random.issim - User contributions [en]

AURA

2025-10-28T13:12:20Z

Paula:

=== PABLO VALBUENA ===
Contextual light & sound installation. St Paul's Cathedral, London, UK. Custom led fixtures, architecture, organ, choir, voices, microphones, control computer.

Aura (2023) is a live installation that translates the sounds of the cathedral’s rituals into pulsating light. It listens to the sounds, voices and music generated in each ritual and transforms their frequency spectrum into a spectral aura of light projected at an architectural scale.   Aura refocuses attention on what makes this space a temple: its rituals. In The Disappearance of Rituals, Byung Chul-Han writes that rituals are to time what dwelling is to space. They structure time, they furnish it. Rituals make time habitable. The main quality of a ritual, of a temple, is its temporality. A temple is a space that slows down time, enabling introspection and a deeper experience of reality. Aura seeks to perceptually intensify the ritual and symbolic dimension of this space, enhancing its temporal qualities. 

Aura is live from September 15 until October 29, 2023. We highly recommend visiting during Evensong (daily 17h, Sundays 15h) to experience the full scope of the installation. Access is free during services. Detailed schedule here (www.londondesignfestival.com/activities/aura).

Aura is a contextual commission for the London Design Festival in collaboration with Artichoke for St Paul's Cathedral, generously supported by Bloomberg Philanthropies, to celebrate the 300th anniversary of Christopher Wren.

Hardware and Programming: Salvador Mauri, Joan Sandoval. Production Assistance: Hannah Standen, Kirsteen Martin, Helen Smith, Millie Walker, Craig Needs. Installation and Logistics: Gustavo Valera, Unusual Rigging, Project Audio, Paradigm 33.

Video and Photo documentation: Malcolm Targett, Ed Reeve.

https://vimeo.com/871571414

HYPER IMPRESSIONISM

2025-10-28T13:11:46Z

Paula:

=== QUIET ENSEMBLE ===
The apparently instinctive movement of a group of moving heads illuminates the space in a brilliant and stroboscopic dance, as mechanical animals draw on the surfaces of the architecture, leaving scratching trails of light imprinted, luminous lines that overlap each other create an intricate evanescent, ever-changing painting.
The iridescent paintings are generated exclusively by the contact between the lights and the surfaces of the architecture, like phantasmagoric brushstrokes the footprints left by the robots give the public a hyper-pictorial show, where the paintings are imprinted and then disappear, celebrating the "here and now ” as a fundamental of the hyper-impressionism.

Shooting and editing;
Something Surprising & Marcello Rotondella

https://www.quietensemble.com/

Referentes artísticos

2025-10-28T13:11:19Z

Paula:

Aquí presentamos una lista de referentes artísticos, de momento sin un orden específico:

[[Primera obra]], de XXX, del año XXXX.

=== '''REFERENTES INDIVIDUALES''' ===
[[Room for one colour|'''Room for one colour''']], Olafur Eliasson, 1997.

[[Skalar - Reflections on Light and Sound|'''Skalar - Reflections on Light and Sound''']], Christopher Bauder and Kangding Ray, 2025.

[[Drawing on the Water Surface|'''Drawing on the Water Surface''']], Team Labs, 2016.

'''[[Purgatorio]]''', Romeo Castellucci, 2008.

'''[[Monades]]''', Sabrina Ratté, 2020.

[[Adam's Passion|'''Adam's Passion''']], Bob Wilson y Arvo Pärt, 2015.

=== '''VIDEOJUEGOS''' ===
'''[[Unmanned]]''', [[Molleindustria]], 2012

=== RESEARCH ===
[[Calculating Empires|'''Calculating Empires''']] (A Genealogy of Technology and Power Since 1500), Kate Crawford and Vladan Joler, 2023

=== VIDEO MAPPING ===
'''[[AURA]]''' PABLO VALBUENA, 2023

'''[[HYPER IMPRESSIONISM]]''' QUIET ENSEMBLE

'''[[PARADOXA CUBE]]''' ONIONLAB, 2022

'''[[FLORS I VIATGES]]''' CABO SAN ROQUE, 2022

FLORS I VIATGES

2025-10-28T13:11:15Z

Paula:

=== CABO SAN ROQUE ===
La guerra i el seu record traumàtic tanca la trilogia d’instal·lacions immersives que cabosanroque ha dedicat a escriptors catalans. Ara la inspiració és Mercè Rodoreda.

Amb Flors i viatges, cabosanroque tanca la seva trilogia d’instal·lacions immersives dedicades a la interpretació lliure de l’obra d’escriptors catalans per abordar temes universals. Ara han creat un bosc fantàstic a partir de les obres Viatges i flors de Mercè Rodoreda, per reflexionar al voltant de la guerra i les seves conseqüències des dels ulls de dones i infants; de com el trauma i el pas del temps manipulen la memòria, modificant l’experiència viscuda per acabar construint alguna cosa que s’acosta a la ficció. A més dels llibres i de l’experiència viscuda per Rodoreda, apareixen els testimonis de dones i nens que van viure la Segona Guerra Mundial, recollits per la premi Nobel Svetlana Aleksiévitx.

