Electronic Art

Call For Papers | Festival e critica: ieri, oggi e domani
a cura di Marco Dalla Gassa, Francesco D’Asero, Giulio Tosi e Federico Zecca

Giornata di studi

Trieste, 21 gennaio 2025
Il rapporto tra critica e festival è antico quanto il concetto stesso di manifestazione cinematografica. La genesi di questo legame è rintracciabile sin dagli anni Trenta, a partire dalle prime cronache e dalle recensioni pubblicate sulla stampa italiana in occasione della prima edizione dell’Esposizione Internazionale d’Arte Cinematografica di Venezia nel 1932. Da quel momento, i festival cinematografici sono divenuti tappa fondamentale delle routine critiche, appuntamento che scandisce
anno dopo anno il lavoro di inviati di riviste, quotidiani, testate online, trasmissioni radiofoniche e televisive.

Nel corso degli anni i festival cinematografici hanno gradualmente integrato la critica nelle proprie strutture e nei propri ritmi, assicurando a quest’ultima spazi appositi e momenti dedicati: dall’istituzione delle sale stampa all’organizzazione di conferenze e interviste, dalla creazione di sessioni di dialogo tra autori e recensori alla fondazione di premi e sezioni intitolati alla stampa specializzata (la “Semaine de la critique” all’interno del Festival di Cannes, la “Settimana Internazionale della Critica” presso la Mostra Internazionale d'Arte Cinematografica della Biennale di Venezia) sino alla promozione di workshop per giovani critici. Da parte loro, i professionisti della critica hanno corrisposto con una produzione discorsiva ingente,
non solo di report giornalieri e recensioni dei film selezionati, ma anche accendendo dibattiti sui festival stessi, sulla loro direzione, conformazione e organizzazione. Un rapporto che può essere letto come bilateralmente vantaggioso: se la critica contribuisce alla promozione di un festival e alla
definizione della sua identità, i festival si configurano come occasione di incontro e transito, luogo nodale nei flussi di cultura cinematografica dove i critici scambiano opinioni e attivano collaborazioni.

I festival rappresentano, infine, momenti importanti sia nella storia della critica tout court, fatta anche di contestazioni e dibattiti provocati o nati in seno all’esperienza festivaliera, sia nelle singole parabole professionali di molti critici, che in tali circostanze consolidano il proprio mestiere, prendono parte a giurie e contribuiscono al loro funzionamento assumendo il ruolo di consulenti, selezionatori e, in alcuni casi, direttori o fondatori di nuove rassegne, festival cinematografici o eventi collaterali.

A fronte del quadro sopraesposto, la giornata di studi si propone di indagare questi e altri aspetti del legame biunivoco che unisce critica e festival del cinema, incoraggiando la riflessione sul passato, sul presente e sul futuro di questo legame. Col fine di incoraggiare l’allargamento della ricerca e la
discussione interdisciplinare, invitiamo le studiose e gli studiosi a contribuire con interventi che indaghino tale rapporto a partire da approcci diversi, privilegiando casi di studio originali, fonti inedite o metodologie di ricerca innovative. Pertanto, si accettano contributi relativi, ma non limitati,
alle seguenti tematiche:

- Storia e storie della critica ai festival in diversi momenti chiave: dal fascismo al dopoguerra; trasformazioni prima, intorno e dopo il ‘68; manifestazioni collaterali e concorrenziali (antifestival); esplosione dei piccoli festival tematici e delle feste;
- Scoperte festivaliere: il ruolo della critica festivaliera nell’influenzare o formare canoni e nella promozione di nuove correnti e cinematografie;
- Sconfinamenti tra lavoro sui festival e lavoro per conto dei festival: casi di critici rappresentativi coinvolti nei festival come giurati (Aristarco, Gromo), direttori (Chiarini, Rondi) o promotori (Micciché) di festival cinematografici;
- Altre forme di collaborazione fra critica e festival (rassegne, premi della critica, eventi collaterali);
- Commistioni tra critica online e militanza cinefila presso i festival specialistici e di ricerca;
- Pubblico specializzato: riflessioni sulle nuove forme della critica online, veicolate sia attraverso la produzione social delle testate accreditate, sia nelle forme spontanee prodotte da semplici spettatori, singoli o in gruppo, comprese fanzine, blog e altri contenuti digitali;
- Festival come luoghi d’incontro per critici e studiosi di cinema e occasioni per la formazione di reti professionali transnazionali;
- Polemiche e battaglie critiche contro festival specifici o il “sistema festival” in generale, il ruolo della critica nella nascita di festival e antifestival;
- Ricezione critica e discorsi teorici: report festivalieri e altri format di scrittura critica;
- Posizionamenti critici: rapporti virtuosi o antagonistici tra singoli critici o riviste e i festival;
- La critica dei festival come sottogenere critico, saggi e teorizzazioni sui festival e il rapporto tra critici o riviste e festival specifici.

