Posts Tagged ‘innovation’

UBIQUITOUS POMPEI: THE FINAL EVENT FOR THE DIGITAL CITY CREATED BY STUDENTS

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

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

from REFF RomaEuropa FakeFactory on AOS

info at REFF RomaEuropa FakeFactory

REFF RomaEuropa FakeFactory

[PRESS RELEASE – ENGLISH ]

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

REFF
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.

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

Site

http://www.romaeuropa.org
http://www.fakepress.it
http://www.deriveapprodi.org

Facebook

http://www.facebook.com/pages/REFF-RomaEuropa-FakeFactory/121217751261830?ref=ts&v=wall

Press & Contacts

Davide Sacco – Ufficio Stampa DeriveApprodi
ufficiostampa@deriveapprodi.org
+39 328 3921381
+39 392 3273987

Oriana Persico – Media & Communication FakePress
oriana@fakepress.net
+39 347 7126928

AUTHORS, ARTISTS & CURATORS
(in alphabetical order)

“VOICES”
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

“VISIONS”
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, jodi.org, 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)

http://www.romaeuropa.org

Available in the best bookstores from November 2010

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:

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/

IAR2010

IAR2010

From: http://www.artisopensource.net/2010/06/24/aos-and-fakepress-present-critical-ar-ensemble-at-iar2010/

Art is Open Source and FakePress participated to IAR2010, the first italian event totally dedicated to the themes of Augmented Reality, organized by the folks at JoinPad at the Milan headquarters of the Hub.

AOS @ IAR2010

AOS @ IAR2010

from http://www.artisopensource.net/2010/06/24/aos-and-fakepress-present-critical-ar-ensemble-at-iar2010/

The event was truly interesting as it covered a wide range of themes and approaches. I must say that I am quite interested in the efforts that marketing is putting on Augmented Reality (AR). It reminds me a lot of the hype that had developed a couple of years ago on proximity marketing and bluetooth.

While the idea of being able to interact with “users” according to their position and to the possibility of delivering contextualized, relevant content just-in-place and just-in-time is quite fascinating and attractive, lots of issues arised in practical applications of proximity marketing: the availability and compatibility of devices, user habits, usability, accessibility, the quality of content to be delivered, invasiveness, responsiveness, interactivity.

the crowd at the HUB Milan

the crowd at the HUB Milan

With AR we have gone way beyond those problems, but something’s still missing and, on the other side, people haven’t yet figured out exactly what they want from AR, and how they want it.

Good things first: IAR2010 has been a wonderful experience. Before and during the setup and at the afterparty we had the chance to chat with some really wonderful and creative people who are developing ideas and projects that have AR components in perspectives that encompass wide range of interests and matters.

Mauro Rubin @ IAR2010

Mauro Rubin @ IAR2010

Using the presentations as a reference, the first that comes up to mind is Simone Cortesi of OpenStreetMap. With OSM a radical approach is being persued, focused on the creation of a stack of tools collaboratively building a software and content platform and, on the content side, to truly implement a distributed operative environmet which enables for a real stratification of information on the “real” world. Projects such as OSM are truly interesting in that they actually enable people to do something that people are doing since the dawn of times: add meaning and information to the world around them. OSM allows you doing it on a global scale by providing the geographic foundation and by allowing you to freely build on it.

This is a focal point, and it’s the main reason behind me not being *very* excited about the marketing aspects of AR.

With AR we are dealing with a possible paradigm shift: the possibility to making digital, multimedia information accessible directly from the analog physical world.

This is a breathtaking possibility that has been matched, recently, only by the researches on digital and generative fabrication. While this latter model describes a complete reinvention of manufacturing processes (post-post-industry: you bring manufacturing plants at home, you work on opensourced models that you can use/modify and 3d-print) rethinking from the base the ideas of patents, distribution, storage, sustainability, ecology, AR completely (potentially) reinvents the idea of communication, bringing the power of creating information, meaning, symbols, codes and interactions directly to the people, directly in the places/times they walk, live, work, have fun.

