Tag Archives: futurist

Nanni Balestrini Political Art Retrospective Exhibition Includes Early Computer Works

CENTER FOR ITALIAN ART ANNOUNCES NEW EXHIBITION: 
NANNI BALESTRINI: ART AS POLITICAL ACTION ONE THOUSAND AND ONE VOICES ON VIEW NOW UNTIL- JUNE 22, 2024
Nanni Balestrini, Cavallo, 1963. Collage on paper. Private collection, courtesy Frittelli arte contemporanea, Florence
(New York, February/March, 2024) – The Center for Italian Modern Art (CIMA) has launched its new exhibition, NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini. This is the first retrospective exhibition in the United States of Nanni Balestrini (1935-2019), an Italian experimental visual artist, poet, and novelist known for his revolutionary artistic practice and passionate involvement in the social-political movements of the 1960s and 1970s. 
Born in Milan in 1935, Balestrini was a key protagonist of post-WW2 Italian literary and social avant-garde movements: he approached experimental poetry with a visual sensibility stemming from the artistic use of collage, and with a compositional practice that gave importance to the editing and recombining of existing texts (especially newspapers, magazines, and political slogans) in search for the expression of a collective enunciation.

Nanni Balestrini born July 1935 died May 2019

Nanni Balestrini, 65000 Ètudiants, 1972. Mixed media on panel. Collezione Emilio Mazzoli, Modena
Nanni Balestrini, Cronogramma, 1960s. Collage on paper. Private collection.
He worked side by side with contemporary composers interested in the creative potential of stochastic music and the relationship between computer technology and art. Much of his radical artistic and literary research also developed in dialogue with his participation in the student and workerist movements of the late 1960s and 1970s, and their explosive political charge. Much emphasis has been placed on the exclusively typographical character of writing in Balestrini’s artistic works. This exhibition will instead draw attention to the double acoustic and visual level of Balestrini’s word or, better yet, to what Paolo Fabbri described as its “phonic-optic indiscernibility.”

NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini, focuses on two crucial decades in the career of Balestrini, the 1960s and the 1970s. It includes over 70 works by the artist, along with a range of documentary material. The works from the 1960s illustrate a creative phase when Balestrini shared research interests with Luigi Nono, one of the most important 20th-century experimental composers, and when the neo-avant garde literary movement Gruppo 63 was also founded. The creative relationship between Balestrini and Nono lasted an entire decade, and the exhibition sheds light on the search for the disalienation of the word pursued by both, as well as on their use of technology as a way to seize and subvert the means of industrial production and explore their artistic potential.

The final works in the exhibition date back to the late 1970s; some of them were conceived in connection with a poem dedicated to the New York City electricity blackout of 1977. Planned as an “action for voice” to be performed by Greek-Italian lyricist and vocal experimenter Demetrio Stratos in May 1979, the work was never performed due to the premature death of Stratos and Balestrini’s indictment surrounding the political movement Autonomia Operaia.

The exhibition also includes a reconstruction of Balestrini’s Tape Mark I (1961), one of the earliest examples of computer-generated art. A combinatory poem produced by an algorithm written in the Unix programming language on a massive IBM mainframe computer, Tape Mark I anticipates many of the contemporary questions surrounding Artificial Intelligence, and was featured in the 1962 edition of the Bompiani Literary Almanac, which was dedicated to “the application of computers to ethics and literature”, a theme of utmost relevance today. 

To provide context to Balestrini’s work, the show features a selection of early words-in-freedom works by Futurist artist Carlo Carrà, a form of avantgarde visual poetry that liberated words and letters from the conventions of grammar and syntax, making them part of visual and performative compositions. This technique was co-opted by the Italian Neoavanguardia in the 1960s, due to the revolutionary potential of the early Futurist movement.
NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES is on view at CIMA (421 Broome Street, 4th Floor, New York, NY 10013) from February 22nd – June 22nd, 2024. See visiting hours below. 

Python reconstruction of 1961 electronic poem “TAPE MARK 1”

Nanni Balestrini, Giornale di bordo (La partita a carte), 1964. Collage on paper. Private collection, Mirano (Venezia)
CIMA OPEN HOURS: • Friday and Saturday: 11am to 6pm with guided tours at 11am and 2pm (last entry at 5pm)• Members-only hours: Monday-Thursday by appointment• General admission: $15usd for guided tours; $10usd for open hours• Members & students: free
ABOUT CIMA:Founded in 2013, CIMA is a public non-profit dedicated to presenting modern and contemporary Italian art to international audiences. Through critically acclaimed exhibitions—many of them bringing work to U.S. audiences for the first time—along with a wide variety of public programs and substantial support for new scholarship awarded through its international fellowship program, CIMA situates Italian modern art in an expansive historic and cultural context, illuminating its continuing relevance to contemporary culture and serving as an incubator of curatorial ideas for larger cultural institutions. CIMA works to add new voices to scholarship on modern Italian art with annual fellowships that open fresh perspectives and new avenues of research. A visit begins with a complimentary espresso, followed by an informal exhibition tour with one of the resident fellows. Visitors are welcome to linger for additional viewing and conversation.