Concepció, creació, dramatúrgia i direcció: cabosanroque

Text original: Mercè Rodoreda i Svetlana Aliéxievitx

Adaptació: cabosanroque

Amb la participació gravada de: Rocío Molina, Mónica López i Núria Martínez Vernis i de refugiades ucraïneses a la província de Girona

Traduccions del rus al català: Miquel Cabal

Traduccions del català a l’ucraïnès: Olena Velykodna

Música original: cabosanroque

Il·luminació: cabosanroque i Cube.bz

Vídeo: cabosanroque i Frau recerques visuals

Coproducció: cabosanroque, Temporada Alta 2022, Teatro del Español en el Matadero 2023, Grec Festival 2023, Teatre Nacional de Catalunya 2023, Théâtre Garonne – Scène européenne 2024 i Centre de Cultura Contemporània de Barcelona (CCCB)

https://cabosanroque.com/flors-i-viatges/

FLORS I VIATGES

2025-10-28T13:11:08Z

Paula: Created page with "CABO SAN ROQUE La guerra i el seu record traumàtic tanca la trilogia d’instal·lacions immersives que cabosanroque ha dedicat a escriptors catalans. Ara la inspiració és Mercè Rodoreda. Amb Flors i viatges, cabosanroque tanca la seva trilogia d’instal·lacions immersives dedicades a la interpretació lliure de l’obra d’escriptors catalans per abordar temes universals. Ara han creat un bosc fantàstic a partir de les obres Viatges i flors de Mercè Rodoreda,..."

CABO SAN ROQUE

La guerra i el seu record traumàtic tanca la trilogia d’instal·lacions immersives que cabosanroque ha dedicat a escriptors catalans. Ara la inspiració és Mercè Rodoreda.

Amb Flors i viatges, cabosanroque tanca la seva trilogia d’instal·lacions immersives dedicades a la interpretació lliure de l’obra d’escriptors catalans per abordar temes universals. Ara han creat un bosc fantàstic a partir de les obres Viatges i flors de Mercè Rodoreda, per reflexionar al voltant de la guerra i les seves conseqüències des dels ulls de dones i infants; de com el trauma i el pas del temps manipulen la memòria, modificant l’experiència viscuda per acabar construint alguna cosa que s’acosta a la ficció. A més dels llibres i de l’experiència viscuda per Rodoreda, apareixen els testimonis de dones i nens que van viure la Segona Guerra Mundial, recollits per la premi Nobel Svetlana Aleksiévitx.

Concepció, creació, dramatúrgia i direcció: cabosanroque

Text original: Mercè Rodoreda i Svetlana Aliéxievitx

Adaptació: cabosanroque

Amb la participació gravada de: Rocío Molina, Mónica López i Núria Martínez Vernis i de refugiades ucraïneses a la província de Girona

Traduccions del rus al català: Miquel Cabal

Traduccions del català a l’ucraïnès: Olena Velykodna

Música original: cabosanroque

Il·luminació: cabosanroque i Cube.bz

Vídeo: cabosanroque i Frau recerques visuals

Coproducció: cabosanroque, Temporada Alta 2022, Teatro del Español en el Matadero 2023, Grec Festival 2023, Teatre Nacional de Catalunya 2023, Théâtre Garonne – Scène européenne 2024 i Centre de Cultura Contemporània de Barcelona (CCCB)

https://cabosanroque.com/flors-i-viatges/

PARADOXA CUBE

2025-10-28T13:09:14Z

Paula:

=== ONIONLAB ===
We designed a purely immersive experience for the ISE, the biggest audio-visual fair in Europe, which took place in Barcelona between 10th and 13th May 2022. A cube of large LED screens, a structure where visitors were invited on a journey through time leaps and their contradictions.

Upon entering, visitors encountered Paradoxa, a journey through time in the form of a puzzle connecting physics and philosophy to make them reflect on timelines and the future that awaits us

The visuals moved around the room on LED screens generating experiences with a unique immersive effect. On the outer sides of the cube, we installed interactive screens to make the wait more enjoyable.

Time travel has long fascinated people, whether as a narrative device, logical puzzle, or field of study in physics and philosophy. The building undergoes temporal leaps, prompting contemplation of future possibilities.

We want the spectators to ask themselves questions: Can we shape our future through our present inquiries? Can we alter our present by journeying to the past? Could our existence cease if we alter our past?

Direction: Jordi Pont.
Producer: Aina Mesquida.
Art direction: Berta Gonzalez.
3D artists: Adam Alsina, Santiago Morrison and Albert Ribalta.
2D compositing: Gerard Rubio.
Music and sound design by Unai Lazcano.

https://www.onionlab.com/works/paradoxa-cube/

PARADOXA CUBE

2025-10-28T13:08:48Z

Paula: Created page with "We designed a purely immersive experience for the ISE, the biggest audio-visual fair in Europe, which took place in Barcelona between 10th and 13th May 2022. A cube of large LED screens, a structure where visitors were invited on a journey through time leaps and their contradictions. Upon entering, visitors encountered Paradoxa, a journey through time in the form of a puzzle connecting physics and philosophy to make them reflect on timelines and the future that awaits..."

We designed a purely immersive experience for the ISE, the biggest audio-visual fair in Europe, which took place in Barcelona between 10th and 13th May 2022. A cube of large LED screens, a structure where visitors were invited on a journey through time leaps and their contradictions.

Upon entering, visitors encountered Paradoxa, a journey through time in the form of a puzzle connecting physics and philosophy to make them reflect on timelines and the future that awaits us

The visuals moved around the room on LED screens generating experiences with a unique immersive effect. On the outer sides of the cube, we installed interactive screens to make the wait more enjoyable.