This possibility potentially confronts the current hyerarchies and models of communication and information, further enhancing the ones that are currently available through the internet. AR potentially brings the possibility to generate, disseminate and distribute content and information to the people in the physical world, far from their monitors, far from “I Like” buttons and “tweet this” badges.

This is why we named ur contribution to IAR2010 Critical AR Ensemble.

Critical Art Ensemble was a group creating “molecular interventions and semiotic shocks that collectively could diminish the rising intensity of authoritarian culture”. Their work on media and experimentations on the borders and frontiers of technology, biotechnology and extreme practices is something that we feel  very significative in contemporary times.

We borrowed their name, turining it into Critical AR Ensemble, to suggest how Augmented Reality can be thought of as a new space in which to create such “interventions and semiotic shocks”. With AR we imagine a world in which codes can be broken down, infliltrated, reinvented, directly from the people, directly from streets, bodies, objects, times and places, reinventing public spaces, private ones, relations, and communications.

There are technical and conceptual issues to be assessed in all this.

Technically, AR is still very cumbersome: devices, displays, percision, computer vision… everything is not what we would like to have. Too slow, too limited, too reliant on markers.

Conceptually, AR is being mostly used as a next-step advertisment or as a next-step yellow pages. Which is something, but something that resembles using a nuke to kill a fly.

One thing must be said in favor of marketing practices experimenting with AR: they are fast! There’s a dozen new experiments each day: markers on magazines, on cards, on totems, on cars, on tshirts, everywhere. With this progression going on we will soon have critical masses of know-how that will possibly form a foundation for further researchers.

But the most interesting things going on in AR are quite far from marketing. Social networks, art, architecture, sustainability, ecology, disabilities, multi-cultural practices, alternative business models, activism. People reinventing socialization; aesthetics; the spaces we walk through; the places in which we spend our time; the effects of our actions on the world; the possibility to inform ourselves on the products and services we use; the accessibility of the world for people who are not able to hear or see; the possibility to open up dialogues among multiple cultures and to make them interact and coexist; the possibility to create really new business models; the posibility to criticize, express ourselves, promote our autonomies, claim our share of the world.

These are areas in which AR is being researched on with incredible results, and the ones that I personally am most excited about.

Together with FakePress we are approaching these areas of intervention from the point of view of a next-step publishing house.

FakePress next step publishing

FakePress next step publishing

What will a publishing house that is aware of these possibilities look like?

We actually don’t know, yet, just as anyone else in these times and conditions. But we’re experimenting on our educated guesses.

“Publishing” will be (and already is) a key term in the near future. Global scale meltin-pots, remixing, mashing-ups, bashing, distracting, assembling, disassembling, fabbing, performing, wearing, touching, retouching. Messing it all up and bringing it back to a state of calm for the next two seconds and then starting up once again with the mashup. A continuous fluid unstable state of remix. Incredibly creative. But also very far from the word “strategy” as we know it. Different skills, methodologies, ambitions and, most of all, imaginaries are required.

Wrapping up: IAR2010 was a wonderful experience. We saw some innovative experiments, some a-bit-less-innovative ones, but focused on the high levels of quality and accessibility designed for the masses, some decent technical solutions, some really interesting theoretical approaches, some great visions, some incredible efforts and, most of all, a wonderful level of curiosity, a definite will to listen to all the available perspectives and a remarkable dedication to being open and accessible, with the clear objective of creating interconnections and collaborations.

Posted via email from xdxd.vs.xdxd

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…

today we’ve been at Frontiers of Interaction V

Frontiers of InteractionFrontiers of Interaction

probabily the most interesting interaction design event in Italy. It’s the most interesting (and only one :) ) in Rome, for sure.

We’ve been there to present FakePress, our next-step publishing house, with two “ubiquitous” projects: iSee, interstitial narratives for shopping centers, and Ubiquitous Anthropology, location based technologies for ethnographic research.

But more on that later. First of all: the meeting.

Frontiers of Interacton V took place in the beautiful Acquario Romano. We’ve been there from the day before, setting up screens, projections, sounds and kilometers of cables.

