Maurizio Martusciello & Mattia Casalegno - X-Scape (DVD)

Per il settimo appuntamento, che si inaugura con una performance live venerdi 14 dicembre alle Sold out for Cultania Festival, organized by the councillorship for Culture, within the project 'The Multimedia Centre of the Archaeological Park ' Por Sicilia - - " Catania , metropolitan city'. The Importance Of Being Interactive. My collaborator Dawn Stoppiello and I created our dance theatre company Troika Ranch in , our purpose being to create dynamic, challenging artworks that fused traditional elements of dance, music and theatre with interactive digital media.

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Disturbo Bipolare: una serie di casi clinici in donne Next Safety: rivoluzionario dispositivo per sommin ROO Group annuncia riallineamento strategico: nomi Giorgio Lombardi nuovo presidente della Fiera di F Blogger novantenni alla carica del Web Il cinema senza mediatori Tamir Sapir contro la frivola controversia e contr Le varie strette stabilite, dal d Rage film.

DJ Baby Anne. Amelita Ramos. Cosa facciamo Forniamo soluzioni crossmediali, innovative e cucite su misura per tutti coloro che intendono comunicare e condividere idee, progetti, sogni e passioni, nella forma di foto, video, film, spettacoli ed eventi. Non spendo nulla per la promozione. Nina Paley, filmaker and cartoonist 6.

A chi ci rivolgiamo Ci rivolgiamo ad agenzie di comunicazione, organizzatori di eventi, produzioni audiovisive e teatrali, scuole e centri di ricerca, persone, aziende ed istituzioni che intendono realizzare una comunicazione crossmediale stampa, radio, tv, social media, etc. I nostri servizi Operiamo in occasione di eventi culturali, servizi promozionali videomarketing e videodesign e cerimonie.

Servizi e prodotti Prodotti, servizi e soluzioni crossmediali innovative in ogni luogo e in tempi rapidi 7. Portfolio clienti Giovanni D'Aloia: Bari, filmmaker, creative producer, transmedia storyteller 1.

Pescara , Dissonanze-dis. Passarani, Lory D e molti altri. There are also places planned for social life, meeting places, museums, completly abstract environments.

An interesting reflection about SL can be found in the work of the group LOL architects , founded in the spring of by the students of the fourth year of architecture of the Royal Institute of Technology in Stockholm. A strong mix between the real and virtual world the characteristic of all the courses that take place in part in the classrooms and in part in Second Life. The course takes into consideration historical, theoretical, and practical aspects of the.

He asks me to follow him and he takes me in front of a slide show of one his creations of 3D graffiti on the buildings in Second Life, green 3D objects, small geometric shapes applied on the faces, roofs, and windows. It is the logic of graffiti, signs left on the city, but in this case, they are not permanent and can be removed at any time. I ask him if they are seen as shapes with a composite function with the building, if the owner of the building sees them as works of art or vandalism, but the problem seems to be unsolved like the graffiti in the real world.

I speak to Raplaa Lazarno , all black with a slender body and a big head with two white eyes that is exhibiting his project: 3D Graffiti, making Graffiti in an architectural way. Comparing traditional architecture to open source software, both built by their own users, up dated and finely tuned for centuries. The objective of the project is to take the evolution of the Mongolian yuth into SL and adapt it to the new living demands of the avatar.

I go back to The Offic e sev eral times in t h e following days to visit other projects. All of the instructions to send into orbit a portion of our own avatar are engraved on the floor at the entrance of the building.

There is a building which is a 3D travel guide for beginners in SL, it presents places, people and events. There are experiments on sound spaces, on surfaces and modules for the building of a temple. A sensory route, like in the best museums. I fly around a refinery, an architectural element in itself that outlines a landscape, impressive with the smoke and the flames coming out of enormous chimneys.

Inside there is a billboard with the photos of the avatars that have gone astray, and then a ramp to follow in a suffused environment that wants to. The surfaces and the materials only have a symbolic value in the virtual buildings. Very pleasant to walk through, one of the most beautiful I saw in SL. It is outside, exploded in space, we see the constituting elements of the structure that explicitly declare the modules and the primitive starting point of the building.

The In these projects we find important research of how to conceive and project virtual worlds, fundamental for giving shape and sense to places that we more and more often frequent and live online, new spaces for socialising and meeting, studying and working, without squashing them onto a bad copy of the real world. To explore the architecture of tomorrow already today, as the LOL architects say!.

This year the Share Festival had the merit of facing the topic at three hundred and sixty degrees putting the accent on thematic and questions araised by the creative use of technology, that at the various stages of its articulated history relative to the technological development.