ABOUT CURATOR MARCO SCOTINI: Marco Scotini is an art critic and curator. He currently is artistic director of FM Centro per l’Arte Contemporanea in Milan, a center specializing in the preservation and enhancement of private collections, artists’ archives and the promotion of contemporary art. Since 2004, he has been director of the Department of Visual Arts at Nuova Accademia di Belle Arti of Milan and Rome. He is scientific director of the Gianni Colombo Archive, the Bert Theis Archive, the Clemen Parrocchetti Archive and the Nanni Balestrini Archive. Since 2014, he has been responsible for the exhibition program of PAV- Parco Arte Vivente in Turin. He was artistic director of the 2nd Yinchuan Biennale in 2018 and was a member of the Italian Council from 2019 to 2021. He has curated exhibitions for leading national and international art institutions, including the Albanian pavilion at the Venice Biennale (2015), three editions of the Prague Biennale (2003, 2005, 2007), Anren Biennale (2017), 2nd Yinchuan Biennale (2018) and was advisor for Bangkok Biennale (2020 and 2022). He took part in the 17th Istanbul Biennale (2022) and the BETA Timișoara Biennale (2022). He has been part of the project TV Politics at documenta 14 (2017). Scotini’s project Disobedience Archive is part of the 60th Mostra Internazionale d’Arte della Biennale di Venezia (2024), curated by Adriano Pedrosa.

Was Fabled Pontiac Aztek Design Influenced by Bladerunner?

Upon it’s release in 1982 Bladerunner polarized film critics and quickly divided the viewing audience. Critics had no cinematic basis on which to make a comparison and watchers were unsure what to make of it. There were a few forward thinkers who sensed its bold departure from the ordinary and they mainly focused on the mindblowing design of its imagined world. We can say the same about the Pontiac Aztek upon it’s release in 2001.

Image result for bladerunner city street

More than an exercise in design.

Bladerunner crammed a lot into a relatively short running time: a detective story (which really should used the phrase “bounty hunter adventure”), a love story (how could Deckard NOT fall for the gorgeous Rachel?) , a revenge story (Batty’s answer to the inevitable end of his four year life span was to murder his creator)and a number of subplots that are beyond the scope of this short article. As the years passed, re-cuts and re-releases proved the critics to be wrong. Bladerunner is Shakespearean.

Before becoming a leading Futurist and designer for Hollywood, Syd Mead was an automobile concept artist.
Top: A taxi cab design by Mead for Bladerunner. Bottom: The 2001 Aztek GT in Aztek Yellow.

Aztek

When it was released, The 2001 Aztek GT didn’t win over automobile reviewers or the car-shopping public but in the last half decade perspectives have changed, online fan pages have sprung up and buying demand is on the rise.

2021 Chevrolet Trailblazer

Discrimination Against Cyborgs? Tomorrow’s Hate Crime…Today

Neil Harbisson -cyborgist (image creative commons)
Neil Harbisson -cyborgist (image creative commons)

We tend think of cyborgs as something from the type of ‘horrible future’ depicted in video games and science fiction movies. At least I do, but every once in a while I come across something that reminds me that I am already living in that future. Hate crime against cyborgs may seem like bad fiction, but it has already happened.

Waaay back in 2012 Toronto cyborg, Steve Mann, claims he was assaulted in a Paris McDonald’s just for wearing his EyeTap. Mann is a professor of electrical and computer engineering at the University of Toronto. He is known as the father of wearable computing and is the inventor of the EyeTap, among other things. The EyeTap is an assistive device that can enhance visual information for people who are visually impaired, but can also superimpose extra information on top of the visual scene. For instance, it can overlay infrared heat signatures, measurements, or statistics.

Mann states he was confronted about his EyeTap while in line to order but was left alone after he showed the employee his doctor’s note (something Mann always travels with) which explains exactly what the device is for and why Mann wears it. After eating Mann was surrounded and manhandled by several McDonald’s employees who were concerned that he was filming trade secrets. The employees tore up his doctor’s note and tried to rip off the EyeTap device. However, the EyeTap does not come off without special tools: it cannot just be removed. Although the EyeTap was damaged in the altercation, it managed to capture footage of the employees who assaulted Mann, who was upset but essentially uninjured. McDonald’s consistently denied any wrongdoing in this case despite these images.