Time travel has long fascinated people, whether as a narrative device, logical puzzle, or field of study in physics and philosophy. The building undergoes temporal leaps, prompting contemplation of future possibilities.

We want the spectators to ask themselves questions: Can we shape our future through our present inquiries? Can we alter our present by journeying to the past? Could our existence cease if we alter our past?

Direction: Jordi Pont.
Producer: Aina Mesquida.
Art direction: Berta Gonzalez.
3D artists: Adam Alsina, Santiago Morrison and Albert Ribalta.
2D compositing: Gerard Rubio.
Music and sound design by Unai Lazcano.

https://www.onionlab.com/works/paradoxa-cube/

HYPER IMPRESSIONISM

2025-10-28T13:07:13Z

Paula: Created page with "The apparently instinctive movement of a group of moving heads illuminates the space in a brilliant and stroboscopic dance, as mechanical animals draw on the surfaces of the architecture, leaving scratching trails of light imprinted, luminous lines that overlap each other create an intricate evanescent, ever-changing painting. The iridescent paintings are generated exclusively by the contact between the lights and the surfaces of the architecture, like phantasmagoric bru..."

The apparently instinctive movement of a group of moving heads illuminates the space in a brilliant and stroboscopic dance, as mechanical animals draw on the surfaces of the architecture, leaving scratching trails of light imprinted, luminous lines that overlap each other create an intricate evanescent, ever-changing painting.
The iridescent paintings are generated exclusively by the contact between the lights and the surfaces of the architecture, like phantasmagoric brushstrokes the footprints left by the robots give the public a hyper-pictorial show, where the paintings are imprinted and then disappear, celebrating the "here and now ” as a fundamental of the hyper-impressionism.

Shooting and editing;
Something Surprising & Marcello Rotondella

https://www.quietensemble.com/

AURA

2025-10-28T13:06:00Z

Paula: Created page with "Aura. Pablo Valbuena, 2023. Contextual light & sound installation. St Paul's Cathedral, London, UK. Custom led fixtures, architecture, organ, choir, voices, microphones, control computer. Aura is a live installation that translates the sounds of the cathedral’s rituals into pulsating light. It listens to the sounds, voices and music generated in each ritual and transforms their frequency spectrum into a spectral aura of light projected at an architectural scale...."

Aura. Pablo Valbuena, 2023.

Contextual light & sound installation. St Paul's Cathedral, London, UK. Custom led fixtures, architecture, organ, choir, voices, microphones, control computer.

Aura is a live installation that translates the sounds of the cathedral’s rituals into pulsating light. It listens to the sounds, voices and music generated in each ritual and transforms their frequency spectrum into a spectral aura of light projected at an architectural scale.   Aura refocuses attention on what makes this space a temple: its rituals. In The Disappearance of Rituals, Byung Chul-Han writes that rituals are to time what dwelling is to space. They structure time, they furnish it. Rituals make time habitable. The main quality of a ritual, of a temple, is its temporality. A temple is a space that slows down time, enabling introspection and a deeper experience of reality. Aura seeks to perceptually intensify the ritual and symbolic dimension of this space, enhancing its temporal qualities. 

Aura is live from September 15 until October 29, 2023. We highly recommend visiting during Evensong (daily 17h, Sundays 15h) to experience the full scope of the installation. Access is free during services. Detailed schedule here (www.londondesignfestival.com/activities/aura).

Aura is a contextual commission for the London Design Festival in collaboration with Artichoke for St Paul's Cathedral, generously supported by Bloomberg Philanthropies, to celebrate the 300th anniversary of Christopher Wren.

Hardware and Programming: Salvador Mauri, Joan Sandoval. Production Assistance: Hannah Standen, Kirsteen Martin, Helen Smith, Millie Walker, Craig Needs. Installation and Logistics: Gustavo Valera, Unusual Rigging, Project Audio, Paradigm 33.

Video and Photo documentation: Malcolm Targett, Ed Reeve.

https://vimeo.com/871571414

Purgatorio

2025-10-18T16:41:27Z

Paula:

=== [https://temporada-alta.com/artistes/romeo-castellucci/ Romeo Castellucci] ===

=== Trilogia inspirada lliurament en la Divina Comèdia de Dante Alghieri ===
''Si a la Divina Comèdia el viatge pel més enllà el fem acompanyats del poeta romà Virgili, al Grec’09 és el mateix director italià Romeo Castellucci qui ens guia per aquest món desconegut per als vius, amb tal lucidesa que sembla que ell mateix l’hagi visitat abans. Castellucci, però, no confirma res. Tan sols reconeix haver deixat assecar el llibre de Dante Alighieri sobre seu, «com si es tractes d’una camisa mullada». La proposta escènica d’aquesta trilogia de la Divina Comèdia és moderna, plàstica, amb intenció clara d’afectar els sentits del públic, ja que, com afirma el director italià, «tot allò que pugui arribar al cor de l’espectador forma part de l’escriptura dramàtica». Així, amb aquesta nova versió, la mort perpètua de l’Infern guanya en complexitat, la condemna del Purgatori ens recorda les rutines de la vida real i el territori del Paradís esdevé un espai de trobada amb un mateix, una instal·lació de trànsit, una finestra dirigida a l’inabastable. Una trilogia en tres espais i dies diferents per marcar a foc lent la pell d’aquest Grec’09. Tot un viatge d’allò més singular, format per una col·lecció d’imatges paradisíaques i monstruoses, oníriques i més reals del que podem imaginar, que ens demostren el talent electritzant de Castellucci, un director total considerat, ja per tots dins el teatre europeu, com una de les seves grans estrelles.''

