata project consist in a series of films, prints and installations investigating improbable relationships between contemporary digital aesthetics and icons of classical art and architecture. Like in geological processes, layers belonging to different ages interact with one another producing new intriguing formations."
Strata 1
Strata 2
Strata 3
Street art disciplines show how it is possible to act on urban spaces to activate expressive and riappropriation processes. The aesthetic and performative actions that transform walls into the object of the marvelled gaze of the passerbys and elements of urban furniture into the places for the spectacular acrobatics of skateboarders are precise interventions in the flow of daily life that can create imaginaries, doubts and variations in that which is too often perceived as "given reality".
Quayola takes this kind of intervention to classical arts, algorithmically augmenting its possibilities: perspectives run away, drawing becomes the texture for new opportunities for expression, aesthetics become new aesthetics in which classical vision, renaissance perspective and the shape of the object of the interventio radically shift in direction, multiplying, disassembling, becoming other.
From te author:
"The term Strata defines a geological formation made of multiple layers of rock. Each one of these layers has its own individual characteristics and history, which combined produce beautiful and unique formations…
The Strata project consist in a series of films, prints and installations investigating improbable relationships between contemporary digital aesthetics and icons of classical art and architecture. Like in geological processes, layers belonging to different ages interact with one another producing new intriguing formations."
Strata 1
Strata 2
Strata 3
Alterazioni Video, “Incompiuto Siciliano”
from REFF, RomaEuropa FakeFactory
The architectures of the Incompiuto Siciliano (Sicilian Unfinished) are the tool used by Alterazioni Video to enact an operation worthy of a situationist superhero: transforming, in a surreal and hypnotic acrobatic jump, the perception of the territory in a display that allows for ethnographic observation of the people that live on it, the stratification of cultures and processes through time, law, fashon, habits, tastes and desires.
Buildings abandon the status of dead architectural corpses and become objects to read, to taste in a state of extasy, in a real-augmented environment in which an information layer is put on the territory, resulting modified, interactive and alive.
Extreme territorial recontextualizations: theme park meets archeological parc meets rave party meets place for political claims meets relational artwork.
From the authors:
"The research on unfinished architectures confronts the theme of unfinished public works in Italy, multidisciplinarily investigating among the relations between these architectural works and the context into which they are placed, stating their artistic value and proposing a new stylistic definition. We see the entire "national system of unfinished works" that we recorded in about two years of research as a material witness on the current socio-cultural context that fills our daily life , and we offer a definition as new style that is able to giving back its contents from multiple points of view.
We want to show how the "unfinished" isn't only a label in which to forcedly enclosing an etherogeneous set of works, but more a true theoretical model, which is able to recognize, identify and, to a degree, foresee the configuration of a work, or a system of works, that exist or that are about to exist. Unfinished works appear to us as the places in which a collective memory exists which needs further investigation, born as ruins produced by a compressed time, architectrues that shape their landscape."
Incompiuto Siciliano
The architectures of the Incompiuto Siciliano (Sicilian Unfinished) are the tool used by Alterazioni Video to enact an operation worthy of a situationist superhero: transforming, in a surreal and hypnotic acrobatic jump, the perception of the territory in a display that allows for ethnographic observation of the people that live on it, the stratification of cultures and processes through time, law, fashon, habits, tastes and desires.
Buildings abandon the status of dead architectural corpses and become objects to read, to taste in a state of extasy, in a real-augmented environment in which an information layer is put on the territory, resulting modified, interactive and alive.
Extreme territorial recontextualizations: theme park meets archeological parc meets rave party meets place for political claims meets relational artwork.
From the authors:
"The research on unfinished architectures confronts the theme of unfinished public works in Italy, multidisciplinarily investigating among the relations between these architectural works and the context into which they are placed, stating their artistic value and proposing a new stylistic definition. We see the entire "national system of unfinished works" that we recorded in about two years of research as a material witness on the current socio-cultural context that fills our daily life , and we offer a definition as new style that is able to giving back its contents from multiple points of view.