Le proposte (di massimo 400 parole), corredate da bibliografia essenziale e breve biografia, dovranno essere inviate entro il 31 ottobre 2024 ai seguenti indirizzi di posta elettronica: [email protected]; [email protected]; [email protected]; [email protected]. L’esito della selezione
sarà comunicato entro il 7 novembre 2024 alle/ai dirette/i interessate/i. La giornata di studi si terrà martedì 21 gennaio 2025 durante la prossima edizione del Trieste Film Festival. Alle relatrici e ai relatori selezionate/i verrà inoltre offerto il pass d’ingresso del Trieste Film Festival, che consentirà
loro di avere pieno accesso alle proiezioni della manifestazione.

La giornata di studi è promossa dal Gruppo “Festival ed eventi cinematografici” della CUC - Consulta Universitaria Cinema, in collaborazione con Trieste Film Festival, AFIC - Associazione Festival Italiani di Cinema e SNCCI - Sindacato Nazionale Critici Cinematografici Italiani.

Bibliografia essenziale
- AA.VV., Per una nuova critica. I convegni pesaresi 1965-1967, Venezia, Marsilio, 1989.
- Bazin A., Du festival considéré comme un ordre, in «Cahiers Du Cinéma», n. 48, giugno 1955, pp. 54-56.
- Bisoni C., Gli anni affollati. La cultura cinematografica italiana (1970-79), Roma, Carocci, 2009.
- Brunetta G. P., La Mostra internazionale d'arte cinematografica di Venezia: 1932-2022, Venezia, Marsilio, 2022.
- Czach L., Film Festivals, Programming, and the Building of a National Cinema, in «The Moving Image», Vol. 4, n.1, 2004, pp. 76-88.
- De Valck M., Film Festivals as Sites of Passage, in Id. (ed.), Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam, Amsterdam University Press, 2008, pp. 13-44.
- Frodon J., Who’s Choice? Who’s Voice? Can Festival Programmers and Film Critics Stand Away from the Market Diktats But Not from Societal Issues?, in «Cinergie – Il Cinema e le altre Arti», n. 22, 2022, pp. 97-103.
- Gambetti G., I convegni sui festival da Porretta a Porretta, in V. Boarini, P. Bonfiglioli (a cura di), La Mostra internazionale del cinema libero (1960-1980), Venezia, Marsilio, 1981, pp. 232–237.
- Hagener M., Institutions of Film Culture: Festivals and Archives as Network Nodes, in Id. (ed.), The Emergence of Film Culture. Knowledge Production, Institution Building and the Fate of the Avant-Garde in Europe, New York, Berghahn Books, 2014, pp. 283-305.
- Hing-Yuk Wong C. H., Film Festivals: Culture, People, and Power on the Global Screen, Piscataway, Rutgers University Press, 2011.
- Jenkins T., International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, London, I.B. Tauris, 2018.
- Mariani A., Noto P., Critica e potere nella cultura cinematografica italiana. Processi e cicli di consolidamento, in M. Guerra, S. Martin (a cura di), Culture del film. La critica cinematografica e la società italiana, Bologna, il Mulino, 2020, pp. 21-44.
- Nichols B., Discovering form, inferring meaning: New cinemas and the film festival circuit, in «Film Quarterly», Vol. 47, n. 3, 1994, pp. 16-30.
- Ongaro D., Lo schermo diffuso. Cento anni di festival cinematografici in Italia, Bologna, Libreria universitaria Tinarelli, 2005.
- Pellizzari L., Critica alla critica. Contributi a una storia della critica cinematografica italiana, Roma, Bulzoni, 1999.
- Pescatore G., Pesaro e i nuovi festival, in G. Canova (a cura di), Storia del Cinema Italiano, Vol. XI, 1965-1969, Venezia-Roma, Marsilio-Edizioni di Bianco e Nero, 2002, pp. 520-525.
- Piredda M. F., I festival del cinema in Italia forme e pratiche dalle origini al Covid-19, Roma, Carocci, 2022.
- Pisu S., Il XX secolo sul red carpet. Politica, economia e cultura nei festival internazionali del cinema (1932-1976), Milano, Franco Angeli, 2016.
- Taillibert C., Tribulations festivalières. Les festivals de cinéma et audiovisuel en France, Paris, Editions L'Harmattan, 2009.
- Tonelli A., Il ’68 controcorrente. La Mostra internazionale del nuovo cinema di Pesaro incontra la contestazione, Ancora, Affinità Elettive Edizioni, 2018.
- Wu C., Festivals, criticism and international reputation of Taiwan New Cinema, in D. W. Davis (ed.), Cinema Taiwan. Politics, Popularity and State of the Arts, London-New York, Routledge, 2007, pp. 75-91.

ARTWORK TITLE:
Art Installation “The Evolution of Wo/Man” a 7’canvas-screen framework.

[Artwork consists 7’variable sized complimentary-in-scale paired-canvasses, timber framed. This is “Green Art” in format, the Installation’s merit &messaging rests on Green portraiture. The artist’s portraiture series within’ is titled “Misty Blue Portraiture in Light’ Fog & Dust”.]

