Connessioni remote. Artivismo_Teatro_Tecnologia
Connessioni remote is a six-monthly journal free of charge, on the relationship between technology, visual art, and performing arts; it is directed by Anna Monteverdi and inspired by Giacomo Verde's artworks. It is divided into the following sections: Techno-theatre (Performing arts and technology); Artivism (Media Activism, Networking as art); Giacomo Verde’s Archive (essays on the artist and unpublished materials); Artist tribute (videos, animations, net art works).
Giacomo Verde - Diario di Storie Mandaliche 2.0
L'arte è inutile come una cannuccia annodata
Copyright (c) 2025 Redazione Connessioni Remote https://creativecommons.org/licenses/by-nc-nd/4.0
Storie Mandaliche. Il passaggio a Flash Mx e l’introduzione del 3D
Copyright (c) 2025 Lucia Paolini https://creativecommons.org/licenses/by-nc-nd/4.0
La difficoltà di fare memoria. Intervista a Giacomo Verde di Daniela Ielasi (2010), Archivio Giacomo Verde
Giacomo Verde interviewed by Daniela Ielasi (2010), Archivio Giacomo Verde
Interview with Nicolas Gaudelet, technical director of Miguel Chevalier's studio and Voxel Production
Copyright (c) 2025 Chiara Giulia Toscani https://creativecommons.org/licenses/by-nc-nd/4.0
Potenzialità e disavventure della drammaturgia multimediale in Italia. Dialogo tra Anna Maria Monteverdi e Andrea Balzola
Conversation between Anna Maria Monteverdi and Andrea Balzola
Copyright (c) 2025 Anna Maria Monteverdi https://creativecommons.org/licenses/by-nc-nd/4.0
Editoriale: Archivi, Suoni, Videogame e Intelligenza artificiale nel cinema
Connessioni Remote n. 9/2025 Editorial
Saggi per la call-sezione sottoposta a peer review
Copyright (c) 2025 Laura Gemini, Anna Maria Monteverdi https://creativecommons.org/licenses/by-nc-nd/4.0
Counter-Surveillance Art in the Age of Platform Capitalism: Critical Complicity or Radical Exteriority?
Contemporary surveillance regimes no longer rely on concealment but operate through hypervisibility, subsuming subjects into networks of algorithmic governance where exposure functions as a mode of control. The present article interrogates the aesthetic and political stakes of artistic resistance to platform capitalism’s algorithmic governance, examining the shift from critical complicity – where artists tactically repurpose surveillance technologies from within – to radical exteriority, an aesthetic strategy that seeks to evade incorporation into surveillance systems altogether. Drawing on media theory, digital aesthetics, and platform studies, the contribution discusses how contemporary artistic interventions engage, subvert, or evade algorithmic governance. It includes a discussion of works by Hito Steyerl, Paolo Cirio, Trevor Paglen, James Bridle, and Holly Herndon, and explores whether counter-surveillance aesthetics can generate true resistance or risk assimilation into predictive systems, arguing that while artistic subversion often reinforces surveillance capitalism’s logics, emergent strategies – tactical illegibility, algorithmic obfuscation, and infrastructural reconfiguration – may offer new avenues of resistance. Ultimately, the paper situates counter-surveillance art within a broader critique of digital capitalism, questioning whether contemporary aesthetics can carve out zones beyond algorithmic capture or remain ensnared in the infrastructures they seek to contest. The future of artistic resistance, it contends, hinges not on critique alone, but on the speculative construction of post-surveillance paradigms.