The meeting originates from idearium.org, a community in which designers, technologists, anthropologists and creatives of all sorts meet sharing points of view on contemporary society, and on the ways in which it is shaped and mutated through technology and its practices.

The meeting shares the same conceptual setup: people come there and, basically, show what they’re up to. People of all sorts: from international superstars of interaction design to students and younger innovators ready, energetic and willing to showcase their creations.

This year (it is the fifth edition), there have been several interesting highlights.

Complexity, visualization, the emergence of natural interfaces, gestuality. And an ever more focused awareness on the needs to integrate a deep understanding of the world that is around us, ecologically, socially and politically.

The hybridization of practices and the idea of human awareness were recurring concepts in the contributions.

As Daniele Galiffa of Visual Complexity, showing the ways in which data visualizations can rise the level of awareness, by communicating in expressive ways environmental impacts, cause-effect relations, world mutation. And describing the frontier for infovisualizations and infoaesthetics, which is the representation of social data, and the delegation of the tools for visualization to the “social”.

Or the wonderful Adam Greenfield, with his “Elements of a networked Urbanism“, which managed to perfectly avoid the declaration of yet another manifesto of some kind, and instead presented an observation of the emergence of new patterns in cityscapes. A series of “before” and “after” scenarios, highlighting some really interesting points of view.  Entirely new ways of using cities, unthninkable even just a few years ago. From wayfinding to wayshowing, Adam showed many mutations in which social dynamics truly materialize themselves, allowing people to actively share their views on the world. Even bypassing the idea of “optimization”, typical of previous designs. The ideas, for example, of systems telling you the “best” way how to get from point A to point B cuts off several parts of your experience of cities, which are also composed of several “inefficiencies” that are far from being “bad”, providing you social experiences, enjoyment and rythms, feelings and well-being. “Noise” as not being a negative experience, but a creative, cultural one.

David Orban also presented a truly interesting point of view with his Consciousness Panopticon, introducing the Singularity University and showing the trends in which various people are getting ready for the progression through which we are living, in technological evolution, to our own ability to understand what is happening around us.

Or professor Liam Bannon, demoloshing the idea of “intelligent” devices, or the romantic suggestions coming from artificial intelligence, and promoting the perspective of technology that supports creative and critical thinking, in the development of an etherogeneously positive and (sociallly) interactive world.

Andrea Gaggioli presented in his “Ecologia Partecipativa” a set of ecologic scenarios and the tools through which we all can research, observe and react to our impacts on the environment.

Then Carlo Maria Medaglia of Rome’s CATTID multi-faculty center, presenting some stunnig projects on mobility, technological approaches to disabilities and, in general, several forms of open source approaches to create functional enviroments that are embedded in the natural, urban and social environment, from infrastructure, to hardware, to software.

And other, many things which you will find documented of FoI’s  website.

and, in the next upcoming article, we’ll describe our own personal contribution: Ubiquitous Anthropology, by Luca Simeone and Salvatore Iaconesi.

More info at Frontiers of Interactions

Here some videos

We’re just back from the intense 4 days of the Live Performers Meeting 2009 where REFF (RomaEuropaFAKEFactory) held its new showcase.

LPM2009 really has been full of surprises, and we were more than happy to share the spaces of the Brancaleone with over 300 video artists from all over the world. From live video to electronic modding, up to incredible workshops and performances.

REFF curated the first day of the meeting, focused on “Digital Freedoms“.

Continue Reading »

REFF is back again!

REFF @ LPM2009
REFF @ LPM2009

REFF @ LPM 2009
on May 28th 2009 (Digital Freedoms Day)
and on 28th-31st May 2009 (exhibitions, showcase, workshops)

http://www.romaeuropa.org

http://liveperformersmeeting.net/

http://www.artisopensource.net/

http://www.brancaleone.eu

http://myrmx.lowermars.com/

http://www.opensourcecinema.org

http://www.perpetualartmachine.com/

http://www.nephogram.net/


for the whole duration of the LPM2009 (Live Performers Meeting), RomaEuropaFAKEFactory will showcase the project and the artists participating up to this moment, together with a rich set of initiatives:

