mo(nu)ment @Arci, Reggio Emilia, 3—5 Maggio 2013

mo(nu)ment

Luca Massaro (photographs), Francesco Tacchini (glitch).

La mostra aprirà dal 3 al 5 Maggio nella sede ARCI di Reggio Emilia,

in occasione del Festival della Fotografia Europea.

Momento decisivo o monumento atemporale? La continua esposizione
all’immagine cambia la nostra percezione della realtà e del medium fotografico.
In un mondo-panopticon, lo sguardo rischia un’anestesia della percezione.
Nell’era di Instagram è ancora possibile fotografare la Tour Eiffel?
mo(nu)ment rappresenta uno o multipli  “nu moment” dell’immagine fotografica,
una percezione che si rinnova grazie alla fotografia stessa, monumento
unico, nel momento d’errore (glitch) dell’immagine digitalizzata.

GD+UEL Open Event @Dockland Campus, E16 2RD

The University of East London Graphic Design graduation show will happen
at the end of May. It will feature works from students as well as talks ⁄ workshops.

data.scan [nº1-9] - Ryoji Ikeda

data.scan [nº1-9], from Ryoji Ikeda, at MU Eindhoven, February 1 - March 10.

Surveillance Painting - Kon Trubkovich

Kon Trubkovich, Untitled, 2010, Oil on canvas, 50.5 x 50 inches

Russian-born artist Kon Trubkovich paints scenes of distorted, glitched videos with oils. His worked is concerned with notions of space and memory visualization and deals with the technological transfer of information, and the inherent visual aspects that occur from disruption, interference, and distortion. His paintings are abstruse digital stills characterized by lines, blips, anomalies; they may contain recognizable elements or be completely abstract, lack identity and be unclear in content.

From the Prosthethic Knowledge archive.

Francesco Tacchini - Uneven grounds: from the archive to the glitch

A dissertation presented to The School of Arts and Digital Industries (ADI) of the University of East London by Francesco Tacchini in 2013.

Foreword

This paper is an investigation into remediation trends in the realm of contemporary art and design. The analysis will extend into a methodology of the reuse of both the mere materiality of technological media devices and their operative modes. I will approach the topic under the umbrella of “media archaeology”, a branch of media studies devoted to alternative media discourses. Media archaeology is a methodical way for excavating repressed or forgotten devices and remediation practices, as well as an artistic modus operandi close to bricolage culture, software and hardware hacking, circuit bending and other Do-It-Yourself exercises.

My thesis work is structured as follows: the first part introduces the key theoretical concepts that make up the ground onto which carrying out the media-archaeological investigation. I will briefly outline the genesis of this (sub-)field of media studies and then point out what media archaeology has been up to now. The second part of this paper will execute the media-archaeological analysis undertaking three different case studies. The first is an investigation of works from Yuri Suzuki, a Japanese sound designer and artist, which I had the opportunity to meet and interview regarding what I am writing about. I will discuss how his artistic intervention celebrates the non-linear pasts of media culture by manipulating technological devices.

The second and third case studies witness a shift from the previous manual intervention on the physical device to a more subtle (re)mediation at the level of its processual modes. I will turn to designers engaging with (programming) contemporary media and repurposing the clean aesthetics of lines, geometrical patterns, algorithms and data processing, as well as the random noisy aesthetics of glitches, dis/continuities and visual abstraction.