Copyright (c) 2025 Massimiliano Raffa https://creativecommons.org/licenses/by-nc-nd/4.0
Telematic Art: The Italian Case. PostMachina, MIDⱯ, and Tempo Reale before and after the 42nd Venice Biennale
The Italian case of Telematic Art remains underdocumented in specialized studies. The experiences of the artist collectives PostMachina, MIDⱯ, and Tempo Reale, founded in Bologna, Milan, and Calcata (Viterbo) between 1983 and 1986, are largely absent from international literature and have received limited scholarly attention even in Italy. Drawing on archival materials, this study examines their experimental practices, tracing their distinct artistic languages, their connections with key figures in the contemporary art scene, the critical engagement of art critics such as Maria Grazia Mattei, and their institutional partnerships: cultural, from the Centre Pompidou to Ars Electronica; corporate, from RAI to Italcable; and political, with major European institutions of the time. While PostMachina emphasized the role of human intervention within technological processes, MIDⱯ developed an ideographic neolanguage for the telematic age, and Tempo Reale engaged with themes of peace, female solidarity, and the inclusion of communities marginalised from global networks. These investigations, both preceding and following the peak of institutional recognition for Telematic Art at the 42nd Venice Biennale, delineate a dimension of Italian aesthetic practice—intrinsically and ideally transcultural—warranting a critical repositioning within the broader phenomenology of communication art.
Copyright (c) 2025 Tatiana Basso https://creativecommons.org/licenses/by-nc-nd/4.0
Per un ascolto trans-corporeo: sulla performatività acustica di Christine Sun Kim
Listening, historically shaped by hearing-centered paradigms and audio-fonocentric systems, is reconceptualized through Deaf epistemologies as a trans-corporeal performativity, extending beyond mere cochlear competence or the articulation of a given sound. In the work of Deaf artist Christine Sun Kim, sound emerges as an entanglement of tactile intensities, affective currents, visual vectors, and frequency patterns, shaping the acoustic sphere through a confluence of vibrations, movements, scents, and temperature variations. Integrating Deaf, Sound, and Performance Studies with ecocritical new materialism, listening dynamics are approached as the co-emergence of bodies, vibrant matter, biological rhythms, and situated knowledge in intra-active relations. The subjectivity that “feels” does not simply inhabit the webs of things but participates actively in them, modulating and being modulated by pressures, grazes, touches, discourses, and practices of resistance and repair. In this context, listening becomes con-vibrating: a dynamic entanglement of human and more-than-human energies and material-discursive force, configuring itself as an ethical-political practice capable of challenging audist position, sensory hierarchies, and sonic barriers within a horizon of «acoustic justice», where values and norms are enacted, renegotiated, and unsettled.
Copyright (c) 2025 Piersandra Di Matteo https://creativecommons.org/licenses/by-nc-nd/4.0
Rabih Mroué. Una pratica tra teatro e arti visive
Using different techniques and media, Rabih Mroué's (1967, Beirut) practice stands at the intersection of visual arts and theatre, challenging the traditional tools of both. The artist's works reach the audience with an engaged posture and his research often takes its cue from the recent history of the Middle East and in particular Lebanon, with events such as the civil war between 1975 and 1990 or the conflict with Israel since 1982. The representation of war and death often play a central role in Mroué's work. Fascinated by the mechanisms of communication and representation in theatre, cinema, photography, but also in mass media, in the age of the internet and social media, what often emerges from his research are triangulations and short-circuits between these instruments, their relationship with institutional narrative and counter-narrative, the relationship between reality and fiction. Through the analysis of some of his works, the article intends to detect Mroué's aptitude for offering the public reflections that are always acute, aimed at highlighting the ambiguity of images and the mechanisms of communication, and never determined positions. What the artist intends to stimulate with his work are in fact critical visions that never seek to reduce complexity.
Copyright (c) 2025 Arianna Lasca https://creativecommons.org/licenses/by-nc-nd/4.0
It’s a Kind of Magic (or not)? Ai’s technological imaginary and the symbolic structures of fashion narration.
This paper delves into the dynamic relationship between imaginary and technology in the era of Artificial Intelligence, illustrating how AI’s technological imaginary is not an independent entity but rather a product of the creative process inherent in the social imaginary. Additionally, it explores how the symbolic structures of socio-cultural imaginary contribute to shaping the imaginary realms of AI. The widespread integration of generative AI in fashion has introduced visual AI, offering new avenues for creative expression while challenging the construction of the sector’s imaginary landscape (Banerjee et al. 2022). This prompts critical inquiries: to which extent fashion narratives have become the nourishment of AI? What innovative narrations does AI introduce? How is AI influencing traditional perceptions of the body and beauty? Comparing 882 covers from Vogue Italia Digital Archive (1964-2024) with visuals from the AI-produced fashion magazine Copy (August 2023 onwards), this research analyzes representations and narratives to determine if AI perpetuates or subverts beauty and gender stereotypes, and how the normativity of fashion influences AI's visual output.