Digital Freedoms: REFF & Art is Open Source host a day dedicated to digital freedoms focusing on intellectual property and copyright, and on the society of information and knowledge

REFF.erence 2, a roundtable in which artists, politicians, curators, academics (and you) will be able to discuss about the current situation in art and culture, with focus on access policies, funding, innovation and the possibility to be creative today

REFF showcase: we will setup an exhibition of the works currently submitted to REFF; hurry up and get yours registered, to be included

a “secret” installation will allow you to throw copyright down the toilet, and to experiment on new ways of being creative

REFFlex Animazon a performance by our partners nephogram will feature minimal click’n cuts with ambient mapping. (nephogram is an italian net.label supporting copyleft practices in the production of electronic music; they are collaborating with Animazon for this A/V liveset)

myRMX, our friends from sunny California, will showcase their brad new application for mobile phones, featuring an innovative way to remix and play music and a wonderful business model dedicated to innovation and artist promotion

Brett gaylor, the famous Canadian media activist and creator of OpenSource Cinema, will accept new contributions to his Open Source movie “RiP a Remix Manifesto”, that will be featured wordwide

[PAM] Perpetual Art Machine, founded by Chris Borkowski, Aaron Miller, Raphaele Shirley and Lee Wells, will be a wonderful addition to the festival, showcasing their project and a selection of the artists participating to their wonderful portal; this is truly a nice addition as PAM will be in deep contact with REFF, also being present in our multi-venue event happening later-on this year, and participating to REFF’s publication

REFF’s workshops will show you how to create music and visuals by sniffing p2p networks and by interactively assembling User Generated Content

So don’t miss it!

REFF @ LPM 2009
on May 28th 2009 (Digital Freedoms Day)
and on 28th-31st May 2009 (exhibitions, showcase, workshops)

http://www.romaeuropa.org

http://liveperformersmeeting.net/

http://www.artisopensource.net/

http://www.brancaleone.eu

http://myrmx.lowermars.com/

http://www.opensourcecinema.org

http://www.perpetualartmachine.com/

http://www.nephogram.net/

from Art is Open Source

full info, pictures and videos at Art is Open Source

REFF.erence

Mar. 20th, Italian Senate – Senato

REFF, RomaEuropaFAKEFactory, was presented at the Italian senate through an intense series of panels dealing with art/culture/creativity in the contemporary era, with the issues of cultural politics from the points of view of institutions and cultural operators, with the possibility for the enactment of innovative business and legal models for art, creativity and culture. the conference launch the proposal of a digital table of discussion with the Senator & vice president of the Cultural Commission Vincenzo Vita, who hosted the event.

REFF, RomaEuropaFAKEFactory, è stata presentata al Senato Italiano attraverso un’intensa serie di panel che hanno trattato temi quali arte/cultura/creatività nel contemporaneo affrontando nodi quali le politiche culturali dal punto di vista degli operatori e delle istituzioni pubbliche e private, orientando il dibattito all’ideazione di nuovi modelli di produzione. La conferenza lancia la proposta di un tavolo sulla cultura digitale con il Senatore Vincenzo Vita vicepres. della Commissione Cultura, che ha ospitatol’evento.

REFF.ternoon

Mar. 21st, Flexi Bookstore

REFF, RomaEuropaFAKEFactory, hosts the second part of REFF.ERENCE at the Libreria Flexi with the title REFF.ternoon. The presentation of Luca Neri’s new book “La Baia dei Pirati – Assalto al Copyright” is the occasion to discuss the issues of intellectual property, cultural change, and innovative practices, at the basics of REFF’s concept.

REFF, RomaEuropaFAKEFactory, ospita la seconda parte di REFF.RENCE alla libreria Flexi con il titolo REFF.ternoon. La presentazione del libro del giornalista Luca Neri “La Baia dei Pirati – Assalto al Copyright” diventa l’occasione di affrontare tematiche sulla proprietà intellettuale, trasformazione culturale e pratiche innovative che sono alla base del concept del REFF.

