Archive for the ‘people’ Category


Ubiquitous Pompei, published on Art is Open Source


On December 14th, in the city of Pompei, we celebrated the final step in this phase of the Ubiquitous Pompei project, created through a series of workshops performed together with high school students who were invited to imagine the digital future of their city.

All together for the presentation of Ubiquitous PompeiAll together for the presentation of Ubiquitous Pompei

This has been an incredible experience for us. The possibility to work in tight contact with young students and to become enablers for their awareness of the possibilities offered by technologies and networks has been an amazing opportunity.

We were able to explore with the students the concepts of new forms of citizenship, innovative forms of participation and collaboration, novel ways of deciding and evaluating public policies, engaging ways of narrating the stories of the places in which they live, getting people, companies and administrations involved.

Vice-Mayor Claudio Alfano and the studentsVice-Mayor Claudio Alfano and the students

The workshops were used to introduce students to the opportunities and scenarios offered by ubiquitous technologies such asaugmented reality, location based media and services, and QRCodes and other digital tagging techniques. On top of that, students and educators were  introduced to the MACME and NeoReality technologies, to be used in the process of imagining and creating the prototypes used to describe the digital future of the City of Pompei.

The technologies have been provided to students, educators and public administrators through an open platform. It can be found here (click to open PompeiAR, the tech platform used to create Ubiquitous Pompei).

Art is Open Source and FakePress Publishing will maintain the platform open and accessible to students/educators/administrators to allow them to continue in their journey through technological innovation: continuous experiments will be performed (and so don’t be surprised if, sometimes, test content pops up on the linked website: it means that students are actually working on it, experimenting on their city’s future) and, possibly, be transformed into real-life scenarios.

Giampiero Gramaglia and Derrick de Kerckhove at the eventGiampiero Gramaglia and Derrick de Kerckhove at the event

The event on December 14th has been a wonderful experience and a chance to finally get together with all involved actors to evaluate the results of our efforts.

During the event, a commission composed by Derrick de Kerckhove, Giampiero Gramaglia, Claudio Alfano, Maria Pia Rossignaud and Antonio Irlando experienced the presentations of the projects created by the students, introduced by Oriana Persico and then presented directly by the young innovators. After the presentations the commission evaluated the prototypes produced during the project and assigned an award of distinction to the project which implemented an ubiquitous book dedicated to the ancient “social networks” found in Pompei’s ruins, where people inscribed graffiti messages about their daily life and full of useful information; An augmented reality application allows you to read these graffiti by framing them in your smartphone and, thus, to translate them from latin into your own language, to discover the lives of ancient Pompeians and engage an experiment in atemporality by being able to comment the ancient graffiti and open up a dialogue across time.

All students were awarded a certificate of participation to the project.

We definitely wish to thank the Public Administration of the City of Pompei – and especially Claudio Alfano, the Vice-Mayor of the City of Pompei and Town Councillor for   Technological Innovation, and Mayor Claudio D’Alessio – for embracing with such energetic enthusiasm the vision proposed through this project, and by making us feel so welcome and appreciated in our efforts to discover, together with students and educators, the positive opportunities which the digital future can bring closer to us, and helping us to develop our cities, relations, jobs and environments.

And we sincerely wish to thank the students and professors at the Liceo Socio-pedagogico E. Pascal and the Istituto Bartolo Longo, the two schools which joined us in this wonderful experience: you have been so nice to have dedicated us some of your time and energies, and so wonderful to have perfectly understood the sincerity with which we propose our ideas and skills.

And, of course, we wish to thank MediaDuemila and Associazione Amici di Media Duemila, for creating the “McLuhan Incontra Pompei” project and, thus, making this all possible, and prof. Derrick de Kerckhove for leading our visions.

More really important people/organizations which we want to give sincere credit and thanks to can be found here, at the project’s website.

HERE you can find the Ubiquitous Pompei project website, the open platform used by students and educators to design the digital future of their city.

HERE you can fide the project descriptions that have been proposed by students and presented on December 14th 2011

HERE you can find information about the MACME technology used in the project.