We want to show how the "unfinished" isn't only a label in which to forcedly enclosing an etherogeneous set of works, but more a true theoretical model, which is able to recognize, identify and, to a degree, foresee the configuration of a work, or a system of works, that exist or that are about to exist. Unfinished works appear to us as the places in which a collective memory exists which needs further investigation, born as ruins produced by a compressed time, architectrues that shape their landscape."
Incompiuto Siciliano
Sosolimited, “ReConstitution”
from REFF, RomaEuropa FakeFactory
Remixing an election campaign?
Information aesthetics opens up new doors. Databases and their data, the truly contemporary and future gold and oil, are fetish, tools for entertainment, control, fear and emotion. Percentages constantly scroll through our fields of vision and hearing; the results of processes that interpret the ups and downs of stock markets, weather forecasts, sequences of colors in the fashion business, trends on the number of aesthetic surgery in the last decade, unemployment rates, sexual habits. Continuous representation, synthetic and sensorial of all the information around us: an imprescrutable sensorial jump into the realms of data and discourses.
Here politics mix to poetry. The USA election candidates become the object of a maniacal analysis: every one of their words gets detached, measured, cataloged, drawn, recombined. The image of the candidate itself becomes the tool to show the fetish: information, analysis, observation. Informational, recombinant and voyeuristic fetish. Visual cultures and interactive computational poetics.
From the authors:
"ReConstitution was a three-part live audiovisual remix of the 2008 presidential debates. A hybrid of video art and public service, the piece represented a shift away from the polarized manner in which people approach political artwork.
The artists designed a piece of software that allowed them to sample the television broadcast in real time, extracting the video, audio, and closed captioned text. The software consisted of a series of modes, each of which transformed, analyzed, and reassembled these pieces in a distinct way. The transformed visuals were projected into a large screen and the audio was played through a PA system.
Aspects of the broadcast were obscured while others were highlighted and analyzed, all intended to augment the raw information contained in the television signal. A clean version of the candidate's voices was always present in the audio mix, so as to maintain the legibility of the debates.
Every word spoken by the candidates was cataloged, analyzed, and displayed, integrated with the transformed video signal. The visuals would react to the physical movement of the candidates as well as the words they spoke."
Sosolimited
ReConstitution 2008
Remixing an election campaign?
Information aesthetics opens up new doors. Databases and their data, the truly contemporary and future gold and oil, are fetish, tools for entertainment, control, fear and emotion. Percentages constantly scroll through our fields of vision and hearing; the results of processes that interpret the ups and downs of stock markets, weather forecasts, sequences of colors in the fashion business, trends on the number of aesthetic surgery in the last decade, unemployment rates, sexual habits. Continuous representation, synthetic and sensorial of all the information around us: an imprescrutable sensorial jump into the realms of data and discourses.
Here politics mix to poetry. The USA election candidates become the object of a maniacal analysis: every one of their words gets detached, measured, cataloged, drawn, recombined. The image of the candidate itself becomes the tool to show the fetish: information, analysis, observation. Informational, recombinant and voyeuristic fetish. Visual cultures and interactive computational poetics.
From the authors:
"ReConstitution was a three-part live audiovisual remix of the 2008 presidential debates. A hybrid of video art and public service, the piece represented a shift away from the polarized manner in which people approach political artwork.
The artists designed a piece of software that allowed them to sample the television broadcast in real time, extracting the video, audio, and closed captioned text. The software consisted of a series of modes, each of which transformed, analyzed, and reassembled these pieces in a distinct way. The transformed visuals were projected into a large screen and the audio was played through a PA system.
Aspects of the broadcast were obscured while others were highlighted and analyzed, all intended to augment the raw information contained in the television signal. A clean version of the candidate's voices was always present in the audio mix, so as to maintain the legibility of the debates.
Every word spoken by the candidates was cataloged, analyzed, and displayed, integrated with the transformed video signal. The visuals would react to the physical movement of the candidates as well as the words they spoke."
