Tempo – Bidimensionale nell’Arte e nella Scienza
Paolo Manzelli

Le necessità del cambiamento mentale sono percepite anticipatamente dall’arte ed in seguito dalla trasformazione dei paradigmi della scienza. La tridimensionalità dello spazio e l’unicità del tempo appartengono ad un modello di percezione cartesiana del mondo nella quale si ritiene che le immagini siano una riproduzione fedele della realtà. In vero la percezione umana è storicizzata in quanto si modifica come conseguenza della capacita creativa dell’uomo di costruire modelli mentali innovativi di interpretazione della realtà, infatti dobbiamo considerare che ciò che percepiamo è frutto di una interattività biunivoca tra “Noumeno e Fenomeno” come intuì Kant, riferendosi al fatto che il cervello diversamente da un sistema fotografico elabora cognitivamente la rappresentazione del mondo che percepiamo come proiezione significativa della realtà.

Precision + Guided + Seeing
Jordan Crandall

A large body of theoretical work has focused on the delocalizing or deterritorializing effects of real time technologies. They are often regarded as having contributed to the evacuation of geographical space, overriding the specifics of place and distance. Virilio, for example, has often suggested that real time technologies and their accompanying dimension of "liveness" have prompted the disappearance of physical space - in other words, that "real time" has superceded "real space." For him, such deterritorialization can only lead to inertia. What we are witnessing today, however, is not a one-way delocalization or deterritorialization, but rather a volatile combination of the diffused and the positioned, or the placeless and the place-coded.

The New Dialectic of Play
George N. Dafermos

As expected, the game show has received fierce criticism, especially from left-wing cultural critics and political parties. But that is hardly important. What is more important is that industrial-age definitions of play and work no longer apply to the contemporary game. Now, stripped off of their original meaning, work and play (or the juncture of work and play) are satisfying the requirements of the spectacle for the establishment of a media-hypertrophic situation in which the labourers involved in immaterial production cannot tell with any degree of certainty whether they are working or playing. In fact, for most of them, this question is entirely devoid of any meaning: play has lost the erotic scent it once afforded, and its hedonistic dimension has been incorporated in a trap designed for the mind. Now, the project of work is no longer threatened by sexuality and playfulness: workers are encouraged to indulge in any act of sex and play they wish as long as they do it inside the office, and return back to their work routines with reinvigorated enthusiasm.

Multisensory interactive installation
Daniela Voto

This paper presents the “Multisensory Interactive Installation,” (MII) a musical interactive installation based on Kandinsky’s paintings, through which a user can become a painter and a composer simultaneously. The painting’s visual elements are synesthetically linked to musical elements: each color is linked to a specific instrument and chord while each shape is linked to a specific rhythm. Through “Multisensory Interactive Installation,” users can explore and manipulate visual elements, generating different musical outputs, constructing and deconstructing the art piece and/or creating a new work, and musical composition. The selection and organization of given visual-acoustic elements, determines the different musical atmosphere created by each user. The methodology implemented in the system/installation, explores the correspondence between color and sound, visual and acustic elements, and is based on the neuroscientific research of synesthesia, an involuntary physical experience of a cross-modal association.

The Stuff of Culture
Felix Stalder

As culture is infusing more and more aspects of contemporary life, and the range of producers is widening but the special status of the artist and the social capital attached to this position, is being eroded. Artists are becoming, again, artisans, not fundamentally different from others creative producers. The controversy between the object-oriented and the exchange-oriented visions of culture is currently being fought on all levels, legal (expanding versus narrowing copyrights and patents), technical (digital rights management versus distribution and access technologies), and economic (exchange of commodities versus provision of services). Crucially, however, it is also fought in the field of culture itself, in ongoing experimentations on how we can produce, reproduce, and interpret new forms of meaning. This is the native environment of artists and other creative producers, whose everyday practice puts them at the heart of this epic struggle.