“Purgatorio”, segunda parte de la trilogía basada en la Divina Comedia de Dante Alighieri, es una pieza de teatro que ejemplifica el trabajo de Romeo Castellucci: la contraposición de los signos escénicos para fracturar el sentido narrativo tradicional y abrir el espacio de la representación a nuevas formas de percepción y nuevos significados. Esta tensión entre los signos produce una experiencia estética que desafía la lectura racional y apela directamente a la dimensión perceptiva, emocional y simbólica del público.
En el caso de la escena de “La Musique.”, se ve claramente como el diálogo entre ela palabra proyectada, el espacio sonoro, la escenografía (aún siendo un casa familiar funciona cómo metáfora del purgatorio, un espacio limitar, frío e impersonal) y la ausencia de presencia corporal, generan nuevos significados.

https://www.youtube.com/watch?v=khaJTXW_DpA (minuto 36:55)

==== Fitxa artística ====
'''Coreografia''': Romeo Castellucci, Cindy Van Acker; '''Direcció, escenografia, il·luminació i vestuari''': Romeo Castellucci; '''Música original''': Scott Gibons; '''Intèrprets''': Luca Del Pia, Davide Savorani, Juri Roverato, Sergio Scarlatella, Pier Paolo Zimmermann, Irena Radmanovic; '''Col·laboració en l'escenografia''': Giacomo Strada; '''Imatges del cel''': Zarpruder Filmakersgroup; '''Escultures, mecanismes i pròtesis''': Istvan Zimmermann, Giovanna Amoroso; '''Producció executiva''': MOM Produccions;

'''Coordinació de la construcció i els mecanismes escènics''': Salvo Di Martina; '''Ajudant d'il·luminació''': Fabio Sajiz; '''Maquinista''': Gabrielle Buonuomo, Salvo Di Martina, Fatmir Gjoka, Federico Lepri, Viviana Rella, Giorgio Retucci; '''Tècnic d'il·luminació''': Luciano Trebbi; '''Tècnic de so''': Matteo Braglia; '''Attrezzo''': Giacomo Strada; '''Vestuari''': Giulia Campolmi, Marion Gizard; '''Disseny de vestuari''': Gabriella Battistini, Marion Gizard; '''Direcció de producció''': Cosetta Nicolini; '''Mànager de la gira''': Benedetta Briglia; '''Direcció''': Gilda Biasini, Valentina Bertolino; '''Administració''': Michela Medri, Elisa Bruno, Simona Barducci; '''Assessorament''': Massimiliano Coli, Skupa srl;

'''Author''': Romeo Castellucci

Adam's Passion

2025-10-18T16:40:38Z

Paula:

=== [https://robertwilson.com/ Bob Wilson] / [https://www.arvopart.ee/en/arvo-part/ Arvo Pärt] ===
'''''Adam’s Passion''' is the moving first collaboration between two “masters of slow motion who harmonize perfectly with each other” (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson created a poetic visual world in which the mystical musical language of the Estonian composer Arvo Pärt could cast its meditative spell. Three of Pärt’s major works—'''Adam’s Lament''', '''Tabula rasa''', and '''Miserere''', as well as '''Sequentia''', a new work dedicated to Robert Wilson and composed especially for this production—were brought together using light, space, and movement to create a tightly-woven gesamtkunstwerk in which the artistic visions of these two great artists mirror each other.''

Bob Wilson, director de escena. Arvo Pärt, compositor. Ambos se definen por una estética aparentemente simple con líneas rectas y simetrías perfectas, que reflejan la búsqueda de lo trascendente (podríamos decir que beben directamente de este entorno 0 que hemos hablado). Ambas poéticas apuestan por la dilatación temporal, el silencio y la pausa. En el caso de Adam’s Passion, el intérprete tarda entre 60 y 70 minutos en cruzar el escenario de un extremo al otro.
Tanto en el tratamiento del espacio escénico, lumínico como sonoro, Adam's Passion remite una sensación de infinitud, un espacio sin límites ni referencias concretas. A diferencia de la pieza de Castellucci (espacio como umbral, territorio liminar) , aquí se expande hacia lo infinito y lo trascendente, abriendo una dimensión que parece situarse fuera de un tiempo concreto.

https://www.youtube.com/watch?v=Weg9J5OGl1o&t=221s

Monades

2025-10-18T16:38:44Z

Paula:

=== [https://sabrinaratte.com/ Sabrina Ratté] ===
Pigment ink printing, 120 x 120cm
''Monades is part of the artist's research around photogrammetry, a technique that makes it possible to digitize elements of reality to integrate them into virtual environments. This series of 4 prints, made from scans and 3D animation, integrates for the first time the body of the artist into her works. This modeled body becomes the raw material to be sculpted, deconstructed and recontextualized. Many inspirations have nourished this project, such as the concept of the cyborg by Donna J. Haraway, the drawings of Hans Bellmer, Greek mythology as well as the concept of monadology by Gottfried Wilhelm Leibniz. There is also an underlying reflection on the self-portrait and the place of the body in the digital world. Captive within the limits of their own subjectivities, these cyborgs/goddesses embody the concept of the monad, where each individual is a fragmented mirror of a larger reality.''