REFF.jected Mar. 21st NEO Club

In a wonderful collaboration with the Rejected collective, REFF, RomaEuropaFAKEFactory, arrives at the third part of its traversal of the contemporary metropolis, with REFF.jected, a party themed on the “remixing people” attitude. Bodies-desires-sexualities-..aesthetics-faces-ideas are remixed by accessing Rome’s underground attitudes and mindsets: Djs. Vjs, Liv acts, dance floors, installations, performances promoting happiness.

In splendida collaborazione con il collettivo Rejected, REFF, RomaEuropaFAKEFactory, arriva alla terza parte dei suoi attraversamenti nella metropoli contemporanea, con REFF.jected; un party con l’attitudine “remixing people”. Corpi-desideri-sessualità-..estetiche-facce-idee sono remixate penetrando nelle frequenze e nei mind sets della Roma underground con Djs, Vjs, Live Sets, Dancefloors, installazioni, perfomances alla volta della felicità.

REFF RomaEuropa FAKE Factory

REFF RomaEuropa FAKE Factory

Say what?!
RomaEuropaFAKEFactory at the Italian Senate?!?

www.romaeuropa.org

Participate! Spread!

[English version – Italian below]

>>>> RomaEuropaFAKEFactory
international videoart, music, literature and legislative art competition

http://www.romaeuropa.org
info@romaeuropa.org


GENERATION>>

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

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

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

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

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

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

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

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

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

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

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

RomaeuropaFAKEFactory is an initiative conceived by

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

with the promotion and the support of

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

General info

www.romaeuropa.org

The current group of promoters is open to new collaborations. It is possible to collaborate to the management of the website and of the communication, to the implementation of the researches and of the texts published on the catalogue, and to the organization and logistics of the final event. An open system will be set-up shortly to support the collaborative development and management of the whole project.

To collaborate and for any further information please contact us at this mail address:

info@romaeuropa.org

we will answer as soon as we can!

—> ITALIAN <——–

>>>> RomaEuropaFAKEFactory
concorso internazionale di videoarte, musica, letteratura ed arte legale

http://www.romaeuropa.org
info@romaeuropa.org

GENERAZIONE>>
Il concorso RomaeuropaFAKEFactory nasce da Freedom to Remix, iniziativa promossa da [A]rtis[O]pen[S]ource (Salvatore Iaconesi/xDxD e Oriana Persico/penelope.di.pixel] e Marco Scialdone, con il supporto di DegradArte, ComputerLaw 2.0, NeRVi e Valeria Bochicchio.

ELABORAZIONE>>
RomaeuropaFAKEFactory prende spunto dal concorso RomaEuropa Web Factory per avanzare una riflessione ed una pratica su temi quali i diritti digitali e la proprietà dell’informazione.

DISTORSIONE>>
RomaeuropaFakeFactory è una competizione internazionale che consente ai suoi partecipanti di fare tutto ciò che il regolamento del concorso Romaeuropa Web Factory vieta loro, invertendone le logiche.

TAGLIA, COPIA, INCOLLA>>
Secondo le regole del concorso RomaEuropa Web Factory, prodotto da Fondazione Romaeuropa e Telecom Italia SpA, non è consentito agli artisti di partecipare con opere frutto di remix, mash-up, manipolazione di contenuti pre-esistenti. Questi, inoltre, sono obbligati a cedere, tramite liberatoria, tutti i diritti sulle loro opere, a tempo indeterminato, in esclusiva e a titolo gratuito, oltretutto garantendo agli organizzatori ogni diritto di remixare, manipolare e commercializzare le opere.

Fondazione Romaeuroma e Telecom SpA possono remixare. Gli Artisti no.

CUT-UP>>
Il superamento dell’originalità come spazio della produzione e della sua circoscrizione in termini di proprietà multinazionale – più che la tutela reale dei diritti dell’ autore – vuole essere qui proposto come critica ad una attività di promozione culturale conservatrice, incapace di cogliere le possibilità offerte dalle intersezioni dei piani tecnologici, culturali, sociali ed economico-politiche, che le nuove tecnologie hanno abilitato.