The Artwork Installation illuminates a simple message, we need universal change to survive.
It illustrates in a ‘gentle’ way the mission and progress of humanity to date, from the void of the Earth’s (the Blue Planet) original big-bang creation (screens 1 &2), then through the evolutionary process from Apeman-hominids to Adam & Eve (2x artist sketch-works in ink-on-paper, screens 3 &4). Then to the wonders of modern civilization at turn of this Century, c. Year 2000 (via sample 35mm analogue-camera’s positive photographic film-slides under light projection, screen 5) until today, screen 6, a projection sequence of zero-carbon Green-portraiture print-slides (this artist’s portrait series “Misty Blue Portraiture”). Screen 7 is a c. 205cms high canvas-backdrop framework for viewer ‘selfie’ portraits, if so desired.

(This latter screen (No.7) can accommodate the attachment of a heavy aluminium casket to receive voluntary donations of interactive viewers wishing to utilise the exhibition’s “framed-selfie” opportunity, for benefit of local charities &the event’s/gallery’s exhibition host organisation.)
 
There is a big gulf between the superficial quality of the portraits as represented by and between those projections as displayed on screens 5 &6. This gulf represents the scale of adjustment required if Wo/Mankind is to survive those environmental challenges now faced universally by all humanity on our Blue Planet. Screen 6 illustrates starkly the challenges of the future if our human mission is to continue.

We must change life styles, means of life and existing living norms, it requires collective geo/socio-political adjustment, global economic adaptation, &climate mitigation measures. It also requires the practice of “recover’ re-use and re-cycle” more comprehensively & limiting our use of ever scarcer resources, including clear water (a feature that gives our Blue Planet its colour). The Visual Arts world in generality is currently more given to the concept of carbon-offset rather than radical change to more fully sustainable Arts in practice. So we all must ‘change’ if our civilised humanity is to persevere, survive &prosper and ensure continuity in our common human mission. 

SUMMARY of ARTWORK
The artist’s frameworks comprise “sustainability” themed portraiture pieces for exhibition &sale. The work piece is a portraiture series with slide-mount images in projection & a wider 7’screen framework as Art Installation ‘The Evolution of Wo/Man’ of which they are part. It represents a topical format Green Art in practice. The Installation has compelling messaging.

This submission as a whole is a near zero-carbon exhibit, it is 99.9% carbon free &organic. It utilizes mostly natural materials of soft timber & plain fabric. The full display conforms to a non-chemical & non-acrylic, non-oils & non photo-film based process as medium for visual artistic exhibition. The artwork utilises print processing in its image fabrication. The printed portrait images as physical reproductions are displayed by use of a conventional powered slide projector. There is a range of mobi-phone digital/electronic imaging in portrait series.

ABSTRACT
Paper describes one artist’s recent studies of Light Refraction in Portraiture as a Materials Science docx.

This artist’s “Green” or Sustainable format of portraiture projection for canvas screen imaging is now  of such a sufficiently coherent and comprehendible state in its environmentally-friendly mode of print-transparency display (for presentation), as to warrant some review of its presence or absence of benefit. It is therefore offered to the 10th International Conference of Advances in Materials Science as a paper summation of the artist’s and the format’s developmental experiences to date.

The artist’s sequence of artwork submissions in aggregate (No.'s 01 -to- 33) and as articulated for this Materials Science paper should  also be titled “Artwork Submission 34” (per Header). This is the latest of the artist’s extended sequence of Visual Arts open-submissions undertaken in the period 2020 -to- 2024 (and so encompassing all prior Artwork Submission No.’s 01-33, for the relevant post-2020 period).

The light-refraction studies are best illustrated  via a more lately developed and more particularly messaged Artwork Installation, it is titled “The Evolution of Wo/Man”. The Installation is a sustainability-themed sequence of 7’ canvas screens (a polyptych), comprising an all natural materials based framework of timber and natural fabrics, the whole being near 99.9% zero-carbon in its full presentation display form.

The Installation by  design represents a non-chemicals, not-acrylics, non-oils &also non photo-film based process by its means of the subject/sitter portrait creation &fabrication. I hope worthy of consideration by 10th IC.
The Art Installation’s structural framework and narrative messaging is obtained through utilising a conventional Kodak’Ektalite-500 light projector along with its very much so unconventional portrait-slide transparencies.

The Installation’s 7’ canvas screens are best arrayed as a linear or curvilinear display exhibit. The full Installation incorporates the artist’s portraiture series (the portrait series No.’s 01 -to- 07, these being also Artwork Submissions comprising the sequence No.’s 07 -to- 14, the non-submissions not yet exhibited to date). The portrait projections are displayed on canvas screen No.6 of the 7’screen sequence arrangement of the full exhibition array. Portraiture series alone has separate title “Misty Blue Portraiture in Light’ Fog &Dust”.