Sabrina Ratté, artista visual y digital, su práctica abarca la animación 3D, la fotogrametría, la síntesis de vídeo analógica, la impresión digital, la escultura y las instalaciones interactivas, conformando ecosistemas interconectados a través de múltiples plataformas. Explorando la convergencia entre la tecnología y la biología, así como la evolución especulativa de nuestro entorno, su obra investiga los límites porosos entre lo material y lo virtual, abordando la interacción entre lo orgánico, lo sintético y lo espiritual. Evoca mundos desprovistos de presencia humana, donde los restos de civilizaciones pasadas coexisten con mitologías especulativas.

Monades: https://sabrinaratte.com/MONADES-2020

Purgatorio

2025-10-18T16:36:51Z

Paula:

=== Romeo Castellucci ===

=== Trilogia inspirada lliurament en la Divina Comèdia de Dante Alghieri ===
''Si a la Divina Comèdia el viatge pel més enllà el fem acompanyats del poeta romà Virgili, al Grec’09 és el mateix director italià Romeo Castellucci qui ens guia per aquest món desconegut per als vius, amb tal lucidesa que sembla que ell mateix l’hagi visitat abans. Castellucci, però, no confirma res. Tan sols reconeix haver deixat assecar el llibre de Dante Alighieri sobre seu, «com si es tractes d’una camisa mullada». La proposta escènica d’aquesta trilogia de la Divina Comèdia és moderna, plàstica, amb intenció clara d’afectar els sentits del públic, ja que, com afirma el director italià, «tot allò que pugui arribar al cor de l’espectador forma part de l’escriptura dramàtica». Així, amb aquesta nova versió, la mort perpètua de l’Infern guanya en complexitat, la condemna del Purgatori ens recorda les rutines de la vida real i el territori del Paradís esdevé un espai de trobada amb un mateix, una instal·lació de trànsit, una finestra dirigida a l’inabastable. Una trilogia en tres espais i dies diferents per marcar a foc lent la pell d’aquest Grec’09. Tot un viatge d’allò més singular, format per una col·lecció d’imatges paradisíaques i monstruoses, oníriques i més reals del que podem imaginar, que ens demostren el talent electritzant de Castellucci, un director total considerat, ja per tots dins el teatre europeu, com una de les seves grans estrelles.''

“Purgatorio”, segunda parte de la trilogía basada en la Divina Comedia de Dante Alighieri, es una pieza de teatro que ejemplifica el trabajo de Romeo Castellucci: la contraposición de los signos escénicos para fracturar el sentido narrativo tradicional y abrir el espacio de la representación a nuevas formas de percepción y nuevos significados. Esta tensión entre los signos produce una experiencia estética que desafía la lectura racional y apela directamente a la dimensión perceptiva, emocional y simbólica del público.
En el caso de la escena de “La Musique.”, se ve claramente como el diálogo entre ela palabra proyectada, el espacio sonoro, la escenografía (aún siendo un casa familiar funciona cómo metáfora del purgatorio, un espacio limitar, frío e impersonal) y la ausencia de presencia corporal, generan nuevos significados.

https://www.youtube.com/watch?v=khaJTXW_DpA (minuto 36:55)

==== Fitxa artística ====
'''Coreografia''': Romeo Castellucci, Cindy Van Acker; '''Direcció, escenografia, il·luminació i vestuari''': Romeo Castellucci; '''Música original''': Scott Gibons; '''Intèrprets''': Luca Del Pia, Davide Savorani, Juri Roverato, Sergio Scarlatella, Pier Paolo Zimmermann, Irena Radmanovic; '''Col·laboració en l'escenografia''': Giacomo Strada; '''Imatges del cel''': Zarpruder Filmakersgroup; '''Escultures, mecanismes i pròtesis''': Istvan Zimmermann, Giovanna Amoroso; '''Producció executiva''': MOM Produccions;

'''Coordinació de la construcció i els mecanismes escènics''': Salvo Di Martina; '''Ajudant d'il·luminació''': Fabio Sajiz; '''Maquinista''': Gabrielle Buonuomo, Salvo Di Martina, Fatmir Gjoka, Federico Lepri, Viviana Rella, Giorgio Retucci; '''Tècnic d'il·luminació''': Luciano Trebbi; '''Tècnic de so''': Matteo Braglia; '''Attrezzo''': Giacomo Strada; '''Vestuari''': Giulia Campolmi, Marion Gizard; '''Disseny de vestuari''': Gabriella Battistini, Marion Gizard; '''Direcció de producció''': Cosetta Nicolini; '''Mànager de la gira''': Benedetta Briglia; '''Direcció''': Gilda Biasini, Valentina Bertolino; '''Administració''': Michela Medri, Elisa Bruno, Simona Barducci; '''Assessorament''': Massimiliano Coli, Skupa srl;

'''Author''': Romeo Castellucci

Referentes artísticos

2025-10-18T16:33:49Z

Paula:

Referentes artísticos

2025-10-18T16:33:11Z

Paula:

Aquí presentamos una lista de referentes artísticos, de momento sin un orden específico:

[[Primera obra]], de XXX, del año XXXX.

'''REFERENTES INDIVIDUALES'''

[[Room for one colour|'''Room for one colour''']], Olafur Eliasson, 1997.

[[Skalar - Reflections on Light and Sound|'''Skalar - Reflections on Light and Sound''']], Christopher Bauder and Kangding Ray, 2025.