MORPHING>>
Il concorso si rivolge quindi a tutte le figure creative ed agli esperti di discipline legali con una particolare predilezione per il diritto d’autore, invitandoli a creare e ad inviarci le loro opere sul tema “Freedom to Remix “.

>>HOW-TO<<
Quattro le categorie in gara:

– video-arte (100cuts)
– musica elettronica (100samples )
– letteratura (100quotes)
– LawArt , una disciplina creativa tutta nuova dedicata agli esperti e agli amatori del diritto, le cui opere saranno costituite dal remix e dalla produzione di testi legali per le regolamentazione della proprietà intellettuale

Le opere saranno oggetto di studio, di pubblica discussione, verranno raccolte in un catalogo comprensivo di testi critici e giuridici, e saranno sostenute dall’apparato di comunicazione del RomaeuropaFAKEFactory. Su ArtsBlog.it , inoltre, il pubblico potrà votare la sua opera preferita nelle 4 sezioni, stabilendo l’autore del remix più bello (Premio del Pubblico).

RomaEuropaFAKEFactory confluirà inoltre in un happening durante il quale sarà organizzata l’esposizione pubblica di tutti i contenuti generati.

RomaeuropaFAKEFactory è un’iniziativa ideata da

[A]rtis[O]pen[S]ource

con la promozione e il supporto di

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

General info

http://www.romaeuropa.org

L’attuale gruppo di promotori è aperto a nuove collaborazioni. E’ possibile collaborare alla gestione del sito e della comunicazione, alla realizzazione dello studio e dei testi pubblicati nel catalogo e all’organizzazione dell’evento finale: appronteremo un sistema aperto che consentirà lo sviluppo e la gestione del progetto in modo collaborativo.

Per le collaborazioni e per qualsiasi informazione inerente il concorso potete scrivere a:

info@romaeuropa.org

e vi risponderemo il più presto!

from Art is Open Source

together with my beloved penelope.di.pixel we are doing a project called “Interviewing the crisis”.

29, the symphony, by Luca Bertini

29, the symphony, by Luca Bertini

A series of articles hosted on artsblog.it in which we analyze some of the issues of the rising financial crisis through a sequence of reports and interviews.

The focus is on art: the crisis’ impact on art and, specifically, on new media art disciplines, organizations, artists.

We wanted to research on the models involved. People dealing with art tend to work in dramatically different ways: public funding, art market, art systems, communication and marketing oriented practices.

And, fortunately and significantly, employing new operative, theoretical, strategic and business models that employ practices that are explicitly enabled by digital technologies: collaboration, participation, experimentation, innovation. A new form of activism that sits across several disciplines: design, science, narrative, business, engineering, architecture. It’s not easy, but it’s the way to go: fast, significative, on the edge.

These people are creators and communicators of meaning.

The project starts out with an introduction:

http://www.artsblog.it/post/2749/trilogy-of-crisis-intervistando-la-crisi-unintroduzione

in which Luca Bertini’s twentynine, a wonderful performance on the financial crisis of 1929, is used as an introduction to the interviews happening in the next few says.

The first in the lineup was published yesterday, a nice cristmas gift for all of you crisis enthusiasts:

http://www.artsblog.it/post/2748/intervistando-la-crisi-helen-thorington-e-jo-anne-green-di-turbulenceorg-part-1

Turbulence.org

Turbulence.org

Helen Thorington and   Jo-Anne Green of Turbulence.org describe a scenario that is really upsetting, presenting a condensed history of how the various governments of the USofA designed their strategies to support arts, starting at contnuous cuts in budgets, continuing through specific laws created to limit the same possibilities for funding, ending up to the illiterateness of governments and their representatives towards what is being called New Media Arts.

Furtherfield.org

Furtherfield.org

The next in the lineup will be Marc Garrett, of Furtherfield , NetBehaviour and loads of other astounding projects with an incredibly lucid attitude towards new media arts, collaborative and participative practices and, in a word, in sharing, the new frontier of business, technology, art.

