/ Next issue: published in September 2002 the
essay by CATERINA DAVINIO: "TECHNO-POETRY AND
VIRTUAL REALITY", BILINGUAL ITALIAN / ENGLISH,
SOMETTI, MANTOVA 2002). Introduction by EUGENIO
MICCINI.
International video-poetry, computer and web poetry in the 90s (130 INTERNATIONAL ARTISTS + a special section dedicated to all the video compilations and festivals curated by Davinio the 90s).
ISBN
9 788888
091853
Artists'
List:
APPENDIX - CREDITS
- THE
AUTHOR - THE
LAST CHAPTER OF THE ESSAY - BIBLIOGRAPHY
Techno-Poetry and Virtual
Realities.
History, Theory, and
Experiences, in Writing, Visuality, and New Media
- A route in the
90s
- Video-performance and
performance in video
- Videopoetry
- Video-Visual
Poetry
- Computer
poetry
- Hypertext, Hypermedia,
Interactive Pages, Generative Writing
- CD ROM
Poetry
- The Hypertext in the net.
A performative attitude
- Hierarchy, interactivity
and collective creation
- Some common
features
- Net poetry, e-mail poetry,
SMS poetry and poetry in phatic function
- Art as communication and
stratification of the virtual object. A concrete electronic data
processing
- The object in the
hypermedia and in the net
- Conclusions
Artists'
List:
COMPUTER POETRY, HYPERMEDIA AND INTERNET
In this section there are artists and groups who produced hypertexts
and
hypermedia for CD-ROM or for Internet, generative writing, web projects
or
net poetry; authors are also included who realized digital visual
poetry,
animations and holograms using the computer.
EDUARDO KAC
(Brasile)
DAVID DANIELS (USA)
AGRICOLA DE COLOGNE (Germania)
AKENATON
(Francia)
ANA MARIA URIBE (Argentina)
JEAN-PIERRE BALPE
(Francia)
PHILADELPHO MENEZES (Brasile)
AUGUSTO DE CAMPOS
(Brasile)
ANDREJ TISMA (Jugoslavia)
JASON NELSON (USA)
JIM ANDREWS
(Canada)
JUDSON WRIGHT (USA)
LUCIA LEAO (Brasile)
KARENINA.IT
(Internazionale)
DANIEL YOUNG(USA)
PATRICK-HENRI BURGAUD (Paesi
Bassi)
STANZA (UK)
REINER STRASSER (Belgio / Germania)
VALERY GRANCHER
(Francia)
DAVID KNOEBEL (USA)
JULIEN D'ABRIGEON (Francia)
OLIVIER AUBER
(Francia)
JIM ROSENBERG (USA)
WILTON AZEVEDO (Brasile)
JAKA ZELEZNIKAR
(Slovenia)
ALCKMAR LUIZ DOS SANTOS & GILBERTTO PRADO (Brasile)
JORGE
LUIZ ANTONIO (Brasile)
FATIMA LASAY (Filippine)
REGINA CELIA PINTO
(Brasile)
ALVARO ANDRADE GARCIA (Brasile)
FABIO DOCTOROVICH
(Argentina)
TOMMASO TOZZI - STRANONETWORK (Italia)
GENCO GULAN (Turchia /
USA)
ROBERT KENDALL (Canada)
DEENA LARSEN (USA)
LOSS PEQUEÑO GLAZIER
(USA)
MIEKAL AND (USA)
PANOS KOUROS (Grecia)
JORG PIRINGER
(AUSTRIA)
TAMAS WALICZKY (Ungheria)
CATERINA DAVINIO (Italia)
PERFORMANCE AND PERFORMERS
(Performance in video,
video-performance, computer performance, performance
in Internet)
This
section presents very heterogeneous artists referring to used media
and
research results, which go from the video document to low definition
analog
video, to digital elaborations, to multimedia performance,
environments and
installations, performances in Internet. The common aspect
is the centrality
of the body and/or of the voice, of sound and gesture
aspects of the
concrete presence, even if some of the artists have realized
also
not-performative works.
