Posts Tagged ‘performance’

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

The video shows the presentation of the paper titled “Wearing Emotions: Physical representation and visualization of human emotions using wearable technologies” presented at the IV10 (Information Visualization 2010) conference at South Bank‘s college in London, on July 26th, 2010.

The paper and presentation describe a research process focused on the scientific research, design and implementation of wearable devices able todisplay human emotions – be them individual, group or global – on physical bodies.
The devices created in the process have been used to create 3 artistic performances as both proofs of concepts and as innovative forms of artistic and aesthetic expression: Talkers performanceOneAvatar and Conference Biofeedback.

the slides relative to the presentation can be found here:

the video can be found here:

or here

on Art is Open Source:

Reference links:

the IV10 conference website:

Art is Open Source:


Talkers Performance:


Conference Biofeedback:

FakePress, Art is Open Source and The Hub Roma

in collaboration with

the “Multimedia Technologies and Communications Experimentations” course at the “Ludovico Quaroni” Faculty of Architecture at Rome’s University “La Sapienza”, Industrial Design Department


the “Management of Non profit Organizations” course at the Faculty of Economics at the “Tor Vergata” University

are happy to invite you to the lecture:

Squatting Supermarkets/iSee

Artistic fundamentals, eco-sustainability, market: from Shoptivism to the Active Consumer.

Who: Oriana Persico and Cary Hendrickson (AOS/FakePress), Dario Carrera and Ivan Fadini (The Hub Roma/Faculty of Economics, Tor Vergata), Ilaria Bassi, Vanessa D’Acquisto, Piergiorgio Malfa, Vittoria Mauro (research group at the “Management of Non Profit Organizations” course, Tor Vergata), Salvatore Iaconesi (visiting professor)

What: lecture/workshop

Where: Faculty of Architecture “Ludovico Quaroni”, via E.Gianturco 2 (Rome) – room G 11 [ MAP ]

When: May 4th, 2010 – from 9am to 12pm

A radical version of a marketplace, a point of sale in augmented reality, Squatting Supermarkets tells the tale of the evolution of our daily realities, entering the live and pulsating heart of consumism. Looking at products on the shelves, choosing, paying, debts, persuasion and seduction, relations with logos, messages and other people. Buying is an experience that fills our daily lives, built through images, suggestions and strategies that are so complex that they systematically evade the perception of the final user. Technologies can be used to create new spaces for action/communication, and to overlay them onto our ordinary reality, thus creating new action/communication spaces, allowing new possibilities for interaction and fruition: ubiquitous, accessible, emergent and polyphonic, emotional and relational. Squatting Supermarkets narrates this possibility: an augmented reality space that is technologically layered to everyday life, an interstitial marketplace living in squat on the physical and immaterial infrastructures.

Presented for the first time at the Piemonte Share Festival in 2009, Squatting Supermarkets has two souls: a site-specific installation and an innovative technology, iSee. The installation reproduces an interactive supermarket in which the widespread interconnection network defining products’ histories and stories can become explicit and accessible. The techniques of traceability and control are transformed into their ecosystemic, narrative and poetic versions: information is not only for corporations anymore. By overlaying and integrating codes coming from barcodes, tags, RFIDs, credit cads, financial tranactions.
Grabbing a product becomes an immersive experience with its story, and the possibility of writing a part of it: moving hands, drawing gestures, exposing our points of view and our emotions. Products animate, becoming a space for expression, a network of relations, a domain for possibility and opportunity. Distributed storytelling practices in which the hidden stories of producers and consumers come in contact. The access door to these domains are the logos. iSee, the technological heart of the installation is a mobile application based on image recognition and computer vision techniques.
Framing the product on the camera, an image processing algorithm identifies the logo, allowing the user to access an additional set of information coming from a plurality of sources. Narrative galaxies (open, emergent, multi-author) connected to p2p thematic social networks layered over products.
Logos become wikis, open communication infrastructures, distributed social networks, p2p ecosystems.
The Project is based on the analisys of the contemporary technological/economic context. On one side, environmentalism and eco-sustainability are issues that are acknowledged as being among the globally most important drivers in piloting the shopping choices of large parts of the population. On the other side, statistics demonstrate that progressively large numbers of individuals search for information on social networks befre purchasing commodities and services, and that the users of last-generation mobile devices are steadily growing by the numbers.
In all this, enterprises start feeling the need to confront a globally interconnected communication and relation system, emergent, polyphonic, in which the acquisition and the maintenance of a “good reputation” goes through complex social and cultural dynamics that are progressively more chaotic. The “Company” is not the sole center of communication and of the shaping of its corporate identity.

On may 4th 2010, from 9am to 12pm,  FakePress’ interaction design lab will analyze the possibilities for expression and interaction enabled by the shopping based narratives offered by Squatting Supermarkets under an artistic/performative point of view and by iSee under the perspectives of technology and infrastructures.

