Festival Arte Elettronica

 

Manifesto

Mi trovo a LINZ per partecipare al nostro annuale convegno sull’e-government, quando il manifesto qui a fianco focalizza la mia attenzione ed nel mio inconscio iniziano a ravvivarsi ricordi evidentemente mai sopiti. In effetti la grandissima intuizione dell’allora assessore alla cultura Vera Santarelli aveva fatto nascere a Camerino un Festival di Arte Elettronica unico in Europa insieme appunto a quello di Linz.

Le due manifestazione di grandissimo livello internazionale sono evolute nel tempo in maniera completamente divergente : la nostra è andata sminuendosi negli anni  sempre con pochissimi finanziamenti sino ad essere chiusa ( era stata del resto una idea dei comunisti e quelli che vi partecipavano erano di sinistra); mentre quella di Linz ha preso vigore sino al punto che la municipalità di Linz , il rispettivo Land e lo stato hanno creato una sede permanete chiamata ARS ELECTRONICA CENTER ( vedi foto) visitato da migliaia di turisti con ingresso a pagamento ( 7 euro). A pensare che da noi l’unica opera elettronica che un artista ci aveva regalato ( la scimmia parlante) l’abbiamo rimandata al mittente perche deturpava i giardini pubblici ( invece l’asfalto ed il muro diroccato no !!!!!! ).

 

Ora si risente qualcuno parlare di ripensare a questa manifestazione ma come si dice da noi “ è inutile chiude lu rappo quando le vacche se ne so jite”. Del resto dal 1986 ad oggi molte cose sono cambiate nell’arte digitale e vi riporto quello che sul sito del festival si dice a proposito dell’arte elettronica.

“Ars Electronica made its debut on September 18, 1979. This festival of art, technology and society spotlighted the emerging Digital Revolution. In his preface to what was going on then, Mayor Franz Hillinger wrote (with specific reference to music): “Ars Electronica is giving rise to a new tonal coloration in which state-of-the-art technology is dovetailing with the intellectual spirit of the age to open up undreamt-of expressive possibilities. [...] I am absolutely convinced that this new melodic parlance will ultimately be widely understood. After all, with the help of electronic music, it can even be made visible, be implemented in color, contour, line and rhythm that can be followed onscreen.” He would be proven correct. Content is missing  

Within a few years, Ars Electronica developed into one of the world’s foremost media art festivals. And its growing success was paralleled by the expansion of its annual lineup of events. The 1979 festival proudly presented 20 artists and scientists; in 2008, no fewer than 484 speakers and artists from 25 countries were in attendance.

 

For nearly three decades now, this world-renowned event has provided an annual setting for artistic and scientific encounters

with social and cultural phenomena that are the upshot of technological change. Symposia, exhibitions, performances and interventions carry these inquiries beyond the confines of conventional conference spaces and cultural venues and take them out into the public sphere and throughout the cityscape.

In this process of pervading public spaces and staging festival activities in interesting and appropriate physical settings, Ars Electronica has consistently displayed extraordinary imaginativeness. From the harbor to the mines, from factories to outlying monasteries, unusual locations have repeatedly served as sites of performances and interventions, and have, in turn, been reinterpreted by them.

But the attractiveness of Ars Electronica isn’t attributable solely to participation by renowned scientists and artists from all over the world. Or to remarkable venues. Above all, it’s the international audience that makes the biggest contribution to the festival spirit: the colorful mix of old friends and new faces who conjure up extraordinary circumstances—a “fruitful state of emergency”—every September in Linz “.

CHIARO ?  Oramai non c’e’ trippa per gatti ( per i linguisti : no trips for the chats) … a meno che !!!!!

MA QUESTO LO VEDREMO IN UNA PROSSIMA PUNTATA