TIBOR PAPP (Ungheria)
DMITRY BULATOV
(Russia)
PHILIPPE CASTELLIN (Francia)
THANASIS CHONDROS E ALEXANDRA
KATSIANI (Grecia)
BARTOLOME FERRANDO (Spagna)
ENZO MINARELLI
(Italia)
XAVIER SABATER (Spagna)
NICHOLAS TARDY - CAROLINE SCHERB
(Francia)
MURIEL MODR (Francia)
JOACHIM MONTESSUIS (Francia)
VOLKER
SCHREINER (Germania)
MASSIMO MORI (Italia)
LUISA SAX (Italia)
EMILIO
FANTIN (Italia)
CLEMENTE PADÍN (Uruguay)
JEAN -CLAUDE GAGNON
(Canada)
NINA ZIVANCEVIC (Jugoslavia / USA)
ENNO STAHL
(Germania)
GINESTRA CALZOLARI (Italia)
NICOLA FRANGIONE
(Italia)
FERNANDO AGUIAR (Portogallo)
JACQUES DONGUY (Francia)
JEAN
MONOD (Francia)
WOLFGANG ZIEMER (Germania)
ELLIOTT LEVIN - DIRK BRUINSMA -
STEPHEN BUCHANAN (USA)
RYSZARD PIEGZA (Polonia)
CHARLES DREYFUS
(Francia)
MARK SUTHERLAND - NOBUO KUBOTA (Canada)
VIDEO
(Videopoetry, filmic poem an poem-video, computer video,
video-visual
poetry)
This part of the book encloses artists which have
produced heterogeneous
works regarding the techniques, which see a
predominant use of audio-visual
media in the form of the video, also digital,
realized for the projection
and for the installation.
ARIADNA CAPASSO, NORA CÉSAR, DAMIÁN KELLER
(Argentina)
ANNA ALCHUK - OLGA KUMEGER - SERGEY LETOV (Russia)
ALESSANDRA
CELLETTI (Italia)
ORBITA (Latvia)
AGATA CHIUSANO (Italia)
ROBERTA TORRE
(Italia)
CLAUDIO PALETTO (Italia)
ARNALDO ANTUNES (Brasile)
GIUSEPPE
ZIMMARDI (Italia)
JENNIFER BOZICK (USA)
KEVIN MC COY (USA)
MONICA
PETRACCI -TECNICHE BLU (Italia)
ANTONIO REZZA - FLAVIA MASTRELLA.
(Italia)
FABIO IAQUONE (Italia)
MICHEL CHION (Francia)
MARINA GRZINIC -
AINA SMID (Slovenia)
GARY HILL (USA)
MARIA KLONARIS-KATERINA THOMADAKI
(Grecia / Francia)
USMIS (Italia)
ELISABETTA FILOCAMO
(Italia)
ALESSANDRO AMADUCCI - ARRIGO LORA TOTINO (Italia)
GIORGIO LONGO
(Italia)
CHRISTINE RHEYS (Francia)
BRICE BOWMAN (USA)
HALSEY BROWN
(USA)
JAVIER ROBLEDO (Argentina)
ANTAL LUX (Germania)
VONDA YARBERRY -
JOHN PRESCOTT (USA)
SEBASTIEN PESOT (Canada)
CLAUDETTE LEMAY
(Canada)
JOANNA EMPAIN (Canada)
ROBIN DUPUIS (Canada)
BEATRICE BABIN
(Germania)
GIANNI TOTI (Italia)
WALTER UNGERER (USA)
ARIAS & ARAGON
(Perù)
ISABELLE HAYEUR (Canada)
ROLAND BALADI (Egitto)
GEORGE AGUILAR
(USA)
GIOVANOTTI MONDANI MECCANICI (Italia)
DON RITTER (Canada)
GIACOMO
VERDE (Italia)
CÉSAR MENEGHETTI (Brasile / Italia)
APPENDIX
In the Appendix can be found some of the
projects and festival curated by
Caterina Davinio in the 90s until 2002 (with
all the names of participating
artists).