The last edition of the Share Festival has just ended, this year it had the pleasure of accompanying the acclaimed winter Olympics in Torino. Growing in notoriety, both at a national and international level, and attracting institutional interest, this time the Share Festival was held on the premises of the prestigious Accademia Albertina di Belle Arti of principal Piemontese town. The theme of this second edition, which took place at the same time as the Para Olympic games, was the limit is surmountable, declined in all of its possible challenges and variables in reference, not only frontier experiments of the daring electronic artists but also the admirable courage of the Para Olympic athletes.

Meetings with eminent representatives of digital culture and debates were not lacking to face the topic from different angles. Quite articulated this year the festival was. Nor was there a lack of presentations of artistic projects that used Creative Common licence o active on the copyleft front. On the radical software side the faithful Molleindustria, [epidemiC], Ubermorgen.

By the collective [epidemiC] , AntiMafia was presented , a refined perverse intelligent software. Antimafia, based on a peer-to-peer system, allows one to share actions of mediatic disturbance without needing any intervention on behalf of the user o leader who coordinates the actions. Shifted, central body of the exhititing part of the Festival, was subdivided into three different thematic routes: Borderline, taken care of by Simona Lodi , particular attention given to the theme of interaction between manmachine; Radical Software, taken care of by Domenico Quaranta and dedicated to the various subversive possibilities of the use of software and Un-limited cinema addressed to the presentation of the new web-cinema re-media languages, taken care of by Luca Barbeni.

There are five springboards therefore it is possible for the visitor, or visitors, to delight themselves with their own DJ and VJ performance with their own feet and rhythm. By Un-limited Cinema we indicate ocular. When one gets closer Nervous, equipped inside with a Theramin, one of the first electronic instruments in history, it starts to get nervous, it starts to beep and move frenetically.

Very nice, also for the shape, round and furry. They are projects made for the net and that reflect the statute and the expressive possibilities of the web, therefore I invite you to and visitthem at their respective websites you will find the addresses below.

The host country of the Share Festival this year: Slovenia. There are rare example of use of the technology Motion Capture in the prose theatre, as this is a modality more frequented by the digital choreography or special effects cinematography.

To experiment the expressive potentiality of the machinery-body associated to data glove, an artist eclectic such as Roberto Latini was necessary , recognized as the talent of the new Italian research theatre. After an artistic staying at Pasquini Castle of Castiglioncello for Armunia, Latini, already author of the Maybe because of the reflection on the actor, of the staying on the stage, on the being author of our self, and maybe because of Jarry compared with Ubu, for its grade of relation, belonging and dependence, the most interesting question is the one about the identity, the point of view, the role.

We searched a way to be at the same time Ubu and Jarry. A mechanic sets typical Ernst style on two floors, plenty of old household appliances, tools, binaries, that remembers the artistic assembling on a random method, typically surrealist, a sort of background for this piece for actors and machines. The sets is composed by three panels where 3D ambient, images from a webcam, pre-recorded videos and characters managed Real Time directly by Latini are projected.

Latini uses a Motion Capture suite with whom King Ubu, with his autoimposed enslavement to obtain the real freedom, becomes chained to the technological machine. Other characters are created with computer graphic and moved by the virtual glove or alteration in the voice tone. A haughty prove who evidently puts this Ubu between the most significant examples of the theatre in the digital era.

A theatre who affirm the centrality of the actor, vital fulcrum of the scenic experience whom bodies interfaced allows to give life to the entire show.

Between continuous irruptions in the present, from songs to reference at the actual politic, Latini plays with extraordinary ability the utopian role Currently, he addressed his attention to the theatre of the research, showing competences in different artistic ambits as far as the design and the art light.

The Italian theatre re-start from Dramaturgy from the Space. I want to start woth this phrase pointing the lights on a project born in with two young from Friuli that already have years of research on their shoulder: Eva Geatti e Nicola Toffolini.

Between the collaboration of Eva and Nicola born Cosmesi , a project the revolutioned the ways of contemporary theatre, placing itself at the summit of the Italian panorama. Her, performer of the new generation, grown up with artistic season near some affirmed groups as the Motus , Teatrino Clandestino, Masque teatro e Teddy Bear Company. She represent the winning card on which bet for a new theatre in search of originality, professionalism and creativity.

Eva also have more energy, and that becomes evident when she succeed in touching our souls and involve us during the play. Play winner of the Iceberg Festival and replied at the Santarcangelo of the theatre Festival always in We can contemplate and admire this performance in Rome, in occasion of the Ipercorpo Festival created by Paolo Ruffini , the 19 th , 20 th , 21 st and 22 nd of April at the.

Avvisaglie di un cedimento strutturale is able to love and then destroy things that we always consider as friends. Everyday life, family, visual and introspective experiences. It is able to conceive unstable processes, to manage relationships between body and space without the logos. We go through the cohabitation with to the cohabitation not to. No interface, no special effect, no multimedia.