[[Drawing on the Water Surface|'''Drawing on the Water Surface''']], Team Labs, 2016.

'''[[Purgatorio]]''', Romeo Castellucci, 2008.

'''[[Monades]]''', Sabrina Ratté, 2020.

[[Adam's Passion|'''Adam's Passion''']], Bob Wilson y Arvo Pärt, 2015.

'''VIDEOJUEGOS'''

'''[[Unmanned]]''', [[Molleindustria]], 2012

RESEARCH

[[Calculating Empires|'''Calculating Empires''']] (A Genealogy of Technology and Power Since 1500), Kate Crawford and Vladan Joler, 2023

Calculating Empires

2025-10-18T16:30:52Z

Paula: Created page with "== [https://calculatingempires.net/ Calculating Empires] == === A Genealogy of Technology and Power Since 1500 === ==== Kate Crawford and Vladan Joler (2023) ==== How can we understand the operations of technology and power in our era? Our technological systems are increasingly complex, interconnected, automated and opaque. Social institutions, from schools to prisons, are becoming data industries, incorporating pervasive forms of capture and analysis. Even places that..."

== [https://calculatingempires.net/ Calculating Empires] ==

=== A Genealogy of Technology and Power Since 1500 ===

==== Kate Crawford and Vladan Joler (2023) ====
How can we understand the operations of technology and power in our era? Our technological systems are increasingly complex, interconnected, automated and opaque. Social institutions, from schools to prisons, are becoming data industries, incorporating pervasive forms of capture and analysis. Even places that were once off-limits to capital, from our emotional expressions to outer space, are now subject to computational control and extraction. Meanwhile, the industrial transformations in AI are concentrating power into even fewer hands, while accelerating polarization and alienation. If we are to address the urgent challenges of the contemporary time - including technocratic fascism, climate catastrophe, colonial wars, and wealth inequality - we need to contend with the interwoven nature of their histories. In order to have a future, we must first confront our past.

Calculating Empires is a large-scale research visualization exploring how technical and social structures co-evolved over five centuries. The aim is to view the contemporary period in a longer trajectory of ideas, devices, infrastructures, and systems of power. It traces technological patterns of colonialism, militarization, automation, and enclosure since 1500 to show how these forces still subjugate and how they might be unwound. By tracking these imperial pathways, Calculating Empires offers a means of seeing our technological present in a deeper historical context. And by investigating how past empires have calculated, we can see how they created the conditions of empire today.

Calculating Empires centers on four themes: communication, computation, classification and control. Across the centuries, the work illustrates the shifts in communication devices, infrastructures, and computational architectures, and how they are entwined with the histories of social control and classification. The vertical axis represents time, beginning with the 16th century at the base. The horizontal axis features a collection of systems: from algorithms to architecture, bodies to borders. Navigation is flexible: you can follow a theme, a time period, or set of ideas.

If we read from left to right, the work begins with the history of communication devices and the interfaces needed to access them. Next we see programming languages and the communication infrastructures that operate in the background: from submarine telegraph cables, to satellites, to the electromagnetic spectrum.

As we follow the data flows from those communications systems, they are collected and organized by museums, film and TV archives, data brokers, and AI training datasets. That data is then used to train algorithms and models that have their own histories, shaped by the labor of programmers and crowdworkers. It is all powered by energy-intensive computational hardware that is expanding exponentially in multiple directions, from hyperscale data centers, to biological computing, to quantum.

The work then moves to the themes of classification and control. It begins with time as a concept that orders human actions and labor, and then education as another social structuring process that shapes and organizes social norms, values, and hierarchies. Next we turn to the history of ideas about emotions and intelligence, as well as the shaping of the human body itself.

We see practices of classification and control in biometrics and medical data, in the disciplinary systems of prisons and policing, and in the way borders and bureaucracy regulate the movements of people and information.

This brings us to the heart of Calculating Empires: colonialism and the paths of empires over history, with their accompanying political and economic ideologies that inform industrial production and energy extraction.

The final section of the work contends with the strata of planetary classification: from the mineral layer of the lithosphere, all the way up to the astrosphere. Then we consider the concept of space in other ways, how mapping and architecture are themselves systems of control. Finally, we see multiple layers of militarized power, from surveillance technologies, to authoritarian doctrines, to entire military systems.

The contemporary tendency toward simplification and solutionism has weakened the ability to handle dense information, while our technical and environmental realities only become more complex and interdependent. By visualizing these interlaced histories of empire in intricate detail, we hope to better understand our current predicament. In the words of French historian Fernand Braudel, “if one wants to understand the world, one has to determine the hierarchy of forces, currents, and individual movements, and then put them together to form an overall constellation.” Calculating Empires invites the visitor inside this constellation.

Calculating Empires begins with a key moment when global networks - both cultural and mercantile - began to take shape in the 1500s. New trade routes meant the expansion of European empire. Advances in shipping and navigational instruments enabled the annexation of lands and genocide of Indigenous populations while introducing new viruses, drugs, and weapons. The Gutenberg press reorganized information power and laid the groundwork for a political and cultural transformation. New scientific instruments and calculation systems were developed. The meticulous cataloging and privatization of land, animals, plants, and space commenced a layered agenda of colonization that continued to expand for centuries. These practices of past empires are now echoed in the highly concentrated technology and military industries of the 21st century.