Copyright (c) 2025 Michele Varini, Eleonora Noia, Silvia Mazzucotelli Salice https://creativecommons.org/licenses/by-nc-nd/4.0
Revolutionizing Cinema. How AI is Democratizing Production and Deepening Creative Content
This article explores how artificial intelligence (AI) is reshaping the landscape of film and video production, with particular attention to gender and geographical inclusivity. By analyzing recent innovations across the entire production pipeline, from scriptwriting and directing to post-production and distribution, it highlights how AI tools reduce barriers of entry and redefine creative labor. A special focus is given to China’s role in advancing generative AI technologies, especially through open-source and low-cost platforms that make professional-grade video tools accessible to independent creators. The article also examines the gendered implications of these changes, considering how AI can support female filmmakers by easing time constraints, offering flexible workflows, and potentially mitigating some of the industry’s long-standing structural inequalities. While AI presents significant opportunities for democratizing access and amplifying diverse voices, the article also addresses key ethical and creative risks, such as algorithmic bias, homogenization of content, and labor displacement. Drawing on recent case studies and policy developments, the article argues that for AI to truly foster inclusion and innovation, it must be developed and adopted with human values at its core, ensuring that technology empowers rather than replaces creative agency.
Copyright (c) 2025 Vincenzo De Masi, Siyi Li, Flavia Pessoa Serafim https://creativecommons.org/licenses/by-nc-nd/4.0
The Impact of Digital Visual content on the Human Brain & on the Perception of the Viewer
The study of how images affect the human brain and visual perception draws from neuroscience, psychology, and art. It investigates how visual content influences emotions, body responses, and thought processes. In the Electronic Era, theater has sought to create a mental space using technology, often making its language inseparable from the message and disconnected from its usual context. This article analyzes the effects of digital visuals and technology in theater on viewer perception. It looks at how images can trigger specific emotions and the influence of immersive, virtual, and interactive content on consciousness and physical responses. Images serve as stimuli that engage the mind, linking psychological reality with sensory and intellectual experiences. Viewing these images helps people access various emotions, as the brain combines them with past experiences and emotional patterns. Research shows that emotionally charged images activate the limbic system and prefrontal cortex in the brain. The potential for performing arts to evoke strong emotional responses through digital elements leads to profound experiences that go beyond time and space. Ultimately, images are potent tools that shape sensory and mental experiences in theater and art
Copyright (c) 2025 Mahnaz Esmaeili https://creativecommons.org/licenses/by-nc-nd/4.0
archivia. Nuove drammaturgie per trasmettere e trasformare un repertorio coreografico
archivia is a choreographic research project that aims to transmit and transform the repertoire produced between the 1980s and the early 2000s by choreographer Monica Francia. The project was born in 2021 from the desire of Zoe Francia Lamattina, artist and performer, daughter of Monica Francia. This text, written from the point of view of the project's dramaturg, aims to show how it is possible to archive a choreographic repertoire without putting written, recorded, fixed materials before bodily experience, body-to-body transmission, partial and fictitious narratives. The archiving thus takes place through the transmission, repetition and transformation of all the bodies involved in the process and of the repertoire itself, up to the original turbulence that agitates the past and opens up still possible futures. Disrupting the patriarchal and parricidal principle of the archive, the relationship between generations and between different temporalities remains complex and conflictual, never resolving itself in the historical present of a linear and definitive narrative.