Il cinema degli anni Sessanta del secolo scorso viene segnato da una grande rottura con la tradizione: negli Stati Uniti, in Italia, in Francia, in Inghilterra, in Germania, in Austria, in Giappone, ecc., escono allo scoperto, nel corso del decennio, sempre più cineasti e cineaste che mettono al centro del proprio interesse la ricerca, ovvero la sperimentazione. Gruppi di giovani si armano di cineprese cosiddette a passo ridotto (8 mm, super 8, 16mm), economiche e maneggevoli, si fiondano sulle strade, filmano i passanti, i loro amici artisti, le proteste contro le guerre in Corea e Vietnam, o rimangono nelle loro case o nei loro studi, ritrovando nella dimensione quotidiana quella poesia che l'irrefrenabile macchina capitalistica stava progressivamente occultando. Questo nuovo cinema si pone in totale opposizione a quello dell'industria, al "naturalismo" del cinema narrativo di finzione; questo è un cinema della contestazione, del quotidiano, del concettuale, ma anche di un nuovo tipo di documentazione, e comincia così ad esser definito sempre più generalmente "cinema sperimentale", dove quindi, per dirla con Guido Lombardi, sull'esperienza.

Analysis of the experience of video in Brazil during the period between 1950 and 1980, as a pluralism strategy , cultural hybridization and opening of new circuits for art. During this period, this form of perception was observed from a group of heterogeneous and non-hegemonic discursive practices existent in the Brazilian creative atmosphere.The theoretical approach gives emphasis to the tendencies that accompany the context of the Brazilian artistic production in it´s passages from modernism to contemporaneity, as well as movements such as anthropophagy, tropicalismo, conceptualism and independent video. The practice of video art in Brazil has its origin in 1956, due to the intervention and performance of the artist Flávio de Carvalho on Brazilian television. Based on precursory practices, this article promotes a survey on the experimental scene in electronic means in Brazil. The vision of hybridism is used here for cultural processing as well as for conterminal actions of video in synergy with the system of art. It is in this way that video, a hybrid art and with constant dialogue with other means, manifests it´s first initiatives in Brazil around a contemporary thought.

“The Aesthetics of Sensations in Mexican Electronic Art" addresses the study of the origins of electronic art in Mexico, the differences between contemporary art, electronic art, and digital art. It takes a turn to dwell on the analysis of the fundamentals in the processes of creation with a focus on the processes of Mexican electronic artists. It also studies the role of the interaction of the public in the artistic works of electronic art and how, due to the interaction, it is possible to induce a certain range of emotions in the user. In such a way that it becomes necessary to establish thematic categories in Mexican electronic art and its works, due to the existence of an interrelation between emotions and interaction. Therefore, we have created a model for the induction of emotions to contribute to the understanding of this branch of contemporary art and its didactics, both inside and outside educational institutions. "The Aesthetics of Sensations in Mexican Electronic Art" is a book for art lovers, as well as for novice and experienced artists who wish to implement conscious strategies in their artistic production processes.

O trabalho etnográfico em torno das estratégias de consumo do acesso à internet em arranjos informais e 'clandestinos' ("favelox", "gatonet", "chupa-cabra" dentre outros) me permitiu a identificação de uma importante dimensão das práticas constituídas a partir e no manuseio de TIC's no Brasil a que toca à construção de um tipo de saber técnico, a "expertise" para o desvio, redistribuição e manutenção do sinal, a "gambiarra". A captação do sinal da internet por caminhos não-convencionais exige o domínio de um conjunto de conhecimentos desenvolvidos à margem dos espaços formais de aprendizagem, onde fatos científicos são reconfigurados no encontro com sistemas culturais locais. As apropriações criativas do saber técnico-científico constituem o objeto da discussão que desenvolvo neste artigo, por meio da apresentação de resultados parciais de uma pesquisa realizada entre 2010 e 2012 em que tais práticas foram observadas, procurando estabelecer o debate acerca das novas formas identitárias, dos novos padrões de interação, saber, ordenação, organização social possibilitadas pelas TIC's.

The effects of the epidemic of COVID-19 can be seen in the natural deterioration of the roads. Self-isolation and curfews during the pandemic further exacerbate the mental health problem. Through this project, the researchers hoped to convey the negative impression of the pothole-strewn streets through an art installation. Using an artistic medium is one way to counteract the negative perception people have of potholes. In this project, freshly picked flowers, with only stems and no branches, were placed in the pothole. In this way, actual activity can be recorded based on the design of potholes.

The modern world could not exist without cell phones. This fundamental technology is commonly utilised on a daily basis. Using technology makes life simpler. It is currently impossible to conceive a world without technology. The electrical technology of a nation advances in tandem with its economy. E-waste is detrimental to both individuals and the environment. The assimilation of the modern way of life as a result of socio-cultural change affects the receipt of elements such as internal and external terms of assimilation, acculturation, and diffusion that are attained and conditioned by a complex source of globalisation.

[Ussachevsky] often discussed with me how important he felt it was that composers in an electronic music center take the lead in imagining what they would like, as he did, and then involve the creative capacity of engineers on staff to realize that musical goal. The engineers at the Center, often of enormous talent, were there to await his directives.