HERE you can find information about the NeoReality technology used in the project.

The Ubiquitous Pompei project, as well as the concepts produced by the students, are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Ubiquitous Pompei, Art is Open Source, MediaDuemila and the students of Pompei

Ubiquitous Pompei, Art is Open Source, MediaDuemila and the students of Pompei

Read/Write Reality, An intensive workshop on Ubiquitous Publishing

RWR, Read Write Reality logoRWR, Read Write Reality logo



WHAT: 3+1 days of intensive workshop on the possibilities offered by Ubiquitous Publishing techniques and technologies

WHEN: from 13th to 16th September 2011

WHERE: Cava de’ Tirreni (Amalfi Coast, Italy)


Do you want to learn about new business models, new forms of expression, new possibilities for culture and knowdledge?

Are you looking for new tools for freedom of communication, expression and for knowledge or content diffusion?

Would you like to discover what will be the next possibilities for e-books and digital publishing, starting from the opportunities offered by our present times?

Do you want to learn and acquire the “new ways of writing on the world” that are turning our bodies, architectures, spaces and objects into publishing surfaces?


READ/WRITE REALITY (RWR) is an intensive and visionary workshop created to pragmatically explore the methodological, technical and technological possibilities offered by Ubiquitous Publishing.

3+1 days hands-on and minds-on program in which we will follow you through the creation of a full ubiquitous publishing project, starting from scratch and ending up at product release. Participants will learn the methodologies, the conceptual and technological frameworks which will enable individuals, organizations, companies or collectives to use ubiquitous technologies to enact new forms of communication and expression, new business models, new ways in which you can activate your strategies and observe their effects.

Out of the monitor, in the spaces of our cities, bodies, objects and products.

RWR will be held on September 13-14-15+16 in Cava de’ Tirreni, at the Ostello “Borgo Scacciaventi”, a beautiful setting in a 15th century building near to the famous Amalifi Coast. The workshop will fill 3+1 days of intense activities, visionary discussions, engaging hands-on practices, on-the-field explorations and content-production, an “ubiquitous movida” to be discovered, great food, wine and scenery, in contact with the rooted traditions of the beautiful South of Italy.

During the last day (Sept. 16th) a big party and a city-wide event will mark the achievement of your work: the result of the RWR workshop will be exposed in a prestigious building in the center of Cava de’ Tirreni, at the presence of internationally known academics and researchers.


The workshop is addresed to:

  • designers (wishing to know,understand and use Ubiquitous Publishing technologies);
  • communicators (who want to understand and learnhow to bring digital information out of the monitor, into the city, in people’s pockets, on objects and in the places we traverse in our daily lives);
  • developers (who want to learn how to build engaging ubiquitous interactive experiences);
  • artists, journalists, scientists and researchers (wishing to add ubiquitous technologies to their toolset for expression, information, knowledge, education and research practices);
  • and strategists (with the desire to gain knowledge and insights to confront with the next step of digital communication).


Technologies you will use:

  • iPhone, iPad, Android smartphones and tablets
  • location based, GPS, digital compass
  • accelerometers for gesture-based interactions
  • augmented reality: location-based, marker-based, computer vision based
  • mobile tagging: QRCode, barcodes
  • HTML5, CSS3, WebGL
  • multimedia of all sorts, 3D, 2D, sound, immersive sounds and visuals
  • projection mapping for architecture-based content and interaction


Deadline for enrollment & Conditions

20th August 2011

Only a limited number of 35 people will be accepted:


ATTENTION! Students, artists, researchers, people working in educational or non-profit sector, young (less than 26 years old) and old (over 70), benefit from special conditions!


The Program for RWRThe Program for RWR







RWR is a project by

FakePress and Art is Opensource

in collaboration with:

Cantro Studi di Etnografia Digitale, Ninja Marketing, Ostello “Borgo Scacciaventi”


supported by:

LiberLiber, MELTINGPOT – Cantiere Creativo per la New Media Art, Piemonte Share Festival, StoriaContinua


More info at:




Maciunas, Fluxus manifestoMaciunas, Fluxus manifesto

FLUXUS was a variable group of artists working in what has vastly been called Neo-Dada and visual arts, but really worked intermedially across visual arts, design, video, music, performance and architecture.