After all, art must make us forget about technology to build up aesthetic and ethic. Living this space means being part of it, share good points and bad points, converse with details and with yourself. People and objects become simple presence inside it, equal to each others and linked one to another. Objects inside this sterile perimeter show to define and characterize a symbolic ambient. The visitor, an inhabitant of situations, composes geometries and build clashes in the space, transforming it.

The space is anyway clear, without obscurities, a place of simple certainties that the inhabitant manage with confidence and in absolute solitude. The routine articulates time in a protect and sure existence, composed of precise movements inside a perfectly known space. Standard situation. If the draw at the interaction with your own space is frequent, it is though an empty and make up privacy, disturbing I rather say, where more than reassure, it remind questions and problems that we never imagined.

It is an artistic ambient more than a set. The perception that we knew at the beginning is now. A pleasant and apparent quiet mood. In the dark moment where all of this collapse, the way of being modify radically and the need of help drive to speak. All is huge and complex. Everything that was familiar it is now monstrous. There is no way to keep contact with all that remain. It is a theatre-image where the minimalist aspect is underlined and the fluid rhythm helps the attention of the user.

So here the anxiety of consumerism has the upper hand or, more easily, the anxiety of the contemporary solitude. According to Jay D.

Bolter and Richard Grusin, new media absorb and emulate old media. They call this phenomenon remediation and it can be seen both as the direct expression and invisibility of medium and hypermediation or display of medium and its characteristics. As a matter of fact new media give us the possibility to discover some characteristics of old media we forgot because of their linear evolution and so they give their contribution to their growth. The starting database refuses a linear structure, the telling is fragmentary and it follows multiple directions interlacing to form a complex grid.

As a matter of fact The Battle of Algiers adopts a net-like structure where the segments related to the two parts the French army and the Algerian one set and move according to different dynamics, which are unpredictable, confuse, and very rapid. The audience can partly direct this complex bundle of events by means of a control panel to zoom a specific area of the grid or to wipe out the screen to reconstruct the grid.

Ed abbiamo accolto nel gruppo Mattia Casalegno. Tu hai anche lavorato alla realizzazione di video con il gruppo Cane capovolto e ad altri progetti di Sound Art e Performance Art. Musica elettroacustica, musica concreta, turntablism : sono queste le matrici delle vostra produzione sonora.

Maurizio Martusciello Complete list of works Complete list of albums Complete list of awards More from the press Selected works Alicant (), Maurizio Martusciello, Filippo Paolini. stereo fixed medium Warsaw (), Maurizio Martusciello, Filippo Paolini.

9 Replies to “Maurizio Martusciello & Mattia Casalegno - X-Scape (DVD)”

  1. Explore releases from Maurizio Martusciello at Discogs. Shop for Vinyl, CDs and more from Maurizio Martusciello at the Discogs Marketplace. Maurizio Martusciello & Mattia Casalegno - X-Scape ‎ (DVD-V) Persistencebit Records: Bitmedia Italy: Sell This Version: 1 – 5 of 5. Show. Reviews Add Review. Lists.
  2. Mattia Casalegno is an Italian interdisciplinary artist, live-media performer and installation artist working in a broad range of media. His multidisciplinary work is influenced by both post-conceptual and digital art, and has been defined relational, immersive, and sputexovalcyde.sadoubmiveversreciperlozacansign.coion: Sapienza University of Rome, UCLA.
  3. X-Scape, one of his most recent works, was born from the meeting with the video artist Mattia Casalegno. Born in as audiovisual project, How was the live concept ideated and how did you produced the DVD? Maurizio Martusciello: X-Scape project required lot of time. Everything started from a desire, the desire to escape a language.
  4. X-Scape. PORTFOLIO (1) Left Handed. BIO. Mattia Casalegno is an Italian visual artist based in Los Angeles and New York. aka Maurizio Martusciello, performing at festivals such as Mutek (CA), “Batofar Recherche l’Italie” (FR), Sintesi, International JazzFestival and RomaEuropa festival.
  5. Mattia Casalegno is an Italian interdisciplinary artist, live-media performer and installation artist working in a broad range of media. His multidisciplinary work is influenced by both post-conceptualism and digital art, and has been defined relational, immersive, and participatory. His practice explores the effects new media have on our societies, investigating the relationships between.
  6. Mattia Casalegno AEROBANQUETS RMX. I’m not crazy about reality, but it’s still the only place to get a decent meal. Groucho Marx. The Aerobanquets are immersive, sensorial experiences focussed on the perception of taste. Loosely based on the Futurist Cookbook the (in)famous Italian book of surreal dinners and recipes first published in
  7. interactive installation 6 channels HD videoprojections, stereo sound custom software, proximity sensors, holographic screens, salt
  8. X-Scape. Per il settimo appuntamento, che si inaugura con una performance live venerdi 14 dicembre alle , Maurizio Martusciello aka martux_m in collaborazione con il video designer Mattia Casalegno presenta il suo nuovo progetto audiovisivo.

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