CREDITS
Thank-you to everybody who
during the years supported my work, to the
artists included in this
publication for the iconic and textual material
necessary for the writing.
José-Carlos Mariategui and CICV for the contents
of Gianni Toti 's pages,
Patrick Zanoli for the frame taken from
Gramsciategui ou les poesimistes,
Jorge Luiz Antonio, and Thomas Bell, for
helping me in the English
translation.
Special thanks to Eugenio Miccini, who wanted this book, first
Italian
publication dedicated to the research in electronic art connected
with the
experimental poetry and with its multiform
language.
THE AUTHOR
Caterina
Davinio is computer artist, writer, curator.
She studied Italian
Literature at
Roma University I "La Sapienza". During the 90s she
organized
festivals and meetings in many Italian cities, creating a bridge
between the
experimental poetry and the circuit of electronic art. She was
one of the
first poets who realized animated poetry with the computer in
Italy, in
1990. Since 1998 her work appeared in Internet with collaborative
projects,
among them Karenina.it, become an international point of reference
of poetry
avant-garde. She presented world-wide her work in biennials and
festivals
(in more than 70 exhibitions), has published essays about new media
poetry,
catalogues, poems and computer poems, a novel (Còlor còlor, 1998).
Present
in hundreds of web pages and sites, among them "NY Art Magazine"
and
"Rhizome" (NY), and in art and literature experimental reviews (paper
and
software): "BoXon" (F), "Doc(K)s" (F), "Art on Line" (Brazil),
"JavaMuseum"
(D), and many others.
The effort, which
was of the avant-garde, to bring poetry out from the page, drives it through the
new media sea, taking it back to the oral and theatrical forms of the origins,
of which could be possible to record in digital every visual, sound, kinetic
aspect, and, otherwise, condenses the oral in the writing which is actuated by
SMS, e-mail, mailing lists, chat lines; but the total liberation of the words
risks to become a new captivity because of hyper technologies, able to produce
an ambient-page in which texts, objects and experiences could be closed again.
But neither the peculiarities of the electronic work as "in progress" object,
nor the detachment originated by the interactivity as selection of the route,
intrinsic to the hypertext, are able, as instead optimistically someone thinks,
to make the user/reader protagonist, because an hedonistic fruition is
accentuated by the spectacular nature of the hypermedia, of the total art-work,
and by the awareness to act in the virtual worlds within the limits of a
narrative pact without risks, or disseminated of false incidents like in the
graphic of a videogame. In my lecture "Writing/Virtual realities", in November
2000,[1]
based on many of the contents proposed
again in this essay, I asked to
me, as already at the beginning of the 90s, if, optimistically certain that the
new medium is just a new message, we would frequent the virtual worlds with the
same "revolutionary" disposition of people who telephone to answer a television
quiz or to choose the favorite song, considered that, if it is certainly true
that the medium is the message, is
worth the effort to become even certain that
it is not a reactionary message...
Many Years after
the first experimentation in Italy of virtual reality in the fine arts, use that
declared the death of the "representation", caused by the hypertrophy of the
electronic image itself, it seems that only few initiated have realized the
different nature of forms and visions in circulation in the media world, and the
experimental poets are called to enter the field again to defend the word from
the restoration of the page - also if it is presented in the attractive and
ambiguous possibilities made available by the hypermedia - from the
transposition in digital of images, texts and even avant-garde and
neo-avant-garde performances.