Sosolimited
ReConstitution 2008
Fosco Loiti Celant
from REFF, RomaEuropa FakeFactory
Who is Fosco Loiti Celant?
Being able to give a single sure answer is not so important. It is much more interesting identifying him in all those errors and system glitches in which we spend our days, waiting for those small unexpected details to instantaneously transform into one of the surreal, expressive and immersive actions of this incredible agitator.
Because Fosco Loiti Celant lives in error, in the possibility to open passages across reality and to insert those contents that power's hyerarchies do not appreciate being communicates. Augmented Reality is a definition that perfectly suits this sort of superhero, constantly busy in the reinvention of reality, just like the definitions of augmented identity (or reduced? or divided or multiplied? It depends, obviously) and of hyperrealist false.
From the authors:
"Come in altre occasioni, la mia intenzione è stata quella di attirare l'attenzione su un importante problema sociale, in questo caso la strisciante privatizzazione a cui è sottoposto il sistema universitario italiano negli ultimi vent'anni. Di fronte allo smantellamento del welfare tradizionale e al crescente ridimensionamento del finanziamento pubblico, gli atenei stanno infatti da tempo sperimentando (seguendo le linee guida del cosiddetto "Processo di Bologna") da un lato il ricorso al finanziamento privato, dall'altro l'aumento vertiginoso delle tasse studentesche. Insieme all'ingresso delle imprese private nell'università (che porta con sé una mentalità orientata all'interesse, alla competizione e al profitto), abbiamo quindi un'insostenibile pressione economica sugli studenti e le loro famiglie. La combinazione di questi due fattori sta producendo uno dei più massicci attacchi al diritto allo studio che si sia mai visto in Italia."
Fosco Loiti Celant
Who is Fosco Loiti Celant?
Being able to give a single sure answer is not so important. It is much more interesting identifying him in all those errors and system glitches in which we spend our days, waiting for those small unexpected details to instantaneously transform into one of the surreal, expressive and immersive actions of this incredible agitator.
Because Fosco Loiti Celant lives in error, in the possibility to open passages across reality and to insert those contents that power's hyerarchies do not appreciate being communicates. Augmented Reality is a definition that perfectly suits this sort of superhero, constantly busy in the reinvention of reality, just like the definitions of augmented identity (or reduced? or divided or multiplied? It depends, obviously) and of hyperrealist false.
From the authors:
"Come in altre occasioni, la mia intenzione è stata quella di attirare l'attenzione su un importante problema sociale, in questo caso la strisciante privatizzazione a cui è sottoposto il sistema universitario italiano negli ultimi vent'anni. Di fronte allo smantellamento del welfare tradizionale e al crescente ridimensionamento del finanziamento pubblico, gli atenei stanno infatti da tempo sperimentando (seguendo le linee guida del cosiddetto "Processo di Bologna") da un lato il ricorso al finanziamento privato, dall'altro l'aumento vertiginoso delle tasse studentesche. Insieme all'ingresso delle imprese private nell'università (che porta con sé una mentalità orientata all'interesse, alla competizione e al profitto), abbiamo quindi un'insostenibile pressione economica sugli studenti e le loro famiglie. La combinazione di questi due fattori sta producendo uno dei più massicci attacchi al diritto allo studio che si sia mai visto in Italia."
Fosco Loiti Celant
Special Mentions
from REFF, RomaEuropa FakeFactory
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Special Mentions
from REFF, RomaEuropa FakeFactory
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Fosco Loiti Celant
from REFF, RomaEuropa FakeFactory
Who is Fosco Loiti Celant?
Being able to give a single sure answer is not so important. It is much more interesting identifying him in all those errors and system glitches in which we spend our days, waiting for those small unexpected details to instantaneously transform into one of the surreal, expressive and immersive actions of this incredible agitator.
