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When information and biology converge in the visualization of viruses
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When information and biology converge in the visualization of viruses

Technically speaking, computer and biological viruses are affiliated to two unbridgeable and well-separated spheres, one prevalently pertaining to the domain of information and the other to the one of carbon-based life. Their material formation contributes to such divergence: while computer viruses are normally fabricated by and partially depending on human agency, biological viruses are mostly understood as naturally occurring.
Un gesto per Gesti Vocali
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Un gesto per Gesti Vocali

C’è una specie di strano e affascinante paradosso che attraversa le forme espressive del contemporaneo. Laddove la dimensione tecnologica e mediale caratterizza in maniera potente immaginari, estetiche ed esperienze di fruizione lo spettacolo dal vivo sembra recuperare in qualche caso una parte importante del terreno perduto nel confronto con le produzioni dei media mainstream.

Around Simulation

So, what is simulation? How does it work? Does it only stick to human representations or visualizations or does it refer to a more general realm? What are the layers (technological, social, imaginative, conventional) that construct simulation? Which conflicts and power relations (in material or technological and sociocultural terms) are involved in their construction? And how do we make sense of them? Can these mechanisms be modified, enhanced, re-elaborated through artistic practice?
The Epistemological Turn: Technology, Bricolage and Design
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The Epistemological Turn: Technology, Bricolage and Design

The rapid development of technology – especially of information and communication technology – and the recognition of the essential complexity of most systems and phenomena are producing a series of crucial consequences, both theoretical and practical, among which the renunciation of the dream of perfect rationality and perfect control.
Rethinking Art as Intimate Science: Climate Art as a Hard Humanity
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Rethinking Art as Intimate Science: Climate Art as a Hard Humanity

Re-reading the “Origin of the Species” by Darwin, on its 150th anniversary, one is struck by the lucidity and humility of the argumentation as well as the transformative power of its conclusions. Yet the scientific theory of evolution is still not widely understood or accepted by most people. The climate on our planet has never been stable, and climate variations have been one of the drivers of the evolution of the species on our planet.

Bio Art

Bio art is a new direction in contemporary art that manipulates the processes of life. Invariably, bio art employs one or more of the following approaches: 1) The coaching of biomaterials into specific inert shapes or behaviors; 2) the unusual or subversive use of biotech tools and processes; 3) the invention or transformation of living organisms with or without social or environmental integration.

Political Ecology And Our Rendezvous With Death

Consider the story of the soldier who meets Death at a crossing of the marketplace, and he believes he saw him make a menacing gesture in his direction. He rushes to the king’s palace and asks the king for his best horse in order that he might flee during the night far from Death, as far as Samarkand. Upon which the king summons Death to the palace and reproaches him for having frightened one of his best servants. ‘I didn’t mean to frighten him. It was just that I was surprised to see this soldi...

The car of the future

The "Car of the Future" is a Transformer (movie toys and action figures; device that transfers electrical energy between circuits) that changes its shape. This could be done with mechanical, electronic, and electromechanical technologies. Smaller modular units of the car, perhaps pods belonging to individuals, will combine together to form social vehicles.
From life to life. The multiplicity of the living
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From life to life. The multiplicity of the living

Symbolic intelligence was originated from the organic dimension, its roots are organic. Its advent generated the outburst of tools, prostheses, artifacts, and deeply changed our human interaction with the environment, generating the anthropic world we know.

Humans, animals and robots. Interview to France Cadet

In her Cyborg manifesto Donna Haraway defines cyborgs as creatures simultaneously animal and machine: both active in the world of social reality and fiction. To what extent do your species of animal-robots question conventional boundaries between animal, human and machine?

From The Technological Herbarium (3)

The role of Sommerer and Mignonneau, beyond the indispensable originating phase, is concentrated on the setting up of the system, which means defining and planning the organization and the basic processes of the particular habitat: a communicative and interactive space that, once thriving, lives autonomously from its creators, self-managing the relationships with the outside and those continuous exchanges which determine the production and reproduction of the creatures living in them.

The Double Division of the Living

The relationship between art and organic matter is an ancient one. The whole of the history of art has been influenced by the living, by “that which lives”. That which lives – animals, plants, other human beings... – for millennia has represented the inspiration and model for artists, the signifying universe in which they existed, which they sought to exorcise, communicate, depict, cali into question.