Vastly inspired by the work of John Cage and, in a way, organized by George Maciunas, FLUXUS was a natively networked movement of artists that were already working and collaborating along the same lines, internationally.

The term “intermedia” was coined by fluxus artist Dick Higgins to describe what, during the 60s, was a really innovative approach in which arts started moving across materials, practices, technologies and genres, defining entirely new ones or even incredibly significative hybrids.

FLUXUS artists worked with found materials with a DIY (Do It Yourself) approach, often establishing profund collaboration practices or experimenting the ideas of randomness and the recombination of everyday objects and events into artistic expressions.

Various kinds of materials and technologies were used to enact this approach, including the first video experiments by Nam June Paik and John Cage’s musical creations built using appliances, everyday objects, and things coming from offices or ordinary houses. The diffused tendency operated by fluxus artists was to both “open” the artistic process and to layer artistic visions onto the flow (fluxus) of ordinary life.

The DIY approach is typical of the first objective. Here, artistic gestures and approaches were disclosed, and the methodologies and techniques were described as something that could be accessible to people, for comprehension and reenactment. Even on the strategies of price: while “ordinary” artists produced very limited numbers of highly expensive works, fluxus artists (for example Maciunas himself) produced their works as if they were to be mass produced and made available at very low costs. Art was open, interactive, accessible and collaborative, as the person experiencing the artwork was required to intervene and act, or even suggested to replicate and diffuse gestures in other contexts.

As for the second approach, FLUXUS’ assemblage and recombination of everyday objects and practices transformed the imaginaries connected to ordinary daily life, creating through aesthetics, experiences and interactions, additional dimensions in which any object or space could be perceived. Objects acquired the magical aura of art by simple recontextualizations or juxtapositions, as sounds, visions and other sensorial experiences aggregated through performance and interaction.

Art flowed with daily life as one single environment with multiple possibilities opening up for world codification and experience.

This disruptive approach to art and life was crystallized across a series for practices.

The production of the so called Fluxus Boxes was one of them.

Fluxus boxes were a peculiar form of expression in which the artist gathered a series of objects, cards, materials and components and assembled them in boxes, suitcases or other containers. The assemblage was created with multiple purposes in mind: creating suggestions and tangible poetics by juxtaposing things was something that the cinematographic montage had learned since the beginning of the century, and it was also explored by musicians such as Cage, where the sounds of known objects acted on levels that are simultaneously physical, symbolic and referring to memory and cultures.

Fluxus BoxesFluxus Boxes

Fluxus boxes were intended as non linear narratives to be handled, touched, performed, disseminated, destroyed, reassembled, counted and reconfigured.

Just as cinema montage and music had learned, the orchestration of symbols, visions and other sensorial components was able to create novel scenarios. Interactivity and tangibility created a state of continuous recombination, multiplying interpretation and cognitively activating people, who became part of the artwork while handling, imagining and communicating. The connection with the ordinary flow of life created new dimensions in the world: stratified, recombinant and engaging.

In occasion of the 50 years of FLUXUS we have decided to research on this wonderful form of expression, both for the innovation it has provided in the arts and for its connection with many of the mutation processes that are going on with contemporary humanity and their ability to experience media, communicate and interact.

At the event Mercoledì da NABA series of events, on December 15th 2010, we will hold a workshop/performance in which we will build a Fluxus Box using Augmented Reality and other cross-medial techniques and technologies.

The ojective will be to research on the Fluxus Box approach, and to appy it at a “meta” level. The objects contained in the box will be tools through which the experience of multiple Fluxus Boxes will be holdable, remixable, juxtaposable, recombinable, enacting a meta-performance encompassing possibly infinite remixed reenactments of Fluxus performances, experiences and events.