The present
study, exploration of what is emerged or is appearing in the Italian and
international landscape, contribution to the debate, under way also in the
visual arts, is born with the aim to bring clearness in the experimentation
area, generically defined for more than a decade "videopoetry", and in the more
recent field of what is called "net-poetry" only because published in Internet,
place in which are converging products derived from opposite art theories and
processes, condensed in identical digital objects, which finally come into the
same circuit of festivals, dense of contrasts and of apparent similarities. The
myopia of curators and critics towards a world that changes too quickly to allow
also a turnover in the top level of the culture, a world characterized not only
by the use of technologies in the arts, but by a multiplicity of experiences and
angulations from which is possible to watch them, has a reason: the not much
sincere interest in the electronic poetry: if poetry just is not, as generally
known, a lucrative field, still less the one that does not produce books or
shows, but virtual actions based on e-mail exchange or files that everybody can
clone and modify.
Some artists
posed the problem and tried to protect their sites, to sell them to canonical
institutions, as the museums, allowing the access by payment, missing the
original spirit of an art that had as bases opening, participation, capability
to go through and to be crossed from realities and experiences; there is who, on
the opposite front, theorizes the end of the individuality of the author, takes
up a position against the copy right, in favor of the anonymity, of the hacker
action and, as provocation, of the plagiarism.
For what concerns
specifically net poetry, paradoxically contributes to the distortion of its
meaning the growing curiosity it arouses and its presence in festivals that deal
with something other: in the field of literature, today as yesterday, with
reading of "paper"-texts and with performances that see on stage the same
performer of ever, in traditional shows on which multimedia are superimposed,
very far from the pure gesture, from the vocal expression of the origins, from
the nude and crude glottides movement of the sound poet, who, with the
virtuosity of his own uvulas deal definitively a blow to a poetry made of
symbolic language, to stretch the primary energy of the voice, as an extension
of the body, toward the spectator, without going through the lexical and
syntactical mind. If we go deeply into the mechanisms that give life to that
process, we are not very distant from the light (and "phatic") touch of the
mouse button that allows to us to reach someone who lives in the opposite
hemisphere of the planet and to do "poetry" without going through the
pretentious reasons of literature.
I never deeply
believed in the innovative capability of an egocentric scenic presence of the
performer in the performance, no matter if surrounded or not by technologic
sceneries, because I thought, since the beginning of the 90s, the idea of
presence was put in discussion by the dematerialization and dislocation, to whom
the virtual reality and the web force the body.[2]
And, also as an artist, I routed a new notion of presence, based on "remote"
poetry actions, realized in collaboration with groups and single artists.[3]
I think, in
short, that the antidote to the false revolutions is to begin not from the
enthusiasm for the future, but from a re-reading of a past which is still living
in the present: the lucidly desecrating poetry that in the 60s faced the mass
society, the advertisements, by assuming in an unexpected and polemic way their
stereotypes, by actuating a continuous meta-linguistic somersault, breaking the
poetic aura - of which, everyday more, digital works in high definition are
surrounded -: the discourse became fragmented, the grimace was exasperated,
deformed, contaminated with not verbal elements, producing the visual, sound,
performative poetry, ambient/installation-poetry, created by artists, really so
different from each other, as Mirella Bentivoglio, Julien Blaine, Tomaso Binga,
Eugenio Miccini, Luca Patella, Lamberto Pignotti, and many international others,
who have developed, in an original and differentiated way, experiences by
Fluxus, conceptual art, concrete poetry and Lettrism.
What I tried to
do, in Internet and out, was to create a bridge between the experimental poetry
and the electronic art, that at the end of the 80s in Italy was still
independent video, and in the 90s gradually became digital video, computer art,
CD art, web art, net-art, with everything that the disloc/action of the body in
the net brings in the notion of performance.