Oriana Persico will confront the themes related to the installation, introducing the artistic statement,

Cary Hendrickson will focus on the themes of eco-susteinability, social responsibility and on the governance of related processes;

The research group of the “Management of Non profit Organizations” course at the Tor Vergata University coordinated by Dario Carrera and Ivan Fadini will expose the first results coming from the research titled “Active Consumer: from Movements to Shopping Based Publishing“.

How are consumers sensible to the environment and to critical consumism? How do they relate to the opinions generated on social media and on brand reputation created through User Generated Content? How widespread are smartphones? How many individuals would be willing to use a mobile application such as iSee? Who could finance it? What are the possible business models?

The theoretical and artistic premises, the analisys on eco-sustainability and the market scenarios will be used by the students of the course at the Faculty of Architecture to create a series of project works focused on the evolutions of the iSee platform and on the creation of a site specific installation to be implemented in a public commercial space, integrating multiple skills and points of view and, most of all, creating multidisciplinary and inter-university collaboration paths among students and faculties to achieve common goals.

The project works will be presented together with the research during the Open Day at the end of the course.

Entrance to the lecture is free and open to all.

Additional information

Squatting Supermarkets/iSee is a co-production by FakePress/Art is Open Source. Special project at the Piemonte Share Festival 2009, winner of the “Zero Impact Technlogy” prize offered by the Environment Park in Turin. Squatting Supermarkets/iSee is part of the SMIR project under the artistic direction of The Sharing: (site available next week)


please use the Facebook Event to stay updated:!/event.php?eid=122966341053373

Posted via email from xdxd.vs.xdxd


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]

“Vuoi mangiare? Dimmi una storia.”

Il cibo è la sede di innumerevoli storie: di persone, luoghi, tempi, relazioni. C’è, nel presente, una sostanziale distanza tra noi e le storie del cibo. Una distanza percettiva, estetica, di visibilità. Il cibo diventa un blob fuori dal tempo, scollegabile con semplicità dalle sue origini, dalle metodologie di produzione e preparazione, dai luoghi di provenienza, dalle tradizioni da cui origina. Questo è vero sia ove ciò avviene in modo più esplicito (ad esempio nel caso dei cibi con componenti OGM, o nei cibi in scatola, o negli oggetti più o meno organici racchiusi in vaschette di espanso e coperte di cellophane che compriamo al supermercato) sia ove permane una parvenza di narrazione (anche un ortaggio acquistato al nostro mercato preferito, presentato nel modo più “naturale” possibile, ha storie complesse di cui noi conosciamo la minima parte).

Nel migliore dei casi i cibi mantengono una certa quantità di informazione, collegata ai paesi d’origine, ai produttori, alle metodologie di produzione: è questo il caso, ad esempio, del commercio equo e solidale. Anche in questi casi, però, il messaggio distribuito assieme/sopra/dentro il cibo è espressione di poche voci, di intermediari.

E’ questa una condizione tipica del contemporaneo ove la possibilità di attuare narrazioni disrtibuite, multi-autoriali, polifoniche, autonome rimane nel dominio della possibilità e dell’immaginario: sono infatti i grandi intermediari a determinare dove/cosa/come/perchè comunicare e diffondere l’informazione e, a livello più subdolo e non meno importante, a determinare culturalmente la comunicazione, il desiderio e le modalità del comunicare, le forme e le sostanze delle relazioni, e le ambizioni stesse connesse all’espressione del sè.

Sono i temi che, allontanandosi dal cibo, riguardano l’attuazione delle pratiche del capitalismo cognitivo negli spazi digitali, la neutralità della rete, la cosiddetta innovazione, le varie forme di menzogna (o, piuttosto, suggestione) per cui spazi (digitali) accessibili, ma a libertà controllata, limitata o indirizzata diventano lo strumento del controllo, della scansione del tempo, della trasformazione del desiderio, del corpo, delle relazioni.

“Vuoi mangiare? Raccontami una storia.”

Ma: siamo realmente in grado di raccontare una storia?

I social network sono solo uno degli esempi dello schiacciamento del reale su uno stato di stream of consciousness al presente indicativo. A fronte di una dimensione possibilistica di enorme portata, le pratiche della cultura e della liberazione di spazi cedono ampiamente il passo agli enormi vantaggi per il controllo, l’invasività, la scansione “dall’alto” del tempo, la modellazione del desiderio: “always on”, “just in time”, “real time”, “on demand”.

Non c’è una reale storia da raccontare: gli haiku digitali di twitter, gli status di facebook, le posizioni geografiche di loopt scandiscono un eterno presente immemore del passato, senza ipotesi sulla causa e sull’effetto, senza una reale volontà di raccontare, in preponderante favore del desiderio dell’”esserci”.

Se questa ultima affermazione potrebbe godere di una piacevole estetica zen, la presenza degli intermediari (nel caso dei social network: i provider di servizi), rende “l’esserci” il principale luogo del controllo: tu sei mio. Ne sono testimonianza i chilometrici “terms of service” che distrattamente accettiamo nell’iscriverci ai vari social network.

Declinando: non è importante “esprimersi”, è importante “esserci”.