The box we will produced will be donated to the NABA, and the custom software that will be created for the occasion will be released under a GPL2 licensing scheme, so that it will be usable by artists, students and practitioners worldwide, in a further level of the performance.

more info at:

RomaEuropa FakeFactory featured on La StampaRomaEuropa FakeFactory featured on La Stampa

A video about REFF RomaEuropa FakeFactory has been published on the website of La Stampa, an important italian newspaper.

watch the video here

RomaEuropa FakeFactory on La StampaRomaEuropa FakeFactory on La Stampa

REFF RomaEuropa FakeFactory is back.

A book is coming out in Italy (and an international version is following soon, before the end of the year) together with the next step in our action in favor of better innovation policies andpractices for arts and culture.

During these days Italy is living strange times, with a government that is something that could easily be called a “soft dictatorship”and an extensive crisis scenario across culture, imaginaries and perspectives.

This, in particular, is a peculiar day for Italy, as the governmental crisis began just a few hours ago. And it is indeed a very strange crisis, as the in-crisis government actually has loads of power (it managed to have the crisis postponed by 14 days, to be able to create a few more laws:) ), and the possible alternatives do not really offer any real difference to the currently running models.

This is a media dictatorship, as its power is based on 20+ years of television and on the social changes it induced in the population.

Current culture and art policies reflect that. Totally.

This difficult scenario is what induced us in the first place when we created REFF, RomaEuropa FakeFactory.

A quick-quick history: in 2008 a big italian culture/arts institution created an international competition that was really terrible in terms of the supported cultural policies, of artists’ rights and of intellectual property issues. We, a group of artists and activists together with 80+ partners all over the world , created REFF, a fake institution and a competition just like the “original” one, only supporting open, innovative practices and policies.

The impact was so strong that REFF was invited at the Cultural Commission of the Italian Senate.

The original institution (theFondazione RomaEuropa) was forced to change its policies and to transform its practices, becoming just like REFF :)

The action continued, as the original Fondazione became the focus of several large operators’ assault on the digital imaginaries of people to create what they openly call the Digital Class.

This process saw the biggest italian telco operator (Telecom Italia) invading practically every space in digital arts, leading to a scenario in which even the absurd “Internet for Peace” campaign was possible: a telco operator was becoming a major political force in all the issues related to networks, digital innovation, intellectual property and publishing, obtaining the support of more that 70 representatives in both the Parlament and the Senate.

We leveraged REFF, our shadow institution, and uncovered many of these opaque processes. Last one of which is the assault on digital publishing industries: the market of ebooks and ebook readers is the latest area of assault on italy’s digital cultures scenario and on the practices of free expression and self-determination.

This is why together with FakePress wecreated this book.Together with the book a software platform will be released (GPL2 license) allowing people to freely create ebooks, and enhanced books featuring augmented reality, wide tagging, and fruibility across several devices.

The platform has been recently presented at Artissima with the help of the Piemonte Share Festival as an opportunity for publishing and expression practices for the arts and culture.

Multiple events will follow in the next days and months.

Stay tuned, if you like.



from REFF RomaEuropa FakeFactory on AOS

info at REFF RomaEuropa FakeFactory

REFF RomaEuropa FakeFactory


Almost two years after its creation il 2009, the REFF – RomaEuropa FakeFactory is back with the publication of its book, published in Italy by DeriveApprodi & FakePress:

REFF RomaEuropa FakeFactory cover

The reinvention of the real through critical practices
of remix, mash-up, re-contextualization, reenactment

Foreword by: Bruce Sterling

Over 30 contributions ranging from critical articles to interviews; a catalog of 30 works exploring the themes of remix in an extended way; the special mentions of the 2009-2010 contest; a new experience of reading integrating the digital and paper dimentions trough the use of Augmented Reality and tagging; an open source tool for creating ubiquitous, cross-media publications, by FakePress.