Every reading of this work is different, and you're invited to draw your own connections. Hundreds of individual drawings and texts span centuries of conflict, enclosure, and control. We suggest taking your time and reading slowly - a radical act in an era of speed and simplification. A close examination of these patterns over several centuries reveals the ascendance of particular ideas and technologies, the concentration of power and wealth, and the colonization of land, infrastructure, and human lifeworlds.

The history of science and technology is also a story of visualizations. From the Venn diagram to the neural network, visual illustrations have shaped the conceptual horizons of the scientific imaginary. We use the same method to show how technology is political, not separate from it. Even diagrammatic representations - from the Gannt chart to the logic gate - are forms of organizing information which embed a political structure.

Calculating Empires takes Donna Haraway's provocation literally that we need to map the “informatics of domination.” The technologies of today are the latest manifestations of a long line of entangled systems of knowledge and control. This is the purpose of our visual genealogy: to show the complex interplay of systems of power, information, and circumstance across terrain and time, in order to imagine how things could be otherwise.

This work can never be complete: it is necessarily partial, subjective, and drawn from our own positionality. But that openness is part of the project. You are invited to read, reflect, and consider your own history in the recurring stories of calculation and empire. As the overwhelming now continues to unfold, Calculating Empires offers the possibility of looking back, in order to consider how different futures could be envisioned and realized.

Molleindustria

2025-10-18T16:25:21Z

Paula:

'''Mol·lein·dus·tria / mòl-le indùstria /mòl-le inˈdustrja/:'''

1. Soft Industry.

2. Soft Factory.

3. A project of reappropriation of video games.

4. A call for the radicalization of popular culture.
5. An independent game developer.

Since 2003 we produced artisanal remedies to the idiocy of mainstream entertainment in the form of short experimental games. Our products range from satirical business simulations (McDonald’s Video game, Oiligarchy) to meditations on labor and alienation (Every Day the Same Dream, Unmanned), from playable theories (To Build a Better Mousetrap, A Short History of the Gaze) to agitprop games (Democratic Socialism Simulator, Casual Games for Protesters, Phone Story).

[https://vimeo.com/166296194 Here] you can watch a video introduction of Molleindustria’s games until 2016.

[https://www.molleindustria.org/blog/molleindustria-manifesto-2003/ Here] you can read a translation of original press release and manifesto for the launch of the project from December 2003.

https://www.molleindustria.org/blog/

Molleindustria

2025-10-18T16:25:10Z

Paula: Created page with "Mol·lein·dus·tria / mòl-le indùstria /mòl-le inˈdustrja/: 1. Soft Industry. 2. Soft Factory. 3. A project of reappropriation of video games. 4. A call for the radicalization of popular culture. 5. An independent game developer. Since 2003 we produced artisanal remedies to the idiocy of mainstream entertainment in the form of short experimental games. Our products range from satirical business simulations (McDonald’s Video game, Oiligarchy) to meditations on..."

Mol·lein·dus·tria / mòl-le indùstria /mòl-le inˈdustrja/:

1. Soft Industry.

2. Soft Factory.

3. A project of reappropriation of video games.

4. A call for the radicalization of popular culture.
5. An independent game developer.

Since 2003 we produced artisanal remedies to the idiocy of mainstream entertainment in the form of short experimental games. Our products range from satirical business simulations (McDonald’s Video game, Oiligarchy) to meditations on labor and alienation (Every Day the Same Dream, Unmanned), from playable theories (To Build a Better Mousetrap, A Short History of the Gaze) to agitprop games (Democratic Socialism Simulator, Casual Games for Protesters, Phone Story).

[https://vimeo.com/166296194 Here] you can watch a video introduction of Molleindustria’s games until 2016.

[https://www.molleindustria.org/blog/molleindustria-manifesto-2003/ Here] you can read a translation of original press release and manifesto for the launch of the project from December 2003.

https://www.molleindustria.org/blog/

Unmanned

2025-10-18T16:23:13Z

Paula:

'''Unmanned'''

''Now you get to play the newest kind of soldier: one who remotely drops bombs on foreign soil during the day, and at night goes home to his family in the suburbs. In Unmanned, the conflict is internal - the only blood you'll shed is from shaving cuts. But is there collateral damage in this new way of waging war?''

Controls: Mouse

Watch trailer
Unmanned is a game by Molleindustria.

Words: Jim Munroe

Original Music: Jesse Stiles.

Additional musicians in Fried Chicken:
Electric guitar: John King.
Cello: Audrey Riley.
Lyrics: Queen.

Unmanned is licensed under a Creative Commons License. Molleindustria 2012.

https://unmanned.molleindustria.org/#

Unmanned

2025-10-18T16:22:58Z

Paula: Created page with "Unmanned Now you get to play the newest kind of soldier: one who remotely drops bombs on foreign soil during the day, and at night goes home to his family in the suburbs. In Unmanned, the conflict is internal - the only blood you'll shed is from shaving cuts. But is there collateral damage in this new way of waging war? Controls: Mouse Watch trailer Unmanned is a game by Molleindustria. Words: Jim Munroe Original Music: Jesse Stiles. Additional musicians in Fried C..."

Unmanned

Now you get to play the newest kind of soldier: one who remotely drops bombs on foreign soil during the day, and at night goes home to his family in the suburbs. In Unmanned, the conflict is internal - the only blood you'll shed is from shaving cuts. But is there collateral damage in this new way of waging war?