The extensive exhibition catalogue, designed by Studio Najbrt, is available in Czech and English. It offers the first comprehensive overview of art forms incorporating electricity and electronics, presenting a logically structured narrative of their evolution from mechanical experiments to digital technologies.
Ever since electricity became ubiquitous artists have been fascinated by the manifold possibilities to create works with it. The catalogue Kinetismus: 100 Years of Electricity in Art, which accompanies the opening exhibition of Kunsthalle Praha, explores how electricity has transformed artistic practice from 1920 to the present day, including cinematography, sound, kinetic and mechanical sculptures, computer-based art and immersive installations. A historical perspective emphasizes the fact that electricity, with its various usages—from artificial light to computing—has become a defining element of our societies.
Kinetismus: 100 Years of Electricity in Art includes an essay by Peter Weibel, the author of the exhibition concept, four thematic chapters written by the co-curator Lívia Nolasco-Rózsás as well as descriptions and reproductions of key artworks by artists, such as Mary Ellen Bute, William Kentridge, Christina Kubish, Zdeněk Pešánek, Anna Ridler, Nicolas Schöffer, Jeffrey Shaw, Takis, Steina, and Woody Vasulka.

The excessive use of gadgets takes away so much time and robs of all the fun from children. It affects children's cognitive, emotional, and social skills. Hence, by exposing children to various sensory experiences, they can develop proper sensory processing capabilities. This can be done by learning through play. The purpose of this descriptive research is to encourage children to interact with peers through sensory play activities. This study analyses videos using the framework of Feldman’s theory by creating a sensory board game. The result shows that it can help stimulate children’s sensory skills development and enhance active interaction. Keywords: Toddler; Sensory activity; skills development; board game eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Ass...

Recent developments on artificial intelligence expedited the computational fabrication of visual information, especially photography, with realism and easiness never seen before. In this paper, we present an interactive installation that explores the generation of facial portraits in the borderline between the real and artificial. The presented installation synthesises new human faces by recombining the facial features of its audience and displays them on the walls of the room. The array of faces displayed in the installation space is contaminated with real faces to make people question about the veracity of the portraits they are observing. The photo-realism of the generated faces makes it difficult to distinguish the real portraits from the artificial ones.

Giacomo Verde (1956-2020) è stato uno dei protagonisti della videoarte, dell’arte digitale e
interattiva e del videoteatro in Italia. In oltre quarant’anni di attività ha realizzato centinaia di
installazioni elettroniche e opere video autoprodotte o commissionate da grandi Fondazioni
presentandole nelle più importanti rassegne di videoarte e computer art italiana (tra gli altri la La
natura virtuale a cura di P.L.Capucci; Stati Virtuali; Sentimenti elettronici; Mediamorfosi, INvideo)
promuovendo sistematicamente la sua personale estetica della “bassa definizione”. Ha attraversato
e “frantumato” ogni genere d’arte (visiva, teatrale, musicale) e superato steccati; ha fondato gruppi,
compagnie teatrali, associazioni, ha passato il guado del teatro neopopolare degli anni Settanta per
immergersi nel clima cyberpunk degli anni Novanta unendo la tradizione dei “contastorie” con i
dispositivi virtuali e interattivi.

Giacomo Verde nasce in provincia di Napoli nel '56. Figlio di emigranti si diploma all'Istituto d'Arte di Firenze. Migrante, ha passato 12 anni a Treviso, ora vive a Lucca ma lavora nel mondo. Negli anni Settanta ha fatto animazione teatrale, concerti di musica popolare, teatro di strada e comico. Negli anni Ottanta ha fatto teatro di ricerca, techno-performances, videoarte, il suonatore di zampogna, teatro per ragazzi, l'ospite in TV, computer grafica ed ha inventato il Tele-racconto. Dai primi anni Novanta si occupa anche di televisione ed arte interattiva, realtà virtuale, didattica video, telematica, teoria della comunicazione e si accorge di essere (stato) un cyberpunk. Dal 2000 è anche docente in due Accademie di Belle Arti. E tutto questo senza perdere l'accento toscano. Così l'artista napoletano Giacomo Verde (1956-2020)-a cui è dedicato il primo numero della rivista «Connessioni remote»-amava raccontarsi nel suo sito, nei libri, nelle presentazioni pubbliche; ed è così che anche a noi piace introdurlo, perché è la perfetta sintesi di un percorso di oltre quarant'anni d'arte. Anzi di arti, al plurale: video, teatro, performance, installazioni, pittura: liberate dalla singolarità, Verde le aveva accoppiate, combinate insieme in improbabili collage, frantumandole letteralmente e dando vita a nuovi formati ibridi .