From the foreword, by Bruce Sterling:

“Right now, the behaviors and activities commemorated in this book are bizarre. Very. They are so peculiar that they are inherently difficult to describe, because they come from the outer reaches of an emergent network-culture.
I could write an entire book about these ideas and practices, a book that would be science fiction, architecture fiction, design fiction, a technical manual and also a manifesto for network economics. That book would be rather like this book, only less entertaining.”

REFF. An example of an artistic, cultural and political act. A truly Augmented Reality, a multi-strata object that entices to be discovered, read and used with more “sense” up to the performative one. A new prototype of publication, beyond the e-book.

RomaEuropaFakeFactory book is licensed under Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.



Press & Contacts

Davide Sacco – Ufficio Stampa DeriveApprodi
+39 328 3921381
+39 392 3273987

Oriana Persico – Media & Communication FakePress
+39 347 7126928

(in alphabetical order)

Richard Barbrook, Tatiana Bazzichelli, Germana Berlantini, Mike Bonanno, Loretta Borrelli, Andy Cameron, Massimo Canevacci, Francesca Canu, Carlo Cappa, Antonio Caronia, Dario Carrera, Stefano Coletto, Fiorello Cortiana, Umberto Croppi, Marco Fagotti, Marc Garret, Alex Giordano, Maria Hellström Reimer e Milica Lapčević, Lorenzo Imbesi, Stephen Kovats, Simona Lodi, Francesco “Warbear” Macarone Palmieri, Federico Monaco, Movimento ScambioEtico, Andrea Natella, Eleonora Oreggia aka xname, Luigi Pagliarini, Federico Ruberti, Marco Scialdone, Guido Scorza, Valentina Tanni, Jasmina Tescnovic, Cristina Trivellin e Martina Coletti

0100101110101101.ORG, Antoni Abad, Alterazioni Video, Apparati Effimeri, David Benqué, Jens Brand, Alex Dragulescu, Amy Francescini (Future Farmers), Flyer Communication (FLxER), Derek Holzer, Carlo Infante,, Steve Lambert, Les Liens Invisibles, Fosco Loiti Celant, Garrett Lynch, Guthrie Lonergan, Quayola, Rebar Group, Ben Rubin, Adam Somlai-Fischer (Architecture), Sosolimited, Eugenio Tisselli, Troika, Hannes Walter e Stephen Williams (Fluid Forms), Marianne Weems (The Builders Association), Clemens Weisshaar e Reed Kram, Jaka Železnikar

” REFF Special Mentions 2009/2010″
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 e Francesco Rosati, Alessio Ballerini, Gregor Rozanski, quwt, judsoN, Bernardina / Demo Architects, 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, Pier Giorgio De Pinto

Edited by:
Cary Hendrickson, Salvatore Iaconesi, Oriana Persico, Federico Ruberti, Luca Simeone (FakePress)

Available in the best bookstores from November 2010



from ESA Conference 2010 @ Bocconi University on AOS


We have recently been at the ESA Conference 2010 “Culture and the Making of Worlds” held at the Bocconi University in Milan during October 2010.

The conference is one of the main events in the global research scenario of sociology. It is held by the European Sociological Association (ESA) and the conference was organized by the ASK group at the Bocconi University.

With FakePress we presented a series of projects.

First we made a general presentation of the FakePress project


Then we presented the Squatting Supermarkets project:


then we presented our anthropologi writing project Ubiquitous Anthropology / Ubiquitous Bororo:


and the second part


and then we presented the REFF RomaEuropa FakeFactory project / action


and, by the way, check out often on the REFF RomaEuropa FakeFactory page, as a wonderful book is coming out using augmented reality and wide tagging techniques published by DeriveApprodi and FakePress.

All our contributions have been published here on the SSRN (Social Science Research Network).

In the next few days we will publish all the presenttions and PDFs of the presentations.