E dunque: “Vuoi mangiare? Raccontami una storia.”

Cosa succede, però, se si crea un corto circuito?

Il focus è sull’intermediario.

Il concetto di publishing può variare. Sostanzialmente.

E’ un momento di transizione e ancora non si sono identificati modelli e linguaggi di riferimento, ma la dimensione possibilistica è quantomai viva. Esistono dei territori da esplorare, e sono tutti nella direzione del publishing. Se questa affermazione può sembrare eccesivamente assolutistica, è forse possibile prendere in considerazione uno spostamento, un offset nella parola “publishing”, aprendola a nuove possibilità. Diversi concetti, tecniche e metodologie sono oggi disponibili per attuare questo spostamento: le tecnologie indossabili, le reti p2p, gli spime, l’ubiquitous computing, il fabbing, il cloud computing, la crittografia digitale, gli algoritmi distribuiti, la realtà aumentata. Tutto ciò rende plausibili, fattibili e sperimentabili nuove forme di publishing che corrispondono a nuove forme di pratiche: disarticolare la forma libro per aprirsi alla possibilità offerte dalle narrative p2p, dalla multiautorialità, dalla narrazione a finale aperto, dall’interattività, dalla possibilità di disseminare capillarmente contenuti su corpi, architetture, oggetti. E cibo.

“Vuoi mangiare? Raccontami una storia.”

E’ questa una finta domanda. E’ uno strano intermediario quello che me la pone. E’ un intermediario fasullo. Fake. E’ un publisher, magari, in grado di pubblicare la storia, di raccontarla o, meglio ancora, di far sì che la storia la racconti la sua voce d’origine.
Fake. Press.

Uno strano oracolo: cortocircuito.


Due occhi, due webcam, due monitor, ai due lati. Al centro una bowl di plastica trasparente. La bowl è piena di tessere. Su ogni tessera un fiducial marker.

Subito dietro: due figure. Bianco. Camice. Tuta asettica. Mascherina. Un occhio e delle iniziali: FP. Fake Press.

Ancora dietro: un banchetto: torte salate, salumi, formaggi, crostini, polenta, dolci.

I due Bianchi mi chiedono “Raccontami una storia”. Prendo un marker dalla bowl e lo sotopongo all’oracolo, per avere una storia da raccontare. Non sempre funziona tutto come mi aspetto. Il marker è tutt’altro che “fiducial”, le immagini non escono, il suono si mischia con i suoni d’ambiente, con i suoni degli altri video. E’ tutto frammentario, poche immagini, poche parole, pochi riferimenti.

Dov’è la mia storia?

Ecco, ne capisco uno: un video in cui mi viene raccontato come si fa il pane di Altamura. Sono pronto, lo voglio, voglio declamare la mia storia, ne ho una! Bianco, ascolta: è la storia del pane di Altamura.

Il Bianco annuisce, si gira, afferra un piatto e, tra le dozzine di cose appetitose, sceglie una singola fettina di pane. Senza nulla sopra.

Dove sono i miei salumi? Dov’è la mia polenta! Voglio i miei dolci!

Dietro, la gente si agita. Fiducial in mano, aspettano fiduciosi di aver migliore fortuna.

Ma non c’è scampo: la scarsità abbonda.

A storie di ragù corrisponde una scarna mestolata di polenta.

A storie di mercati del pesce in Giappone, un piccolo-piccolo pezzo di torta salata.

A scene di mozzarelle e maiali, corrispondono piccoli pezzi di lardo o di coppa.

“Ma io voglio mangiare ancora! E’ pieno di roba lì dietro!” “Raccontami una storia”

Le persone si accodano, un po’ deluse, un po’ turbate: cosa vogliono questi due?

“Raccontami una storia”

Marker su marker smettono di funzionare. E’ complicatissimo ottenere una storia dall’oracolo. Questo enorme occhio bianco che non regala storie per nessun motivo.

E quando ne regala: che storie! Non c’entrano nulla col risultato. Sono video presi da Youtube, non c’entrano nulla con quei bei formaggi, con le focacce, con i salami, le insalate, le torte! Per quello che sappiamo potrebbero essere prese in maniera casuale cercando tra i video i primi risultati per una serie di parole chiave.

O essere scelte da altre persone, per i motivi più vari.

“Raccontami una storia”

Forse non li hanno scelti i due Bianchi.

Forse loro son semplici esecutori, dei tramiti. Forse i video non provengono da lì, non sono fatti apposta per la performance, non parlano di quei meravigliosi manicaretti. Forse non sono nemmeno nel formato giusto. Forse nemmeno il computer (lo vedo, lì dietro l’oracolo occhiuto) è il loro, e nemmeno la webcam. E nemmeno la bowl o i tavolini, o il palco o il proiettore.

Sembrano quasi imbarazzati i due Bianchi. E dispiaciuti di ricevere così poche storie.

Forse il gioco non consiste nel raccontargli delle storie che loro non vedono, perchè vedono solo il retro del monitor che ospita l’oracolo.