is primarily remembered today as a pioneer in the development and proliferation of electronic music. As a composer he left 53 works in the electronic medium, including those in combination with conventional instruments and voices, and 39 works for conventional mediums, for a total of 92 works. Within the electronic works, Ussachevsky made use of his native Chinese bells. Evidence for this usage is derived from four principle sources: 1) archival materials, letters, and grant proposals written by the composer; 2) oral history; 3) an inventory of sounds used in his compositions, held at the Library of Congress; and 4) analysis of commercially issued sound recordings. In addition to being a composer, he was also a successful administrator. As co-founder and for many years director of the Columbia-Princeton Electronic Music Center, he was perhaps the most significant advocate for electronic music in the United States, earning dozens of grants, and giving hundreds of lectures to further its development. He was also an outstanding teacher, who in 1947 became a professor of composition at Columbia University, and from 1970 to 1990 simultaneously held the position of composer-in-residence at the University of Utah, commuting back and forth between New York City and Salt Lake City, Utah, sometimes on a weekly basis. At the University of Utah he also taught courses in composition, electronic music, and the graduate seminar in contemporary music history-a course with the fitting title "Composer Examines His Century," since Ussachevsky knew virtually every important figure in twentieth century music. Ussachevsky exhibited great love, loyalty and encouragement to his students, evidenced by his interactions with them during the 1970s. Archival Materials When Ussachevsky died in 1990, he left his massive collection of personal and professional materials to the Library of Congress. This collection filled fifty-two moving boxes. Twenty boxes of sound recorded materials were inventoried and added to the collections of the Recorded Sound Division (Katz, 1992) and thirty-two boxes of paper materials became the property of the Music Division. These paper materials were initially stored at the Library of Congress warehouse in Landover, Maryland, and were not available to the public, but in July 1995, two researchers received permission from Jon Newsom, Head of the Music Division, to examine the collection. Newsom assigned a page to take them in a Library of Congress truck out to the Landover warehouse, where it took five hours for them just to open each box and write a brief description of its contents. The collection contained a wealth of important materials. There were ten boxes of file folders with Ussachevsky's personal papers, including grant applications, curriculum vitae from various points in his life, drafts of papers and publications, and, most importantly, his correspondence with every significant composer or musical organization of the century. There were eleven boxes of family correspondence, personal photographs, programs, newspaper clippings, teaching materials and memorabilia. There were eleven boxes of manuscript scores, parts, and sketches, including several previously unknown choral and piano works. On that very first day in Landover, the authors learned some interesting facts about Ussachevsky. Vladimir was the youngest of four children, having an older brother and two older sisters, all of whom had musical abilities. His brother Leonid was the first to emigrate to the United States. Because the family owned some property in Manchuria, which they believed had mineral resources, he went to the University of California at Berkeley in the early 1920's to study mining engineering. But his attraction to music was too strong and soon he left school to become a professional pianist. Leonid, who changed his name to Leon Stewart, possibly after the actor Jimmy Stewart, worked as an arranger and accompanist for a Russian-American ensemble called the Moscow Art Quartet, which provided Russian music for several films in Hollywood,

Composer Jose María Berenger was invited by Parque Explora to the Saturday get-together, "Science on Bicycle", with the support of the Antioquia Museum and Eafit University. For Artes, la Revista, Berenguer left his article Absent Listening, in which he tells us of his personal relation with composing. He explains that giving life to imagined music is an act of the will and composing is realizing the desire for a particular type of listening. He recommends that we try to perceive the characteristics of sound, appraise subtle aspects and make an effort to overcome the search for values that are not audible: iconic values and genealogies, as if they were the most interesting and meaningful traits of music. Spectators have evolved: now they have the capacity of making room for other sound qualities of an electronic nature. The listener is more aware than ever of his/her being able to detect and enjoy different types of sound signals.

El arte tecnológico mexicano, arte electrónico o arte de los nuevos medios, ha incursionado en la cultura y tradiciones que forman parte de la identidad nacional. Los grupos indígenas que poblaron el país antes de la conquista dejaron rastros suficientes de su presencia y hoy en día se cuenta con literatura y vestigios arqueológicos que dan cuenta de sus creencias, formas de vida y costumbres, especialmente aquellas relacionadas con su percepción del medio ambiente. Para algunos artistas, como Fernando Palma, esto les ha permitido crear con elementos prehispánicos, los cuales pueden dar una pista sobre cómo se puede vivir en armonía con la naturaleza y en comunidad, por medio del rescate de aspectos culturales e identitarios para trascender a una mejor calidad de la vida.

The "VOID" project (founded by the Langlois Foundation, Canada; and supported by the V2_Lab, at the V2_Org in the Netherlands) is a work in progress that intends to create an interaction that introduces the user to an observational situation that is continuously eroding the position of the user as a super-observer (an observer that doesn't influence the object observed, as seen in the Classical Objectivity). The user, while indirectly investigating and observing the properties of a supposed internal reality accessed through an interface, is induced to realize that there's nothing to see there despite the interface itself. The interface is its own observed volatile object, which is continuously disturbed by the presence of the user. In this event without horizon, its borders are the borders of the interface (which could make "palpable" the walls of the Cartesian prison?). Like this, it intends to reverse the situation of an object-centred stage to a contextual and observer-oriented one; objectivity to observerrelativity. From autonomy to covariance, from dictatorship of subjectivity to the world of the machine.