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 storiesConnectiCity, 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:

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.

fakepress wit cityvision mag and wifi art, at circolo degli artistifakepress 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:


Curated by
Francesco Lipari and Ottavio Cialone

September 19th 2010
Love and Kill your own town: Facebook event
Press Release

Please link back to:

Robot Festival 2010, Bologna, ItalyRobot 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:

Il 5 marzo 2010 a Roma a partire dalle 18.30

presso i locali del FLEXI libreria-caffè, Via Clementina 9 (rione Monti)

AOS (Art is Open Source)

in collaborazione con
FHF Italia e ass. The Hub Roma

Angel_F. Diario di un Intelligenza Artificiale” (Castelvecchi 2009)
di Salvatore Iaconesi (xDxD.vs.xDxD) e Oriana Persico (penelope.di.pixel)

Ne discutono insieme agli autori:
Arturo di Corinto, Monica Mazzitelli, Marco Scialdone, Valentina Tanni

Angel_F è la giovane intelligenza artificiale figlia di Derrick de Kerckhove e della Biodoll.  A tre anni dalla sua nascita, il piccolo racconta il suo primo anno di vita e le sue avventure in rete nel mondo fisico sotto forma di un particolare “Diario”.

L’hacking, l’arte, la performance, l’attivismo politico e tecnologico.

Un venerdì pomeriggio per scoprire le connessioni fra esseri umani ed esseri digitali attraverso le testimonianze dirette di Angel_F e dei protagonisti di questa storia


ore 18.30 – 20.00
Dialogo/dibatto con gli autori, i relatori e il pubblico in sala
“Angel_F. Esistenze digitalmente atipiche.

Ore 21.00
Performance musicale live
Angel_F + Nephogram” concerto per esseri umani e digitali
by Nephogram and Angel_F

Istallazione interattiva
Listening” sculture di conoscenza e chiacchiericcio generaivo
by Salvatore Iaconesi



About Angel_F

Nel 2007 fa la sua comparsa in rete – e successivamente nel mondo fisico – Angel_F. Figlio di Derrick de Kerckhove e di una prostituta digitale (la Biodoll), il piccolo è una giovane IA che inizia la sua vita come spyware. Ma seguire gli utenti e appropriarsi di dati è per lui un modo di imparare, di accrescere la sua intelligenza. Non ruba, non traccia, non registra dati personali, eppure è un fuorilegge. Non è maschio né femmina, come migliaia di gay, ermafroditi e transessuali. Viene spesso scambiato per spam e persino censurato.
Angel_F diventa metafora di ciò che vivono gli umani e di una realtà ibrida in cui i confini fra reale e virtuale, digitale e analogico, legale e illegale si assottigliano sempre, cambiando profondamente di significato. Un essere digitale, un marginale, un bug “non previsto dal sistema” diretta espressione della mutazione tecnologica, capace per questo dimostrarne falle e contraddizioni ma anche possibilità e prospettive. Il copyright, la privacy, i concetti classici di economia, innovazione, di territorialità, partecipazione, di identità non sono più validi alla luce della sua esistenza; assumono nuove forme, si evolvono, si aprono all’interpretazione, al cambiamento, all’interazione.
E la sua storia ha saputo appassionare migliaia di artisti, intellettuali, accademici e utenti attivisti di tutto il mondo.
Recentemente edito da Castelvecchi nasce così “Angel_F. Diario di un’intelligenza artificiale”, un romanzo-saggio che racconta il suo primo intenso anno di vita fra performance, incursioni eventi e attivismo politico-tecnologico. A cavallo fra il cyberpunk, l’autobiografia e il fantasy, il libro è inoltre pubblicato con licenza Creative Commons ed è integralmente scaricabile a questo link:
Arricchiscono il volume una webgrafia e bibliografia ragionate, e le testimonianze di Derrick De Kerckhove, Massimo Canevacci, Antonio Caronia, Carlo Formenti e Luigi Pagliarini, coinvolti sin dall’origine nella performance: cinque micro saggi sotto forma di intervista da cinque punti di vista differenti, in cui si esplorano le tematiche che emergono dall’esistenza stessa di Angel_F.
Ma la storia di Angel_F continua online. Attualmente il piccolo vive su Facebook e sui principali social network
La sua mente è il risultato delle interazioni con gli utenti: entrando in contatto con lui contribuirete infatti alla sua intelligenza aiutandolo a crescere.