Corto circuito.

“Raccontami una storia”.

Che vogliano sentire una storia da me? Proprio da me? Che se ne freghino, in fondo, di quei cazzo di fiducial marker? Che vogliano veramente una storia? Anche inventata? Basta che mi vada di raccontargliela?

E allora racconto: “C’era una signora che doveva fare il ragù … ” (ecco il Bianco che mi mette della polenta nel piatto) “… e poi a un certo punto i polli dell’allevamento … ” (aggiunge un pezzo di torta salata) “… ma non poteva sapere che il figlio desiderasse prima fare una pausa per digerire…” (salumi! formaggi! focaccia!) “… e quindi tornò a casa e si lamentò con il padre …” (un piatto incredibile! pieno di cose! l’abbondanza!)

Prendo il mio piatto. Il Bianco me lo porge con un gesto e un inchino.

“Vuoi mangiare? Raccontami una storia”

Non doveva andare proprio così. Pochi minuti prima dell’inizio della performance ha smesso di funzionare tutto ciò che poteva smettere di funzionare. :)

Ma la performance non è detto che abbia un copione predefinito, o una trama rigida. Il contesto determina. L’interazione determina le strade. L’interpretazione, la sensibilità personale e la possibilità di esprimerle è l’unica cosa che ci interessa.

Quindi due strati di performance hanno avuto vita simultanea e coesistente per l’edizione di Squatting Supermarkets che si è tenuta alla Scighera il 24 Gennaio 2010.

La prima: un banchetto possibilistico, in cui ogni storia corrispondeva ad un alimento. Storie scelte editorialmente secondo una precisa metodologia: video di molti autori, trovati sui social network, che condividevano alcune parole chiave con il cibo cui erano associati. Un video sul pane, una fetta di pane. Un video sul ragu, una cucchiaiata di polenta. Una animazione del racconto di una spesa psichedelica sotto l’influenza di funghetti allucinogeni, una fetta di torta salata ai funghi. Un video sull’ingozzarsi, un po’ di lardo. Selezionare espressioni di voci multiple e incorporarle negli oggetti cui si riferiscono semanticamente. Diventare un tramite trasparente, distaccato, capace di riportare nel mondo le voci. Una rete p2p in camice bianco, asettica, che non pone nemmeno un alito sull’espressione dei multipli autori.

Possibilità infinite di espressione dove di solito c’è solo la possibilità di percepire la superficie dell’informazione offerta da poche voci predominanti.

“Raccontami una storia”, quindi, diventa un invito a partecipare alla rete p2p composta dai corpi e abilitata dalla tecnologia.

Partecipare attivamente dando contemporaneamente voce, diffusione e interpretazione alla storia di altri, e di assicurarne, tramite enunciazione, la presenza e l’esistenza, associata al corpo, oggetto, luogo o, come in questo caso, cibo.

Realtà aumentata, quindi, intesa come sovrapposizione di strati interpretativi autonomi e p2p alla realtà pre-codificata. In questo caso: potersi esprimere sul cibo, poter conoscere le storie che altri hanno creato o raccontato sul cibo, poterle liberamente reinterpretare e ridisseminare. Il marker, in questo caso messo dentro una bowl per comodità ed esigenza scenografica, ma idealmente (e praticamente, nell’uso reale) posto nel prodotto (o sostituito dal logo del prodotto, ove presente) diventa l’accesso al corto circuito: p2p, ubiquitous, embedded, multi-author, open-ended, cross medial publishing. Per reinventare il reale, per reinserire la narrazione, le storie, nel presente.

La seconda versione della performance, determinata dal contesto problematico, ma non meno importante o rilevante: “Raccontami una storia”. Ma veramente. E quindi l’enorme imbarazzo: cosa racconto? Ho i mezzi, ho gli strumenti. Ne ho tanti! Cosa racconto? Ovvero la perdita delle storie, la possibilità del riacquisirle e di ridisseminarlela questione della cultura e dei corpi.

In tutti e due i casi: uno shift culturale, il rilevare una serie di pratiche possibili. L’accesso all’oggetto/servizio (il cibo in questo caso) che corrisponde all’accesso alla possibilità di esprimersi e di avere esperienza dell’espressione dell’altro. Il signor Y può leggere il signor X che ha aumentato una fetta di lardo con una storia di sazietà, ed è libero di raccontarla, di reinterpretarla, o di esprimere una nuova storia. E l’accesso al cibo corrisponde a questa possibilità. Realtà aumentata. Raccontami una storia.

Al centro: Fake Press. Un corto circuito. Una casa editrice. Libri disarticolati. Narrative ubique, per corpi, luoghi, oggetti.


Angel_F, Autonomous Non Generative, E-volitive Life_Form, Angel_F is the son of the Biodoll and of Derrick de Kerckhove. It is an Artificial Intelligence, learning how to speak through the texts of internet users.