Because Fosco Loiti Celant lives in error, in the possibility to open passages across reality and to insert those contents that power's hyerarchies do not appreciate being communicates. Augmented Reality is a definition that perfectly suits this sort of superhero, constantly busy in the reinvention of reality, just like the definitions of augmented identity (or reduced? or divided or multiplied? It depends, obviously) and of hyperrealist false.
From the authors:
"Come in altre occasioni, la mia intenzione è stata quella di attirare l'attenzione su un importante problema sociale, in questo caso la strisciante privatizzazione a cui è sottoposto il sistema universitario italiano negli ultimi vent'anni. Di fronte allo smantellamento del welfare tradizionale e al crescente ridimensionamento del finanziamento pubblico, gli atenei stanno infatti da tempo sperimentando (seguendo le linee guida del cosiddetto "Processo di Bologna") da un lato il ricorso al finanziamento privato, dall'altro l'aumento vertiginoso delle tasse studentesche. Insieme all'ingresso delle imprese private nell'università (che porta con sé una mentalità orientata all'interesse, alla competizione e al profitto), abbiamo quindi un'insostenibile pressione economica sugli studenti e le loro famiglie. La combinazione di questi due fattori sta producendo uno dei più massicci attacchi al diritto allo studio che si sia mai visto in Italia."
Fosco Loiti Celant
Who is Fosco Loiti Celant?
Being able to give a single sure answer is not so important. It is much more interesting identifying him in all those errors and system glitches in which we spend our days, waiting for those small unexpected details to instantaneously transform into one of the surreal, expressive and immersive actions of this incredible agitator.
Because Fosco Loiti Celant lives in error, in the possibility to open passages across reality and to insert those contents that power's hyerarchies do not appreciate being communicates. Augmented Reality is a definition that perfectly suits this sort of superhero, constantly busy in the reinvention of reality, just like the definitions of augmented identity (or reduced? or divided or multiplied? It depends, obviously) and of hyperrealist false.
From the authors:
"Come in altre occasioni, la mia intenzione è stata quella di attirare l'attenzione su un importante problema sociale, in questo caso la strisciante privatizzazione a cui è sottoposto il sistema universitario italiano negli ultimi vent'anni. Di fronte allo smantellamento del welfare tradizionale e al crescente ridimensionamento del finanziamento pubblico, gli atenei stanno infatti da tempo sperimentando (seguendo le linee guida del cosiddetto "Processo di Bologna") da un lato il ricorso al finanziamento privato, dall'altro l'aumento vertiginoso delle tasse studentesche. Insieme all'ingresso delle imprese private nell'università (che porta con sé una mentalità orientata all'interesse, alla competizione e al profitto), abbiamo quindi un'insostenibile pressione economica sugli studenti e le loro famiglie. La combinazione di questi due fattori sta producendo uno dei più massicci attacchi al diritto allo studio che si sia mai visto in Italia."
Fosco Loiti Celant
Special Mentions
from REFF, RomaEuropa FakeFactory
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Special Mentions
from REFF, RomaEuropa FakeFactory
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Special Mentions
from REFF, RomaEuropa FakeFactory
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Here follow the list of all the people that, during REFF's competition and actions, have followed and have been most coherent with the spirit and goals of the whole project, proposing visual productions, sounds, pieces of literature, architectures and designs that were able to narrate new forms for physical and sensorial spaces starting from the processes of remix, recombination and mash-up.
The QRCode and the link in these pages can be used to access the web interface that allows navigating through all their works, and to contact the authors.