La doppia articolazione del vivente

Il rapporto tra arte e materia organica è un rapporto antico. Tutta la storia dell’arte è stata influenzata dal vivente, da “ciò che vive”. Ciò che vive – animali, piante, altri esseri umani… – per millenni ha rappresentato l’ispirazione e il modello degli artisti, l’universo significante nel quale esistevano, che cercavano di esorcizzare, di comunicare, di rappresentare, di problematizzare. Tutta la storia dell’arte si è misurata con la natura, ma un cambiamento importante è avvenuto con le te...

From The Technological Herbarium (2)

Integrating three-dimensional images realized in computer graphics with localized stereophonic sounds, Davies constructs twelve worlds in which it is possible to immerse oneself and move around wearing a Head-Mounted Display that allows a stereoscopic vision, and bands that encircle the chest.

From The Technological Herbarium (1)

On the indispensable interaction between user and garden is founded the second of the objectives pursued by the Telegarden team: that of making users realize that they are not alone in taking care of the living installation. In Telegarden, as the authors make clear, the people become aware of the electronic presence of the others while engaging in the shared goal of taking care of the plants, interrupting their 'skipping' around from one site to the next, stopping to 'smell the roses'.

Biopoetry

Since the 1980s poetry has effectively moved away from the printed page. From the early days of the minitel to the personal computer as a writing and reading environment, we have witnessed the development of new poetic languages. Video, holography, programming and the web have further expanded the possibilities and the reach of this new poetry. Now, in a world of clones, chimeras, and transgenic creatures, it is time to consider new directions for poetry in vivo. Below I propose the use of biote...

Gianna Maria Gatti’s The Technological Herbarium

Gianna Maria Gatti's book The Technological Herbarium (subtitled: "Vegetable Nature and New Technologies in Art Between the Second and Third Millennia") is a study of 'interdisciplinary' works of art that exemplify the increasing importance of science and technology in artistic creation. Her analysis, however, goes beyond that of a journalistic or curatorial survey of artworks.

Terza Vita

E' ipotizzabile una terza vita, oltre a quella definita seconda, che trascenda i mondi virtuali? Più processi in corso che, nella loro complessità, implicano modifiche graduali del vivente - e di quanto a esso si ispira - non rendono l'ipotesi del tutto irrealistica. Passerà per l'infinitamente piccolo questa evoluzione verso una ulteriore vita, verosimilmente più sofisticata delle precedenti?
BIACS 3 – YOUniverse
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BIACS 3 – YOUniverse

Sono andato, qualche giorno prima della chiusura, a vedere la Biennale de Arte Contemporaneo de Sevilla (BIACS 3) (2 Ottobre 2008 - 11 Gennaio 2009), giunta alla terza edizione e intitolata YOUniverse. Il commissario, nonchè direttore artistico, di questa edizione era Peter Weibel, e dunque la cosa mi incuriosiva: perchè mai una biennale d'arte, che normalmente opera sulle forme artistiche della tradizione, aveva scelto, "coraggiosamente", un commissario così "tecnologico"?

NeMe: Hot to Bot

The idea that non-living matter could be used to invoke, influence, and emulate living beings is probably as old as human life itself. Over thousands of years this concept has become deeply ingrained in the human imagination as a locus of desires and fears about the future; and about the role of art and technology in forming it.
TAFKAV – The Artist Formerly Known as Vanda
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TAFKAV – The Artist Formerly Known as Vanda

A volte le coincidenze paiono poco casuali: martedì 14 ottobre 2008, mentre il quotidiano La Repubblica riportava notizia che la commissione federale etica del parlamento svizzero ha decretato che "il mondo vegetale possiede dignità e valore morale" (condannando ogni forma di violenza nei suoi confronti, compresa la decapitazione di un fiore), allo studio D'ars si inaugurava la mostra di Francesco Monico dal titolo Tafkav.

Interview with Luis Miguel Girão

Interview with Roberta Buiani

Interview with Bill Seaman

Interview with Roger Malina

Interview with Pavel Smetana

Interview with Christa Sommerer

Interview with Annick Bureaud

Interview with Leonel Moura

Interview with Nina Czegledy

Interview with Alberto Abruzzese (Italiano)

Interview with Stelarc

Interview with Derrick de Kerckhove

Interview with Margarete Jahrmann

Interview with Jaromil

Interview with Laura Beloff

Interview with Alan Shapiro