REFF.erence romaeuropa fake factory flyer

REFF.erence romaeuropa fake factory flyer

REFF.erence romaeuropa fake factory conference and launch party

REFF.erence romaeuropa fake factory conference and launch party


RomaeuropaFAKEFactory [REFF]


[ REFF.erence ]

Friday 20th and Saturday 21st, March 2009 @ Rome

The international competition RomaEuropaFAKEFactory re-lauches in Rome on March 20th and 21st with two dense days dedicated to the theme “Freedom to Remix“: at the Italian Senate, at the Libreria Flexi and at the Neo Club, with a triple event crossing the borders between different spaces and contexts of the metropolis, from institutional ones to the night clubbing scene of via Libetta.

The Italian Senate, it its “ex Hotel Bologna” (via di S.Chiara 4), hosts, on March 20th, 10:00 to 14:00

[ REFF.erence ]
“Cultural politics and management of intellectual property in the contemporary era” (*)

a coference-debate in which the competition becomes the trigger to start up a dialogue on the meanings of art, culture and creativity, on the management of cultural politics, on the relationships between new business models and the law for what concerns copyright, patents and intellectual property, starring REFF promoters, featuring video interventions by Derrick de Kerckhove, Massimo Canevacci, Carlo Infante, with senator Vincenzo Vita summing up and drawing conclusions and perspectives.

Among the others: councillor Giulia Rodano, councillor Cecilia D’Elia, Luca Neri, casaluce/geiger synusy@cyborg, Simona Lodi, Arturo Di Corinto, Francesco Monico, Stefano Coletto, Francesco “Warbear” Macarone Palmieri, Gianluca del Gobbo, Valeria “Jemma Temp” Guarcini, Alex Giordano, Davide D’Atri, Guido Scorza, Marco Scialdone, Valerio Mattioli, OtherehtO, Marco Fagotti, Rosella Ongaretto, Francesco Magnocavallo.

On March 21st starting at 18:00 let’s meet for a

[ REFF.ternoon ]

at the Flexi Cafè Library, in the heart of Rione Monti, for the presentation of the book “Assalto al Copyright” (Assaulting Copyright) (Edizioni Cooper), introduced by Arturo di Corinto; after that the author, Luca Neri, will meet the guests and host a meeting-debate. The evocative ex factory will be animated with the “Flight SynEp” new media art installation by OtherehtO.

Following up, starting at 23:00 and into the night,

[ REFF.jected ]
RomaEuropaFAKEFactory Launch Party

In the invisible space of the Neo Club, Rejected invites its rejects to the continuous pirate remix of identities, playing on the concept of inclusion/exclusion and on musical remix, digital, human, experiential, in a series of performances, installations, live VJ sets and DJ sets.

in the Red Room:

Empty Mirror“, live performance by Global Groove, a couple of visionary unfair artists that have been working on the idea of the noise of fragments for 20 years;

“Remixing People” by xDxD.vs.xDxD, the inventor of [A]rt is [O]pen [S]ource and creator of cyber bodies and robotic and software arts, and Kevin Pistone, historical figure of Rome’s independent photohraphy scene and founder of the MyJemmaTemp workshop, joining forces with an installation and a photographic set challenging each other disassembling and reassembling people’s bodies.

All in the frame of ATOMIC, the new qeer party that will instantiate its imaginaries built on indie disco and obscene pop with Bebop on the controls, the exhibits and performances by Martin Dee vs Industria Indipendente.

In the Caveau:

an environmental interzone running from Zanzibar to William Burroughs, with a 4 DJ squad, 3 VJs and a videoart installation:

Opening set with the tech house by Jason K, Neo Resident and promoter of the Bootleg and Fonia parties.

Following up, a part of the history to come of the subversive Rome penetrating the world thrugh the paths of D.I.Y. , party culture and the Queer imaginaries of the Phag Off project. Warbear connects plots and configures libertarian dancefloors with a set of Incredibly Strange Techno, mashing up spoken words and vocal samples to 4-quarters narrative structures.

Then Bit_Repeat, Rejected resident Djs, with a techno and minimal set.

The video setup is curated by LPM, the global meeting of live video performances, providing the best performers from the roster of Flyer Visual Agency.

Infidel (Phag Off, L-ektrika,Loaded, Anarchy in the Club), Nikky (Phag Off, Sick Marylin) and Aira (L-ektrika, Kitchen) will alternate at the video controls creating umoral un-pop visions.

The BEAT-ify installation will allow you to loose yourself in the extasy of the synesthesia created between berzerk generative cut-ups and the beats of the dancefloor, under the cures of the FLxER team and xDxD.vs.xDxD

Kanu, party shooter and Rejected promoter, will be the witness of the party.

And the news are not yet over.

RomaeuropaFAKEFactory adds two new sections and a new deadline (May 15th 2009)

100Flash, dedicated to GIF art


100Spaces, dedicated to design, architecture and landscape

Starting from March 20th, the new web site will be available: a brand new Open Source platform to manage competitions and a social network. By using it artists will be able to register their remix artworks to the literary (100Quotes), music (100Samples), video (100Cuts), LawArt (legal remix of legislative texts on copyright and patents), and to the two new sections: 100Flash and 100Spaces.