Simona Lodi @ ToShare

Simona Lodi @ ToShare

The third interview will be done with Simona Lodi, of the Torino Share Festival. The ToShare is a truly innovative experience, as it interacts with art, science, businesses, institutions to perform a significative research on the evolutions of these incredible scenarios that are at the contemporary crossroad that we are living: art meets production, meets marketing, meets science, meets business, meets philosophy, science fiction, design. Last year’ festival was entitled to “Manufacturing”, this year’s festival will be themed “Market Forces”, with a wonderful quote by Theodor Adorno: “No theory, today, can leave out the market”.

True innovation with an active attitude towards participation and sharing (check out the websites to find incredible projects such as the Orchestra Meccanica Marinetti, Action Sharing and loads more).

So we’re set! Wath out for the series of interviews and articles, I’ll keep you posted and updated.

architettura rel:attiva

November 8th, 2008

just back from Mexico where me and penelope.di.pixel performed quite a few activities: a congress on the revitalization of the historical centers, a panel on virtual, participative and interactive architectures and on innovation, and an installation performance called rel:attiva presenza.

attiva in Mexico City

architettura rel:attiva in Mexico City

The Seventh International Meeting on the Revitalization of the Historical Centers (27-28-29th of October 2008) was organized by the INAH in collaboration with the Spanish Cultural Center in Mexico, with the Italian Cultural Institute in Mexico and with the Italian and Spanish embassies.

This year’s edition of the congress focused on the theme “today’s  architecture as mediator of the historical and contemporary city“.

Many illustrous and international participants attended the meeting: Guillermo Vázquez de Consuegra (Spain), Teodoro González de León (Mexico), Felipe Leal (Mexico), Mario Coyula (Cuba), Maria Elisa Costa (Brasil), Augusto Quijano (Mexico), and an incredibly significative Carlo Aymonino, a central figure of Italy’s and international’s architectonic neorealism, providing for an incredible set of professional competences and personal histories.

We were infiltrates, just as usual, and were the only not-architects making a presentation. :)

The congress took place at the beautiful Franz Mayer Museum, with its incredible cloister, showing the evident signs of 1985’s earthquake.

What emerged from these intense 3 days of discussion was a really live debate on the conception of the city.

While most architects had no problems in conceptualizing a definition of architecture that includes the concepts of form and function, the impact of a our “little” semantic shift proved out to be quite a surprise, provoking deep interest and deep oppositions. It sure didn’t leave people unresponsive.

Our architettura rel:attiva discussed the point of view of the hybridization of practices and of disciplines, of the integration of the immaterial domains of reality brought on by the digital technologies and cultures, on collaborative practices applied to urban design and intervention, and on a general conception of a live metropolis, built from concrete and steel just as it is built on people, relationships, emotion and an active, collaborative way of life.

What we proposed, thus, was the idea of an architecture that was not only about the shapes of buildings and about their historical values, but also about the possibility for them to become tools, mediators and enablers of new social, anthropological, economic, relational, sensorial and emotional practices enabled in the contemporary era by digital technologies.

We talked about an anthropological, communicational, interactive, relational architecture. Which, for most of the classically architects was a shock.

In most cases the immaterial and virtual domains of reality enabled by technology are perceived just as tools to reconstruct and re-enact historical artifacts, to virtually rebuild, for example, the Roman Forum of the Templo Mayor in Mexico city so that people can walk through them and see/hear the “things of the past”.

Which is, by the way, a perfectly honest and interesting thing to do :)  but it leaves out all of the other possibilities in terms of social, business and relational models that could be enabled by the metropolis itself if spaces integrated technologies to create a truly ecosystemic environment in which interaction possibilities could turn into instruments for politics, culture, inspiration and expression.

architettura_rel_attiva_definitiva

THIS is the PDF of the architettura rel:attiva theories. It is only in italian for now: we will translate it into English, Spanish and French in a bit, stay tuned.

check out the rewiew on artsblog.

here below are some pictures from the event. Stay tuned for the report of the installation of the rel:attiva presenza, coming up next.

.gallery { margin: auto; } .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } .gallery img { border: 2px solid #cfcfcf; } .gallery-caption { margin-left: 0; }