It is anyway in
front of everybody that the "visual" have become the kingdom, if not of the
ugly, at least of the worrying, of what appears not adapt to an hedonistic
fruition, and arrives to a negation of the visual self, forcing us sometimes to
the unpleasant - the aim is really other than the one to épater le
bourgeois of the avant-gardes: are
aware, the artists, to be not in front of a generic public of conformist
burgers, but in front of shrewd experts ready to be scandalized by nothing - the
ugly and the unpleasant as disturb elements in the communication, able to
produce communication following an internal logic proper of the process; this
happens while the world of the advertising and of commerce, of which the visual
and performative poets mimicked the low register and the rhymes, appropriated
itself, with few exceptions, in a persuasive way, of an electronic esthetics
devoted to the formal perfection, to the digital sharpness. From this fact we
should really draw our own conclusions.
For not returning
back to a re-codification of the “fine” is necessary to place a limit between
the "concrete" electronic image, net-poetry, and what, on the contrary, are the
archives of digitalized art, the magazines and reviews on line, the pointless
animation games, the interactive machines which take possession of our monitor
to surprise us with special effects, the run-up to the up-to-date graphic
software.
The net-artists
experiment with a very heavy substance, more heavy than marble and than bronze,
the one of the communication flux, going into the heart of the digital language
and in the grammar of the software, to force them towards distorted finalities
compared to those one for which they were planned. The difference between
"electronic image" and "concrete electronics" can be than observed
contemporaneously at a level of formal choices, which we have examined,
characterized by the accentuation of the relational and an-iconic aspect, and in
the field of the contents, where the theoretical discourse has overwhelmed the
production of visible forms and the critic seems to have won the match against
art, theory merges itself with the esthetic element and substitutes it, but also
celebrates the emancipation of the artist-writer from the criticism, and the
achievement of an art based on the word.
The considered
accentuation of the relational and an-iconic factor brings the work to be
contaminated with the society, with politics, and, in the opposite field, to
valorize the function of the language, that Jakobson defined "phatic", aimed to
keep open and operative the channel between sender and receiver, to verify its
functioning. The vocation to the hypertrophy of the communication and at the
same time to its annulment can be perceived in many mailing lists, news letters,
forums and news groups promoted by artists and poets, above all in the use that
of them is made, objectively devoted to realize the contact more than to
transfer real information: apart from the emblematic example of the SMS,
everyone can experiment how, by managing a great number of e-mail messages, the
reading is generally conducted randomically and very often abandoned after few
lines.
Finally, only the knowledge
of the rules of the “electronic” game can avoid the net to become a place of
mere accumulation and conservation. The invoked participation of the viewer and
opening of the work are generated effectively not only, as someone means, by
intrinsic qualities of the electronic art, but trough the collision with
"anomalous" "unidentified" objects of poetry, constructed by web poets, of which
this book presents a very rich and various catalogue; through the healthy jolt
provoked by these wandering mine in the media sea, but also with all that, as
history, art and criticism, there is behind, maybe it is possible to awake the
viewer, our self, from the wonder and to recompose the sense of the discourse in
the disloc/actions in the virtual spaces, a meaning that starts again from the
relationships between persons.
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ALTRI
Siti d'interesse:
Ars
Electronica Center Linz www.aec.at
Zentrum
für Kunst und Medientechnologie in Karlsruhe
www.zkm.de
Dia
Center New York www.diacenter.org
PLEXUS
www.plexus.org/omnizone
New
technologies for artists www.artnetweb.com
SIGGRAPH
www.siggraph.org
Musée
d'art contemporain de Montréal
http://media.macm.qc.ca
CICV
Pierre Schaeffer www.cicv.fr/
EPC
- Electronic Poetry Center
http://wings.buffalo.edu/epc/
Multimedia
Art Asia Pacific http://www.maap.org.au/
Davinio
Art Electronics http://space.tin.it/arte/cprezi/
ELO
- Electronic Literature Organization
www.eliterature.org/index2.html
Source
for hypertext www.eastgate.com/
The
Electronic Labyrinth Hypertext
http://jefferson.village.virginia.edu/elab/elab.html
Stuart
Moulthrop http://raven.ubalt.edu/staff/moulthrop/
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