Controls: Mouse

Watch trailer
Unmanned is a game by Molleindustria.

Words: Jim Munroe

Original Music: Jesse Stiles.

Additional musicians in Fried Chicken:
Electric guitar: John King.
Cello: Audrey Riley.
Lyrics: Queen.

Unmanned is licensed under a Creative Commons License. Molleindustria 2012.

https://unmanned.molleindustria.org/#

Referentes artísticos

2025-10-18T16:19:25Z

Paula:

Aquí presentamos una lista de referentes artísticos, de momento sin un orden específico:

[[Primera obra]], de XXX, del año XXXX.

[[Room for one colour|'''Room for one colour''']], Olafur Eliasson, 1997.

[[Skalar - Reflections on Light and Sound|'''Skalar - Reflections on Light and Sound''']], Christopher Bauder and Kangding Ray, 2025.

[[Drawing on the Water Surface|'''Drawing on the Water Surface''']], Team Labs, 2016.

'''[[Purgatorio]]''', Romeo Castellucci, 2008.

'''[[Monades]]''', Sabrina Ratté, 2020.

[[Adam's Passion|'''Adam's Passion''']], Bob Wilson y Arvo Pärt, 2015.

Adam's Passion

2025-10-18T16:19:04Z

Paula: Created page with "Bob Wilson, director de escena. Arvo Pärt, compositor. Ambos se definen por una estética aparentemente simple con líneas rectas y simetrías perfectas, que reflejan la búsqueda de lo trascendente (podríamos decir que beben directamente de este entorno 0 que hemos hablado). Ambas poéticas apuestan por la dilatación temporal, el silencio y la pausa. En el caso de Adam’s Passion, el intérprete tarda entre 60 y 70 minutos en cruzar el escenario de un extremo al otr..."

Bob Wilson, director de escena. Arvo Pärt, compositor. Ambos se definen por una estética aparentemente simple con líneas rectas y simetrías perfectas, que reflejan la búsqueda de lo trascendente (podríamos decir que beben directamente de este entorno 0 que hemos hablado). Ambas poéticas apuestan por la dilatación temporal, el silencio y la pausa. En el caso de Adam’s Passion, el intérprete tarda entre 60 y 70 minutos en cruzar el escenario de un extremo al otro.
Tanto en el tratamiento del espacio escénico, lumínico como sonoro, Adam's Passion remite una sensación de infinitud, un espacio sin límites ni referencias concretas. A diferencia de la pieza de Castellucci (espacio como umbral, territorio liminar) , aquí se expande hacia lo infinito y lo trascendente, abriendo una dimensión que parece situarse fuera de un tiempo concreto.

https://www.youtube.com/watch?v=Weg9J5OGl1o&t=221s

Monades

2025-10-18T16:17:19Z

Paula: Created page with " Sabrina Ratté, artista visual y digital, su práctica abarca la animación 3D, la fotogrametría, la síntesis de vídeo analógica, la impresión digital, la escultura y las instalaciones interactivas, conformando ecosistemas interconectados a través de múltiples plataformas. Explorando la convergencia entre la tecnología y la biología, así como la evolución especulativa de nuestro entorno, su obra investiga los límites porosos entre lo material y lo virtual, a..."

Sabrina Ratté, artista visual y digital, su práctica abarca la animación 3D, la fotogrametría, la síntesis de vídeo analógica, la impresión digital, la escultura y las instalaciones interactivas, conformando ecosistemas interconectados a través de múltiples plataformas. Explorando la convergencia entre la tecnología y la biología, así como la evolución especulativa de nuestro entorno, su obra investiga los límites porosos entre lo material y lo virtual, abordando la interacción entre lo orgánico, lo sintético y lo espiritual. Evoca mundos desprovistos de presencia humana, donde los restos de civilizaciones pasadas coexisten con mitologías especulativas. (https://sabrinaratte.com/)

Monades: https://sabrinaratte.com/MONADES-2020

Referentes artísticos

2025-10-18T16:15:14Z

Paula:

Purgatorio

2025-10-18T16:15:01Z

Paula: Created page with "“Purgatorio”, segunda parte de la trilogía basada en la Divina Comedia de Dante Alighieri, es una pieza de teatro que ejemplifica el trabajo de Romeo Castellucci: la contraposición de los signos escénicos para fracturar el sentido narrativo tradicional y abrir el espacio de la representación a nuevas formas de percepción y nuevos significados. Esta tensión entre los signos produce una experiencia estética que desafía la lectura racional y apela directamente a..."

“Purgatorio”, segunda parte de la trilogía basada en la Divina Comedia de Dante Alighieri, es una pieza de teatro que ejemplifica el trabajo de Romeo Castellucci: la contraposición de los signos escénicos para fracturar el sentido narrativo tradicional y abrir el espacio de la representación a nuevas formas de percepción y nuevos significados. Esta tensión entre los signos produce una experiencia estética que desafía la lectura racional y apela directamente a la dimensión perceptiva, emocional y simbólica del público.
En el caso de la escena de “La Musique.”, se ve claramente como el diálogo entre ela palabra proyectada, el espacio sonoro, la escenografía (aún siendo un casa familiar funciona cómo metáfora del purgatorio, un espacio limitar, frío e impersonal) y la ausencia de presencia corporal, generan nuevos significados.

https://www.youtube.com/watch?v=khaJTXW_DpA (minuto 36:55)