Daniele Mancini / Urban Fields
Agnese Trocchi
Mathilde Neri Poirier / Hotel Nuclear
Luther Blissett
Agatino Rizzo / Cityleft
Adriano Sanna / Image Hunters
Pasquale de Sensi
Paola Zampa
Michael Cipolla
Chiara Passa
Anna Olmo
Eva Pedroni Simoncelli
Francesco D'Isa
Marco Pignatti
Samo Pedersen
Anna Gramma
Ivan / Eri Nav
Nanette Wylde
Laura Spampinato
Alessandro Suizzo
Chiara Micheli
Andrea Paglia
Difesa Jubecca
Andreas Maria Jacobs
Leif Ahnland
Stefano Pala / Francesco Rosati
Alessio Ballerini
Gregor Rozanski
quwt
judsoN
Bernardina
Jelena Jovic
Sara Basili
Juan Lopez
Jimenez Lai
mag.MA architetture
moriyuki
giorgia borroni
Cortomobile
Cenk Dereli
Titusz Tarnai
Daniele Salvatori
Chiara Angioli
Luis Rolando rojas
Yurij Alekhno
Jose Antonio De Jesus Corona Gonzalez
Snak3
Adriana e Morena
Sheriff Xenoph
Flyer communications / FLxER, “FLxER”
from REFF, RomaEuropa FakeFactory
Club culture has been an extremely fertile place for media experimentation and innovation since its birth. From the innovations brought on by hip-hop, house music and electronic music, technologies and technological practices have always found fast and creative adoption. Furthermore, the contamination with street cultures have always granted specific sensibilities with the possibilities offered by the imaginaries connected to the ideas of remix, recontextualization, loop, cut-up, recycling and reinvention of sounds, images and devices.
From sound to visual. Clubs' consolles are progressively more populated by etherogeneous roles: first DJs, then VJs and, in a continuous evolution, with people capable of coordinating sound samples, images, software and electronic devices.
FLxER is a software that was born right in the middle of these events, and it has been able to effectively leverage technologies, aesthetics, social, political and political instances of art and creativity.
A freely available software, a live and multicultural community, a social environment that truly exists in both physical and digital worlds, multiple forms of content and knowledge sharing practices that are not barely nominal, but act as a base principle for all the software and social platforms involved.
From the authors:
"FLxER was born in 2001 as a practical answer to the necessity of mixing the expressive arts of a digital creatives’ collective. Today it is a free software for mixing vector graphics, audio, video, text and interactive media all together.
FLxER today is also a web-community of more than 4.000 people sharing their own productions.
From virtuality to reality, from monitors to television, from clubs to theatres, in few years time FLxER has been gaining an international and itinerant character, becoming the incontestable protagonist of VIDEO, LIVE and PERFORMANCE events."
FLxER
Club culture has been an extremely fertile place for media experimentation and innovation since its birth. From the innovations brought on by hip-hop, house music and electronic music, technologies and technological practices have always found fast and creative adoption. Furthermore, the contamination with street cultures have always granted specific sensibilities with the possibilities offered by the imaginaries connected to the ideas of remix, recontextualization, loop, cut-up, recycling and reinvention of sounds, images and devices.
From sound to visual. Clubs' consolles are progressively more populated by etherogeneous roles: first DJs, then VJs and, in a continuous evolution, with people capable of coordinating sound samples, images, software and electronic devices.
FLxER is a software that was born right in the middle of these events, and it has been able to effectively leverage technologies, aesthetics, social, political and political instances of art and creativity.
A freely available software, a live and multicultural community, a social environment that truly exists in both physical and digital worlds, multiple forms of content and knowledge sharing practices that are not barely nominal, but act as a base principle for all the software and social platforms involved.
From the authors:
"FLxER was born in 2001 as a practical answer to the necessity of mixing the expressive arts of a digital creatives’ collective. Today it is a free software for mixing vector graphics, audio, video, text and interactive media all together.
FLxER today is also a web-community of more than 4.000 people sharing their own productions.
From virtuality to reality, from monitors to television, from clubs to theatres, in few years time FLxER has been gaining an international and itinerant character, becoming the incontestable protagonist of VIDEO, LIVE and PERFORMANCE events."
FLxER
giovedì 2 settembre 2010
REFF, RomaEuropa FakeFactory, augmented reality, innovation in publishing: remix the world! reinvent reality!
REFF, RomaEuropa FakeFactory, augmented reality, innovation in publishing: remix the world! reinvent reality!
stay tuned for the next steps at REFF RomaEuropa FakeFactory!
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