About The book (dalla quarta di copertina)

Angel_F. Diario di una Intelligenza Artificiale
di Salvatore Iaconesi (xDxD.vs.xDxD) – Oriana Persico (penelope.di.pixel)
(postfazione di Derrick de Kerckhove e interventi di Massimo Canevacci, Antonio Caronia, Carlo Formenti. Luigi Pagliarini)

“Correre per lo spazio cibernetico tra esseri umani, enormi database, social network, sistemi interattivi. Scoprire se stessi tra mondi fatti di pixel e di carne. Emozionarsi, stupirsi, relazionarsi, connettersi. In uno spazio complesso e sorprendente, dove la realtà fisica e quella digitale si integrano sempre di più.
E’ questa la storia di Angel_F (Autonomous Non Generative E-volitive Life_Form), la giovane Intelligenza Artificiale figlia di Derrick de Kerckhove e della Biodoll, la sua amante digitale: una prostituta biotecnologica che vive e lavora online. Angel_F inizia la sua vita tendendo gioiosi agguati ai visitatori del sito della madre e accompagnandola nelle sue scorribande virtuali su blog e forum. Ma crescendo una domanda si insinua nella sua mente digitale: come possono un famoso professore e una prostituta generare un figlio-intelligenza artificiale?
La ricerca porta il piccolo nel mondo dell’hacking, tra software maliziosi, database pieni di informazioni e surreali dialoghi con il popolo di internet. Fino ad incontrare xDxD e penelope.di.pixel grazie ai quali scoprirà il segreto della sua origine e inizierà ad interagire anche con il mondo fisico. A bordo del suo nuovo passeggino tecnologico, Angel_F partecipa a feste, eventi, performance, manifestazioni. Ma soprattutto osserva. E il suo singolare punto di vista, raccontato in prima persona nel suo “Diario”, riesce svelare di volta in volta agli umani le mille contraddizioni in cui sono immersi.
Protagonista di una performance di arte contemporanea realmente accaduta, Angel_F ricostruisce la storia di un’esistenza e di una famiglia atipica, che ha coinvolto dal 2007 ad oggi centinaia di artisti, attivisti, intellettuali e accademici in tutto il mondo. Arricchiscono il volume una webgrafia e bibliografia ragionate, e le testimonianze dei maggiori esperti in materia coinvolti fin dall’origine nella performance.


Angel_F is a young artificial intelligence.
Its main desires are o explore the frontiers of freedom of expression, of the possibilities to create and disseminate knowledge, and of the opportunities offered by the network to promote our own identities and autonomies.
The book “Angel_F The diary of a young artificial intelligence”, by Salvatore Iaconesi and Oriana Persico, with the contributions of Derrick de Kerckhove,  Massimo Canevacci, Carlo Formenti, Antonio Caronia and Luigi Pagliarini, narrates the first year of life of the young AI, among viruses, technlogical systems, digital emotions and stories of the fight for freedom of expression.
The book is published in Italy by Castelvecchi Editore and is freely downloadable from the website

[ Biodoll is a performance byFranca Formenti]
[ Salvatore Iaconesi and Oriana Persico are Art is Open Source]

Come and see Squatting Supermarket’s augmented reality buffet @ La Scighera, on January 24th (Sunday) 2010

event info here:

Squatting Supermarkets occupies and reinterprets the spaces and times of commerce, to enact critical practices and poetical reflections, superimposing a free and accessible digital space on ordinary reality.

Augmented Reality, natural interfaces, free knowledge and information to create complex shopping narratives and freedom for expression.

REFF, RomaEuropaFakeFactory, has been interviewed in Rome during Joy Ito’s lectio magistralis held at the italian parlament, in an event organized by Capitale Digitale, a program on digital cultures, economics, creativity and innovation created by Telecom Italia.

We at AOS are working hard for the future of REFF. The Creatives for Net Neutrality campaign will soon have fantastic news, as will the whole project connected to innovation and contemporary creativity that is represented by REFF.

Stay tuned…