De la representación a la modelización. Evoluciones
La emergencia ecológica que transitamos señala una necesidad que para muchos artistas constituye el sentido axiológico y conceptual de producción. Desarrollamos prácticas en agenciamiento con lo viviente que se insertan en la convulsionada evolución de la representación de la naturaleza en el arte occidental, transformación que comenzó con las vanguardias históricas y continúa en las producciones enlazadas a nuevos materialismos.
Para entender el modo en que los dispositivos electrónicos impactaron, y continúan haciéndolo, en este recorte artístico, nos remontamos a la década del ́70 ya que resulta significativo revisar las producciones artísticas y teóricas sobre la transición tecnológica y la la desintegración de la representación analógica del paisaje. Por entonces, comenzaron a procesarse imaginarios sobre la naturaleza, fluctuantes entre figuración  y su visibilización como flujo de energía, una especie de “paisaje fantasma”. La tecnología electrónica, manifiesta en la materialidad de la luz, produjo una expansión de posibilidades de producción de visuales que pueden presentar a lo viviente desde indicadores no ópticos.
Retomar este punto de la historia, el de los inicios de la era electrónica del arte y ponerlo en fase con las producciones digitales actuales, de sensado de datos ambientales y su transducción, nos lleva a pensar la potencialidad de los dispositivos electrodigitales para modelizar a la materia y producir así signos encarnados en la vida.

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Globalization through developed nations encouraged the Malay culture to compete and adapt to the most popular foreign culture globally. In Malay fashion culture, the difficulties in recognizing values related to customs, lead to the loss of national pride; it shows practicalities or pragmatism not only transforms physical appearance but also changes the way of appreciating Malay clothing values. The combination methodologies of the textual and visual content analysis concluded with interviews. The design principles of 'MCCC' displayed clothing content-characteristic reflected Malay fashion, possesses clothing details component that has social, and cultural values and attributes portraying myriad achievements acknowledged by society.

Analysis of the experience of video in Brazil during the period between 1950 and 1980, as a pluralism strategy , cultural hybridization and opening of new circuits for art. During this period, this form of perception was observed from a group of heterogeneous and non-hegemonic discursive practices existent in the Brazilian creative atmosphere.The theoretical approach gives emphasis to the tendencies that accompany the context of the Brazilian artistic production in it´s passages from modernism to contemporaneity, as well as movements such as anthropophagy, tropicalismo, conceptualism and independent video. The practice of video art in Brazil has its origin in 1956, due to the intervention and performance of the artist Flávio de Carvalho on Brazilian television. Based on precursory practices, this article promotes a survey on the experimental scene in electronic means in Brazil. The vision of hybridism is used here for cultural processing as well as for conterminal actions of video in synergy with the system of art. It is in this way that video, a hybrid art and with constant dialogue with other means, manifests it´s first initiatives in Brazil around a contemporary thought.

In this paper we describe two artworks, Recognition, an outdoor interactive installation and Instrumental a live dance performance. In both works a performing agent has learnt sequences of movement from a dancer and uses these to stand in for a human performer. The agent uses an Artificial Neural Network to learn to dance from the human dancer and can perform in the human's stead. In Recognition the agent's movement is used when there are no humans present in order to keep continuity of the installation. In Instrumental the agent becomes a performing partner of a live human dancer, able to recognize the dancers movement and synthesize movement sequences based on the human dancer's movements.

Esta investigação visa compreender as sinergias que as plataformas digitais podem proporcionar para o desenvolvimento dos trabalhos pelos nômades digitais. O enquadramento teórico inicia-se abordando a evolução da condição de trabalho até alcançar o cenário atual, inclinando-se para o modo de trabalho de quem atua na Indústria Criativa. O desenvolvimento das “Indústrias Criativas” e relacionadas, quando bem estruturado, gera uma “Economia Criativa” interessante para o desenvolvimento de um país, e também é capaz de transformar o meio onde se encontram, constituindo as “Cidades Criativas”. Esse meio inovador transforma o jeito de trabalhar e consequentemente os atributos necessários a esse novo profissional. Estes trabalhadores, agora pertencente da “Sociedade da Informação” na qual tem como matéria prima o conhecimento, vê-se conectado por uma “Sociedade em Rede” que rompe com limitações geográficas e flexibiliza a estrutura de arranjos convencionais, seja sociais seja empresariais....

Contribution to the off-site exhibition La Lune: Energy Producing Art curated by Allan Giddy (Director of ERIA). La Lune was a temporary outdoor sculpture exhibition which in part responded to the site at Long Reef Headland. It has been produced by Warringah Council in conjunction with the Environment Research Initiative for Art (ERIA) at the College of Fine Arts (COFA), University of New South Wales (UNSW). The exhibition follows on from Australia's first solar exhibition Desert Equinox, Held in Broken Hill in 2012. La Lune further explores the idea of energy in art, expanding from purely solar, to energy as it occurs and exchanges in various other ways and forms. My own contribution was a series of high-viz runners T-shirts complete with reflective motivational slogans on front and back. These garments were gifted to local runners if they agreed to wear them whilst running a specific route through the sculpture exhibition. The audience for the work included those who wore the ...

Music education in Malaysia has been through various stages of development that finally got its recognition in formal education in public schools in Malaysia. The purpose of this study is to identify the perceptions of the community towards music education. Over the years, the curriculum in Malaysia has changed where music is a component in arts education and takes only 30 minutes from the one-hour slots in the primary schools. This circumstance has impacted the teaching and learning of music in schools and further impacted the intake of students and music education at the tertiary level. In addition to this circumstance, it will also affect the community. Therefore, this study has been conducted by reviewing three videos of people's perceptions of music education. On the ground of this, this study focused on a qualitative research method by collecting data and reviewing the data from the videos chosen. Keywords: music education; music learning; qualitative; music pedagogy eISSN...