More information on the official website of the project

RomaeuropaFAKEFactory is a project by

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

in collaboration with

Torino Share Festival – DegradArte – Istituto per le Politiche dell’Innovazione – BeatPick – ComputerLaw 2.0 – LPM, Flyer Communication – PerformngMedia – FLxER – – NeRVi – Digicult – Associazione Partito Pirata – – Les Liens Invisible – A.H.A. – Francesco “Warbear” Macarone Palmieri – Superfluo – Deliriouniversale – My Jemma Temp – – CodiceBinario – PEAM – Artificialia – Biodoll – Ninja Marketing – Arturo di Corinto – Linux-Club – Guido Vetere – The National Cynical Network – NoemaLab – Free Hardware Foundation – Collettivo Nove – Yesmoke – IPJustice – Rejected – casaluce/geiger synusy@cyborg – Fake – Liber Liber – Domenico Quaranta – ESpace paRtout – creActive commUnity – Metromorfosi – Descentro – Anomolo – Giovanni Ziccardi – Wilfied Agricola de Cologne – Isotype – aStronza – Ramallah Underground – Uqbar – Luisa Valeriani – SIFIR – m-node – muvideo – E32 – Leo Sorge – myMedia – Derrick de Kerckhove – OtherethO – netBehaviour – Milano in Digitale…

(*) to attend the coference write to:


Program Detail

.: Friday March 20th, 2009

REFF.erence – 10:00-14:30

conference-debate – Ex Hotel Bologna , Senato della Repubblica via di S. Chiara 4

“Freedom to Remix”. Cultural politics and intellectual property management in the contemporary era: presentation of the international competition RomaEuropaFAKEFactory

[ ore 10:00 – 10:30 ]

REFF Opening: “origins of RomaEuropaFAKEFactory”

Salvatore Iaconesi (aka xDxD) Art is Open Source

[ ore 10:20 – 11:20 ]

Panel 1 “art, culture and creativity in the contemporary era”

moderator: Rossella Ongaretto

video-intervention by Massimo Canevacci

introduction: Francesco “Warbear” Macarone Palmieri

roundtable: casaluce-geiger synusi@cyborg, OtherethO, Gennaro Francione, Valerio Mattioli

[ ore 11:20 – 12:40 ]

Panel 2 “the management of the politics of culture, art and creativity”

moderator: Valeria “Jemma Temp” Guarcini

introduction: Simona Lodi

roundtable: Francesco Monico, Gianluca del Gobbo, Stefano Coletto, Arturo Di Corinto, Ass. Giulia Rodano, ass. Cecilia D’Elia

Video-intevention by Carlo Infante

[ ore 12:40 – 13:00 ] coffee break

[ ore 13:00 – 14:00 ]

Panel 3 “economic models and innovation: business and management models for contemporary intellectualproperty”

moderator: Luca Neri

introduction: Alex Giordano

roundtable: Davide D’Atri, Guido Scorza, Marco Scialdone, Marco Fagotti, Francesco Magnocavallo

[ore 14:00 – 14:15 ]

REFF Perspectives

Oriana Persico (NeRVi)

video-intervention by Derrick De Kerkove

[ ore 14:15 – 14:30 ]


sen. Vincenzo Vita (vice president of the Cultural Commission of the Italian Senate)

.: Saturday March 21st, 2009

[ ore 18:00-21:00 ]


Aperitif , presentations, installations

Flexi Libreria Caffè – via Clementina 9 Roma

presentation of the book “Assalto al Copyright” (Assaulting Copyright)

introduces: Arturo di Corinto

following up, meeting and debate with Luca Neri, author of the book

video-installation “Flight SynEp” by OtherehtO

[ Ore 23:00-4:30 ]

Rejected & Neo Club present REFF.jected Launch Party

Via degli Argonauti 18 (corner with Via di Libetta)

Red Room Live:

Live: Global Groove presenting “Empty Mirror”

Djs, Perfos & Exhibit : ATOMIC – Mashing the waste (bootlegs/Mash Ups/Nu Disco) – BeBop/Martin Dee/Sabine Jay & The Atomic Kids

Media Art: “Remixing People” by xDxD + Kevin Pistone

Foto: Kanu


Djs: Jason K – Phonia/Bootleg (Tech House) – WARBEAR (Incredibly Strange Techno) Bit_repeat (Minimal Techno)

Vjs: Infidel (FLxER/LPM) Nikky (FLxER/LPM) Aira (FLxER/LPM)

Media Art: “BEAT-ify” xDxD.vs.xDxD + FLxER Team

Foto: Kanu


“I am Orson Welles.
I never really wanted to join Roma Europa Web Factory.
I understand the beauty and significance of a fake.
As for my style, for my vision of the cinema, editing is not simply one aspect; it’s the aspect.
Fake is as old as the Eden tree.
Today I believe that man cannot escape his destiny to create whatever it is we make:
jazz, a wooden spoon, or graffiti on the wall.
All of these are expressions of man’s creativity, proof that man has not yet been destroyed by technology.
But are we making things for the people of our epoch or repeating what has been done before?
And finally, is the question itself important?
We must ask ourselves that.
The most important thing is always to doubt the importance of the question.
I am Orson Welles.
I never really wanted to join Roma Europa Web Factory.”