Copyright (c) 2025 Ida Malfatti https://creativecommons.org/licenses/by-nc-nd/4.0
Introduzione al numero 8 di Connessioni Remote. Suono: la dimensione sonora del quotidiano tra arti visive, macchine, musica elettronica. Prospettive teoriche, pratiche e culturali (Vol. 2)
Copyright (c) 2024 Caterina Tomeo, Claudia Attimonelli https://creativecommons.org/licenses/by-nc-nd/4.0
Introduzione al numero 7 di Connessioni Remote. Suono: la dimensione sonora del quotidiano tra arti visive, macchine, musica elettronica. Prospettive teoriche, pratiche e culturali (Vol. 1)
Editoriale ai numeri 7-8 di Connessioni Remote
Copyright (c) 2024 Anna Maria Monteverdi, Laura Gemini https://creativecommons.org/licenses/by-nc-nd/4.0
Interventi di Giacomo Verde sulla mailing list WEB-CAM TEATRO del 2001
L’arte è inutile come una cannuccia annodata: "Fare un nodo a qualcosa è uno dei possibili modi utilizzati per “non dimenticare”. Quando si fa il nodo ad una cannuccia la si rende inutilizzabile (inutile come l’Arte). Ma diventa anche Arte proprio in quanto inutilizzabile per l’uso a cui era destinata, anche se utilizzabile come promemoria" (Giacomo Verde, progetto 150 KNOTS). La seguente sezione raccoglie articoli, recensioni a mostre, spettacoli e libri, interviste, interventi critici e omaggi d’artista fuori peer-review ma selezionati dal comitato editoriale. Il seguente documento è dedicato agli interventi di Giacomo Verde sulla mailing list WEB-CAM TEATRO del 2001.
Copyright (c) 2024 Redazione Connessioni Remote https://creativecommons.org/licenses/by-nc-nd/4.0
L’arte è inutile come una cannuccia annodata: "Fare un nodo a qualcosa è uno dei possibili modi utilizzati per “non dimenticare”. Quando si fa il nodo ad una cannuccia la si rende inutilizzabile (inutile come l’Arte). Ma diventa anche Arte proprio in quanto inutilizzabile per l’uso a cui era destinata, anche se utilizzabile come promemoria" (Giacomo Verde, progetto 150 KNOTS). La seguente sezione raccoglie articoli, recensioni a mostre, spettacoli e libri, interviste, interventi critici e omaggi d’artista fuori peer-review ma selezionati dal comitato editoriale. Il seguente documento è una pubblicazione in formato PDF del blog di Giacomo Verde (2002-2003). Gli interventi del blog sono anticipati da una prefazione di Anna Maria Monteverdi dal titolo Liberate gli Archivi! Il blog di Giacomo Verde recuperato e i dati che marciscono da qualche parte in rete.
This contribution is meant to analyze the the techno-cognitive assemblages that streaming platforms are part of, and how streaming platforms create the conditions for a “physiognomy” of listening habits under the premises created by the automatic distributed listening on which their functioning relies. Considering the genealogy of digital music formats (Sterne, 2012), interrogating the retromaniac (Reynolds, 2011) re-mediations taking place within streaming platforms, looking at the shifts and clashes generated by automation (Reynolds, 2011; Burrows and O’Sullivan, 2018), and using noise theory and noise philosophy (Attali, 1985; Brassier, 2011; Malaspina, 2018; Mattin, 2022), this text will attempt to elucidate different non-sonic constraints that inform and shape the way we engage with listening routines, while also analyzing streaming-reliant listening habits through the lens of noise and noise philosophy. If noise is the disruption that becomes prerequisite for a selfless subject (Brassier, 2009), could we argue that noise-reliant algorithmic systems, based on the objectivity of machinic listeners, organize the chaos of desiring subjects by creating the illusion of a unique self, but in reality becoming the ultimate breeding ground for nemocentric (Metzinger, 2004) production of subjectivities? These subjectivities can be considered nemocentric (namely: without a center) because distributed across the cognitive assemblages of platform capitalism, dematerialized and scattered. If noise has been subsumed under the “masking” (Sterne, 2012) premises of platform capitalism, how do nemocentric subjects operate under the prescriptive logics of the very capitalist structures that produced them?