This article examines how synthetic biology, which is the construction of novel biological parts, devices, and systems, as well as the modification of regular organisms, impacts biosafety regimes in the European Union (EU) and the United States (US). The article examines the nature and benefits of synthetic biology. It then reviews associated biosafety challenges, before analysing the suitability of governance frameworks in the EU and the US in dealing with these challenges. Based on this analysis, the article contends that, despite some similarities with older technologies, synthetic biology is essentially novel. Consequently, it undermines existing biosafety regimes in both jurisdictions. The article advocates for effective governance, combining formal regulation and self-governance, in addition to the global coordination of governance measures. This will help maintain an agile policy and curtail any regulatory loopholes. This article fosters awareness on the existence of many unr...

O Circulo de Cultura do coletivo cultural �Fora do Eixo Bauru� proporciona a possibilidade de os/as membros estabelecerem dialogos com a sociedade, em espacos coletivos aprendentes � presenciais e digitais -, que buscam a construcao do conhecimento, para a intervencao social e cultural no territorio criativo das cidades grandes, medias e pequenas. Este artigo procura contribuir com a reflexao sobre a organizacao dos Circulos de Cultura como espaco de construcao de conhecimento coletivo, aplicado a acao cultural em territorios criativos.

The contribution examines the work of the Sicilian sculptor Carmelo Cappello in the light of the critical fortune and adversity that accompanied the evolution of his artistic language. Analyzing his creative path from the archaic beginnings, up to the turning point towards research influenced by spatialism and constructivism, the essay intends to bring attention to the historiographical void in which the voice of this protagonist of the Italian sculpture of the 1940s and 1950s has faded. A focus will then be dedicated to the exhibition history of Cappello in Venice through the research carried out on his presence at the Biennale (1940, 1948, 1950, 1952, 1954, 1958). A season that represents not only a fundamental piece in his artistic devel- opment but a significant episode of Italian sculpture from the twentieth century.

A partir de um processo de trabalho artístico coletivo, que se centra na valorização da comunidade enquanto lugar de criação e produção de conhecimento, geram-se inúmeras obras criadas em conjunto que são guardadas através de registos vivos e documentais variados que nos remetem para diferentes olhares no intuito da preservação de memórias híbridas. Essas memórias, registos de comunidades em determinados momentos históricos, podem ser constituídas por imagens, textos, movimentos, interações, sons, entre outras possibilidades. Digitálias sugere que a ideia de objeto estável, tão cara às sensibilidades moderna e pós-moderna, dá lugar, na contemporaneidade, a obras artísticas em constante transformação e circulação, obras estas que se multiplicam e regeneram em canais de objetos mutantes equivalentes. Para sobreviver, estas obras estão sempre abertas a novos contextos de criação, produção e disseminação, novos laboratórios ou workshops, novas exposições presenciais ou on-line.

Mostro-mostrare-mostra. Forme di esposizione e messa in scena nel lavoro di Diego Perrone di Luca Cerizza 52 Tossicità e cura: Diana Policarpo Una conversazione con Ilaria Gianni 64 Critic Dispatch: 23a Triennale di Milano Sassi che hanno paura di morire di Laura Tripaldi 71 RUSY S. PITTY BLUE o Le Sorelle I-IV Un progetto visivo di MRZB Testo di Francesco Tenaglia 86 Dossier Accendere lo spazio. Grazia Varisco, Gianni Colombo e Marinella Pirelli di Valentina Bartalesi 98 Critic Dispatch: Documenta 15 L'arte può essere radicata nella vita? Documenta, oggi di Frank Wasser 107 CROSS/ROADS Episodio III. Contorni: dissonanze in Piemonte a cura di Ilaria Gianni ed Eleonora Milani in collaborazione con Michele Bertolino

Dalla metà degli anni Ottanta, nel contesto italiano, si sono susseguite diverse mostre dedicate alla computer art e al rapporto tra informatica e arti visive. In questo periodo, soprattutto grazie alla diffusione del personal computer, gli artisti hanno iniziato a realizzare opere utilizzando linguaggi di programmazione e hanno elaborato digitalmente immagini e video. Il saggio mira a ricostruire il dibattito critico e curatoriale attorno all’emersione della Computer art in Italia attraverso l’analisi di quattro mostre seminali: Tecnologia e Informatica (1986), organizzata nell’ambito della 42° edizione dell’Esposizione Internazionale d’Arte della Biennale di Venezia; Arte e Computer (1987), a cura di Renato Barilli; Computer Image (1987) curata da Franco Masotti e Claudia Ricci; I frattali: la geometria dell’irregolare (1988), tenutasi a Palazzo Braschi a Roma, con la curatela di Maurizio Calvesi e Michele Emmer. L’articolo intende far emergere le principali problematiche teoriche connesse alla diffusione della Computer Art in Italia, mostrando analogie e differenze – sia di ordine curatoriale che allestitivo – tra le mostre selezionate.