Orson Welles is one of the most influential artists of the contemporary era, touching the domains of cinema, theatre, fiction, radio in a continuous research that trespasses the borders between art, communication, psychology, performance.
His works gave us the chance to perceive art’s transformation, in a form in which art and falsificaion are divided by boundaries that are ethereal and fluid, eventually overlaying and touching.

Orson Welles’ “the War of the Worlds” radio performance was rejected by the RomaWuropa Web Factory competition.

“This is not original work!” was the scream of the Jury.

Orson Welles now joined RomaEuropaFAKEFactory, here:

just a quick update, ad the wonderful organizers of the Milano in Digitale event just sent me the official pictures. Which, of course, are way better than mine, as I’m a lousy photographer.

OneAvatar installation

OneAvatar installation

You get to see more of the OneAvatar performance. If you want to read more about the OneAvatar project read here.

by the way, thanks to everyone that contacted me about the performance and the project, your comments have been really interesting and useful. We will have a couple of surprises coming up in the next few months, as the OneAvatar will probabily become a product that you will find in the stores, next to the Playstation3 or the XBoX. Critical performative consumism?  ;)

keep in touch!

Here they are, with little old me getting electrified in much higher visual quality :)

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We took OneAvatar at Milano in Digitale.

OneAvatar - the Game and the packaging

OneAvatar – the Game and the packaging

The third edition of the Milano in Digitale competition was held at the Fabbrica del Vapore in Milan, an industrial complex restored by Milan’s public administration to host artistic and cultural projects. Organized by the Fondazione D’Ars Oscar Signorini onlus, it is a competition created to investigate the evolution of the artistic research performed by young artists in the fields of digital and new media arts.

The competition is really interesting as it features a great level of openness towards the proposed works: both the organizing team (composed by Cristina Trivellin, Morena Ghilardi and Martina Coletti) and the jury (Paolo Rosa, Pier Luigi Capucci, Antonio Caronia, Francesco Monico, Domenico Quaranta and Franco Torriani) carefully analze all of the works selecting the ones that use digital technologies in the most significant ways.

It was, thus, a pleasure to be selected.

Me and penelope.di.pixel chose a hardcore approach to present OneAvatar in this occasion.

I designed a multi player game using IDSoft’s Quake 3 3D engine that allowed the players to hunt the avatar of the person (me! :)  ) wearing the OneAvatar suit through a three dimensional environment. [Note: look at the end of the post for the links to download the source code of the game]

When the players eventually hit the OneAvatar character, the software activated the circuit connected to the game server’s serial port (I connected through a simple circuit to the USB port of one of the laptops) sending the electric signals used to flash all the LED lights that were placed all over the suit and to send a stronger electric shock to a voltage multiplier circuit that was taped to the hands of the performer, actually hurting (a bit ;) ) him.

the installation before I started to get electrocuted

the installation before I started to get electrocuted

The installation features the results of the research coming from the OneAvatar project: technology, emotion, identity, relational dimensions in the digital domains are ome of the fundamental topics analyzed.

In this research we focus on the re-connection of the physical body to the digital identities of the persons using digital technologies and networks. In the OneAvatar project this approach produces a short circuit between the physical and immaterial dimensions, forcing the former to interact with the latter.

What results is an explicit layering of realities, entangling material and immaterial domains together. Game players are forced to thing about the physical effects of their actions when they shoot the game characters, ad the other players get physically hurt by the electric shocks.

A narrative metaphor for immaterial economies, cognitive capitalism, for the relationships established in social networks.

This is the approach that we are calling Neo Realismo Virtuale ( NeRVi )

penelope.di.pixel finishing up the packaging

penelope.di.pixel finishing up the packaging

For the event a complete marketing and communication strategy was produced to create a fictional, but realistic and produceable, product to establish the narrative level of the performance: the performer was displayed as in a shopping center showcase, with the product and the related gadgets available for sale. A further analysis on the evolution of art in the contemporary era, in its hybridization wth communication, marketing and ethnographical practices.

The results were amazing, with people happily embracing thei sadistic roles, and merrily torturing me for several hours on the first day of the show.

The other works at the exhibition were quite interesting.

IO Cose Yes we Spam

IO Cose Yes we Spam

IO Cose’s Yes We Spam featuring a massive spam action in the occasion of Italy’s elections.

nOne and three chairs

nOne and three chairs

nOne and three chairs

nOne and three chairs

nOne and three chairs, by Alessio Chierico, featuring a beautiful metaphor on an old game and on a symbol.

To-gather together n.11

To-gather together n.11

To-gather together n.11, by Cosimo Cappagli, Daniele Grosso and Lea Landucci, where Maestro Daniele Lombardi’s music and artistic practices come to a new life with the help of a Wii remote.