Copyright (c) 2024 Martina Raponi https://creativecommons.org/licenses/by-nc-nd/4.0
L'articolo esplora il concetto di pattern nella funzione cruciale che svolge nella costruzione dell’esperienza d’ascolto e in alcune conseguenze relative alle pratiche compositive musicali del Novecento. Inizialmente l’idea di pattern viene associata all’esperienza del riconoscimento attivato dalla percezione dell’ordine in cui si presentano distinzioni aurali. I pattern, formati o consolidati da questo riconoscimento, vengono poi inseriti in un sistema di relazioni che costituisce l’esperienza d’ascolto, a sua volta estesa nel contesto della piena multimodalità sensoriale. La prima parte del testo, dedicata alla narrazione dell’ascolto a partire dall’idea di pattern, si conclude con una discussione sulla naturalizzazione del pattern, che diventa oggetto del mondo attraverso il processo di abituazione. La seconda parte, restringe il campo del pattern al suo utilizzo in musica. Dopo una discussione sull’idea di pattern musicale ne vengono quindi presentate diverse tipologie (intraopus, interopus, brano, oggetto) che emergono dall’impostazione del pattern come strumento di costituzione dell’esperienza. L'articolo si conclude con una breve analisi dei ruoli svolti dalle varie tipologie di pattern musicali nelle tecniche compositive del Novecento e in particolare nella musica di John Cage sottolineando l'importanza della musica radicale nel contrastare le naturalizzazioni della musica di massa, per promuovere la sensibilità dell’ascolto.
Copyright (c) 2024 Massimiliano Viel https://creativecommons.org/licenses/by-nc-nd/4.0
Sonic Landscapes in the Metaverse: Exploring Immersive Audio Design in Virtual Environments
Abstract This study examines the critical importance of audio design in crafting immersive experiences within the metaverse. The analysis focuses on key technologies driving this field, with particular emphasis on spatial audio techniques such as Head-Related Transfer Functions (HRTF) and Ambisonics, which enable precise three-dimensional sound positioning. The research investigates adaptive audio rendering, highlighting tools such as Microsoft's Spatial Audio Unity Plugin, which facilitates dynamic soundscape adjustments based on user interactions. Furthermore, the application of artificial intelligence in audio design is explored, with a discussion on the potential of Generative Adversarial Networks (GANs) for synthetic sound production and personalized audio experiences. The study presents two significant case studies: the partnership between TCG World, STYNGR, and Downtown for interactive sonic environments, and research on Audio Augmented Reality (AAR) in art galleries. Ethical considerations, including privacy, accessibility, and the psychological impact of immersive audio, are critically examined. The research concludes by exploring future directions, such as cross-modal integration and emotional AI systems in metaverse audio design, emphasizing the necessity for responsible development practices. Through this comprehensive analysis, the study aims to provide insights into the challenges and opportunities presented by audio design in virtual environments, contributing to the evolving landscape of metaverse technology.
Copyright (c) 2024 Vincenzo De Masi, Qinke Di, Siyi Li, Yuhan Song https://creativecommons.org/licenses/by-nc-nd/4.0
Musica, non musica, dischi d'artista. Il disco in vinile come spazio del performativo
A partire dagli anni Novanta il disco in vinile sembrava destinato a scomparire, sempre più marginalizzato e relegato agli scaffali spesso polverosi dei collezionisti e di coloro che avevano vissuto l’era pre-digitale. Invece, da circa 15 anni a questa parte e a dispetto delle previsioni che lo davano per estinto, il vinile ha mostrato una sorprendente vitalità. Gli analisti più attenti ritengono che l’inaspettato recupero del vinile sia dovuto soprattutto alla capacità del disco di travalicare il suo presunto limite tecnologico che ne vincola l’ascolto a una concretezza analogica ingombrante. Anzi, paradossalmente, è stato proprio grazie a questa seduzione materiale, in contrapposizione alla illimitata accessibilità offerta dalla smaterializzazione digitale, che il vinile ha potuto rafforzare il suo status “iconico”, creando uno spazio di interesse verso il quale, fin dal momento dell’acquisto, si proietta il piacere dell’ascolto. In Italia, alcune realtà produttive indipendenti, tra cui Xing con la collezione "Xong", si sono inserite negli ultimi anni in questa rinnovata attenzione per il vinile, producendo "dischi d'artista", un ambito nel quale l’Italia, fin dagli anni Settanta, ha esercitato un ruolo pionieristico, nell'interpretare il disco come esplosione dello specifico visuale, come espansione dei limiti del processo artistico e delle sue rivendicazioni di ricerca sonora, vocale, acustica, tattile e corporea. Una tradizione che ha inizio con le avanguardie storiche, per arrivare fino ai giorni nostri passando per Cage, Fluxus, l’happening, la performance, l’arte concettuale, la Pop Art, la poesia sonora, la ricerca vocale, il minimalismo. Attraverso forme che appartengono anche esplicitamente alla nuova spettacolarità teatrale e alla ricerca in ambito rock ed elettronico "alternative". L'articolo intende tracciare la storia di questa fascinazione per i dischi vinile in campo artistico-performativo, attraverso una contestualizzazione e degli esempi mirati. Come si è sviluppata in Italia fino a oggi e come si rapporta alla cultura digitale in termini non solo di contrapposizione ma di virtuosa convivenza.
Copyright (c) 2024 Fabio Acca https://creativecommons.org/licenses/by-nc-nd/4.0
L'Ascolto come forma eco-politica di resistenza
Over the past two decades, Sound Studies and Sonic Arts have explored the relationship between sound and power, studying sound as a vibrational and relational phenomenon, contributing to the development of practices that shift the focus from a cochlear to a non-cochlear approach, based on medical-scientific research that has highlighted the benefits of sound on psychophysical health. However, sound is also used as a tool of control and coercion. In military and everyday contexts, infrasound and ultrasound are exploited to provoke fear, oppression and emotional and physiological manipulation. The text discusses and advocates listening as an act of eco-political resistance: listening, as a conscious act, is constituted as a tool to subvert geopolitical oppressive structures and promote a more ethical and inclusive society. By placing listening at the centre of the context of enquiry, Sonic Arts facilitates intercultural dialogue, acoustic justice and cultural emancipation, while emphasising the need for a re-education of listening, harnessing its therapeutic potential for a more conscious and inclusive global coexistence.
Copyright (c) 2024 Daniela Gentile https://creativecommons.org/licenses/by-nc-nd/4.0
Tre Canti. L'ascolto come pratica drammaturgica nelle performance di Agnese Banti, Diana Lola Posani e Tilia Auser
Agnese Banti, Tilia Hauser and Diana Lola Posani: starting from an analysis of the performances of these three Italian artists who have recently emerged on the national scene, this paper first of all sets out to analyse the ways in which certain lines of investigation relating to the field of voice studies, ecology of listening and relational and spatial dimension of sound meet the performative dimension, as well as the consequences that this meeting produces from the point of view of the creation of aesthetics and modes of fruition and the hybridisation of languages. The aim of the paper is not to trace common lines of research, but, while respecting the stylistic and aesthetic diversities of the individual paths, to try to understand what figures, narrative, relational and aesthetic modalities these lines of research are producing, first and foremost through an analysis and description of the individual works, but also by activating a dialogue with the artists on their respective working methodologies, and in particular on the question of the dramaturgical and artistic role played by the figure of listening within their practices.
Copyright (c) 2024 Riccardo Fazi https://creativecommons.org/licenses/by-nc-nd/4.0
PIANETA PAGLIARINI: per una dimensione corale #restainAscolto
Sound is born as a signal and through it we learn about the internal construction of reality without destroying it. All sounds tell us. The ‘things of sound’ pass through us and then become a text-world and a vector of dynamic imagination that makes it the starting point for any form of composition. With the project #restaCorale by artist-psychologist Luigi Pagliarini, born during the Covid-19 emergency, sound becomes an essential component of artistic expression within the immense concert of lives. Its “Manifesto per un’arte Corale” stems from a condition of concrete rebirth, overcoming any individualism and with the ambition to go beyond the anthropocentric dimension. Pagliarini attempts to build an artistic community of 130 students of the ABAMC (Academy of Fine Arts of Macerata), who have each executed six works responding to the actions #restaUmano, #restaCasa, #restaSicuro, #restaCreativo and #restaTeStesso representing some important moments experienced during the quarantine. This practice of rehumanisation of the creative-choral action is imagined and conceived by Luigi Pagliarini, as well as accompanied by a further project #restaInAscolto, i.e. an environmental sampling of variable length from 10 to 60 seconds of audio recordings of the domestic environment, from the preparatory gestures of the actions required to the sound produced by the artistic gesture itself. This multiform, gigantic work, after the untimely death of the artist Pagliarini, gives us the responsibility to continue his work. Our ‘pre-tension’ is precisely that of starting again from the sound that becomes a pre-existing, archived choral composition, but with the need (ours) to recover our breath and to be able to compose a new ‘sound mosaic’ just imagined until arriving at Pianeta-Mente, the last work written by Pagliarini, a fable that is in tune with the profound meaning of chorality and necessary recovery.