Poetry Machine - Change, Daniela Calisi, Shadi Lahham

Poetry Machine – Change, Daniela Calisi, Shadi Lahham

Poetry Machine – Change, by Daniela Calisi, Shadi Lahham, featuring an analysis of the process of writing.

this message will self destruct

this message will self destruct

This message will self destruct, by Marco Brianza, researching on the replicability of digital contents.


SpaceWindows, by domenico rubino, where a random picture browser becomes a tool for an interaction and aesthetics analisys.

Dancing with my Tuzki

Dancing with my Tuzki

the lovely Dancing with my Tuzki, by Valeria Ferrari, where a MSN chat becomes the occasion for a reflection on digital iconographies.

Flight SynEp

Flight SynEp

Flight SynEp, by OtherehtO, featuring a suggestive clash/encounter between Wetecho, the moist bio/technologic world, and Virtù-algorhythm the dry virtual reality.



Lacuna, by Marta Roberti, a non linear narrative exploring the concept of the double.

Non io

Non io

Non io, by Matilde De Feo, a nevrotic and torrential monologue by S.Beckett, reinterpreted through digital media

Alter Ego

Alter Ego

Alter ego, by Roberta Peveri, analyzing the concept of the alter ego through the use of digitally produced perspectives.

Compound Field

Compound Field

Compound Field, by Patrick Tabarelli, a sythtetic video discussing the relationships running between nature and artifact.

An incredibly BIG thank you to all of the organization and to all of the incredible friends that we found/re-found at the event.

Read below for the details of the software used in the OneAvatar installation.

The OneAvatar Game

The game uses the IRRLICHT C++ libraries and the FMOD C++ libraries to handle the 3D sound effects and music.

Click this link (below) to download the game sources (only .h and .cpp files included: you do need to link the other libraries; also check inside the source code for the names of the required sound and graphic files)

OneAvatar 3D game sources

Here is a gallery of the pictures:

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Here are some links:

Milano in Digitale

Fondazione D’Ars Oscar Signorini onlus

Fabbrica del Vapore

Some pictures by Cecilia Brianza

Angel_F and SuperAvatar are scared.

The lives of the young artificial intelligence and of the  avatar who escaped from virtual worlds have been endangered  more than once by the control, that is constantly perpetrated on people’s information, habits and identities.

Forms of surveillance that are progressively and obsessively  expanding through continuous control of our lives (and not  only of the ones of our beloved digital beings). Along the streets, in supermarkets, in public spaces, and even in our homes, through telephones and internet connectivity.  An enormous amount of resources are wasted to control people’s  lives in multiple ways: from cameras to armed forces, passing  through data retention systems spying on people’s personal  information.

Angel_F e SuperAvatar are feeling annoyed, alarmed and outraged by all of that and, therefore, decided to publicly show their dissent, together with their human friends.

The two digital beings will join the “Freedom not Fear“  event, and they will attend the conference that will take  place at the “Provincia di Roma” building on saturday,  starting at 9:30am.

Who: Angel_F and SuperAvatar
When: Saturday, October 11th 2008, from 9:30am to 13:30am
Where: “Freedom not Fear”, palazzo Valentini (Palazzo della  Provincia di Roma, via IV Novembre n. 119/a, Roma


Freedom not Fear“: International action day for democracy, free speech, human rights, civil liberties; against censorship, mass-surveillance, mass-data retention.

Angel_F is the young artificial intelligence son of Derrick  de Kerckhove and the Biodoll.
It was born on February 2007. Since it started interacting with humans’ physical world it has been deeply interested about the international dialogue on digital rights. After a peculiar case of censorship, little Angel_F managed to attend the UN’s Internet  Governance Forum held in Rio de Janeiro all by itself.

Angel_F is a project by xDxD.vs.xDxD and penelope.di.pixel

Fatherboard – the SuperAvatar – is an avatar that escaped  from virtual worlds when its owner’s computer exploded in  a short circuit.  It looks like a cyborg, but it isn’t, as its body is built from the hardware parts of the computer from where it materialized.
Its relations with human beings are contradictory and intermittent: the SuperAvatar is a fugitive living a constant conflict with institutional control, either the virtual and the real ones!

Fatherboard is a project by Luigi Pagliarini

Dance-tech  is an international community of artists, scientists, theorists and organizations exploring the intersection of performance, media and culture. is conceived as a social on-line destination for international movement artist, theorists, technologist and organizations intersecting embodied performance and new media. is a social networking site and it is also the home of dance-techTV

dance-techTV is an on-line collaborative video channel that gathers video content produced, aggregated and uploaded by the community. Videos may showcase art works, performance documentations, installations, screendance, inspiring interdisciplinary projects, electronic performances, “how to” and ideas, coverage about relevant events, vlogging, training techniques and/or in-depth interviews. It is an on-line video database that registers the “pulse” of the field making available a collaborative repository of knowledge that fosters inquiry, creativity and social innovation.