Copyright (c) 2024 Giorgio Cipolletta https://creativecommons.org/licenses/by-nc-nd/4.0
Sonic Worlding. Per un’esplorazione speculativa dei progetti sonori contemporanei
This paper focuses on the theme of world-building applied to a series of contemporary sound projects, proposing a multidisciplinary approach aimed at outlining their characteristics in relation to the interaction with the listener. The text explores the speculative dimension of these projects, highlighting how, in addition to representing reality, it is also questioned, fostering a critical analysis of contemporary political and social issues. The article begins with Alice Bucknell's New Worlds exhibition and Simon Reynolds' The Rise of Conceptronica, which provide the theoretical context to understand the growing role of sound-based world-building. By applying Azuma’s “database” model, the structure of these projects will be explored, with particular attention given to the agency of sound, which plays a crucial role in transforming bodies and spaces. Furthermore, sonic fiction and speculative design will be analyzed as practices within these projects, subverting traditional narrative structures and acting as key tools to explore contemporary themes such as control, resistance, and inclusion. These works offer new ways of conceiving the future, proposing alternatives to dominant visions and opening spaces for critical reflection on reality and its potential transformations.
Copyright (c) 2024 Nicola Zolin https://creativecommons.org/licenses/by-nc-nd/4.0
Deconstruct To Reconstruct. Logic Of Assemblage and Aesthetic of Metamorphosis in Electronic Dance Music
Electronic music can arguably be considered the genre that has most effectively encapsulated and articulated human relationships with noise, machines and technology, embodying many technology-oriented concepts. The 21st century has brought about a post-condition that has had an impact on popular electronic music, with the rise of what has been labelled “deconstructed club”, “post-club”, and “conceptronica”. This paper presents a critique of the aforementioned terms, arguing that electronic dance music has consistently employed deconstructive and decontextualizing strategies in relation to pre-existent genres, elements, and expressive codes. Indeed, it is argued that a logic of assemblage and an aesthetic of metamorphosis are intrinsic to popular electronic music, given its technological and recombinant essence. If electronic dance music is based on avantgardist techniques such as assemblage and aesthetic détournement, it may be conceived, then, as an expression of popular avantgarde or popular modernism. Moreover, conceptual underpinnings may be found in popular electronic music since its inception. This paper, therefore, aims to reframe the analysis and discourses on popular electronic music by considering its deconstructive and conceptual aspects, and proposes that the most interesting facets of its recent developments may, in fact, lie elsewhere.
Copyright (c) 2024 Lorenzo Montefinese https://creativecommons.org/licenses/by-nc-nd/4.0
Voci-improprie: soggettività emersive, nuove alleanze, risonanze contro il capitalocene
If voice is pure situated and embodied relationality, what happens to those voices modified by electronic-digital processors? The article arises from a double positioning between neo-materialist theory and performative practice. Three nodes are investigated: the formation of unprecedented subjectivities that destitute the main dichotomies, the relationship with verbal language from a political-imaginative perspective, and the de-tuning capacities of the environmental acoustics created by these voices when taken collectively, tending to the making of themselves as instruments of pressure against environmental injustices.
Copyright (c) 2024 Daniele Vergni https://creativecommons.org/licenses/by-nc-nd/4.0