But this is just a one-off event right? I suspect that is not the case. In a very real sense, cyborgs are already here. More and more people are turning to the sort of assistive devices that blur the line between human and machine. If you think about it, a cyborg is what you get when you enhance human abilities by adding mechanical elements.

Imagine a deaf person. After a lifetime of being deaf, he gets a cochlear implant allowing him to hear for the first time. His natural abilities have been extended using technology. Another person has a pacemaker that allows her heart to beat in a regular rhythm. Her natural abilities have been extended with technology. Sure, it is not laser hands or a Wi-Fi connection to the hive mind, but it is real and fits the definition.

The Cyborg Handbook estimates that ten percent of Americans qualify as cyborgs in a technical sense. That’s the thing about the future: we are so used to living in it; we forget to be impressed by it. There are also, however, a handful of people who would be considered cyborgs in the traditional sense.

For instance, Steve Mann himself is generally considered a cyborg. Neil Harbisson, artist and cyborg activist is the first person to be legally recognized as a cyborg. Born colour-blind, Harbisson created a head mounted device which turns colour frequencies into sound. He later had a version of this device implanted directly into his skull. With his “Eyeborg” implant Harbisson can now hear colours even into the infrared and ultraviolet spectrum.

Just as more people get closer to being proper cyborgs, more people are starting to push back against what they see as a harmful trend. Stop the Cyborgs is a real group dedicated to preventing a future where privacy is impossible, where we in fact have no expectation of privacy, where surveillance is normalized. It is difficult to argue with that, none of us regular people want to create an Orwellian surveillance state on purpose.

Fear factor? The recurring cyborg character "Davros" from TV's and Netflix' Doctor Who
Fear factor? The recurring cyborg character “Davros” from TV’s and Netflix’ Doctor Who

Their second point of contention is much more problematic. Stop the Cyborgs wants to ban or restrict wearable computing devices that can record and upload data, just as an increasing number of people are turning to such devices to manage their tasks of everyday living. They argue that wearable technology blurs the line between human and machine, with the implication of course, that this is a bad thing. They do make a limited exception for people using ‘assistive devices’ as long as the device itself and the data it gathers remain in the sole possession of the individual.

But how do they, and more importantly, how do you determine that on a daily basis? This ‘cyborgs are bad’ mindset is going to lead in a bad direction. With the widespread release of Google Glass this past spring, we are only going to see more integration of people with their computing devices. As the price goes down, a greater number of people are going to adopt wearable technologies.

Stop the Cyborgs seems like a knee-jerk reaction to the introduction of Google Glass, which threatens to normalize an always-on type of surveillance. They even go so far as to suggest that we cannot know if cyborgs are in control of their own implants, or even of their own bodies. But the actual threat is probably much less serious than that.

First, we are already at the point where we could be filmed at any time. Nearly everyone has a video camera in their phone, and most of us are recorded by closed circuit security cameras all day long as we go about our business. If we assume that every person wearing an assistive device is some sort of covert-ops tool of the state, things are going to get ugly very quickly. For instance, Stop the Cyborgs just released a new device called Cyborg Un Plug that prevents cyborgs in your vicinity from connecting with the hive mind, er, internet and uploading video or audio data.

Second, as Steve Mann points out, these cameras can be used by regular people to keep a record of the doings of the state and its agents, like the police. Mann calls this ‘sousveillance’ which essentially means watching from below. Recording and sharing the events of everyday life can allow people to share their personal experiences with others, can provide an alibi when there is alleged wrongdoing, and can make it easier to make power-holders accountable for their actions. These are the real trends to watch for as wearable computing becomes more common. For the Silo, Cathy Greentree.

Supplemental:

http://stopthecyborgs.org/

http://spectrum.ieee.org/geek-life/profiles/steve-mann-my-augmediated-life

http://cyborganthropology.com

Why You’ll Be Wearing Your Next Computer

Imagine looking in your glasses to see updates from your friends on social media. The future is coming sooner than you think and yes, you will be wearing your next computer- check out this future ready infographic from our friends at Frames Direct. 

Click Me to see more interesting Infographics by visual.ly
Click Me to see more interesting Infographics by visual.ly

Supplemental- Building the World of Tomorrow, 1939 New York World’s Fair

The first published concept of Virtual Reality: Pygmalion’s Spectales (short story) by Stanley G. Weinbaum   ‘You drink,’ said the elfin, bearded face, ‘to make real a dream. Is it not so? Either to dream that what you seek is yours, or else to dream that what you hate is conquered. You drink to escape reality, and the irony is that even reality is a dream.’ Published June 1935 ~ Wonder Stories

Click me for Music designed for Futurists!
Click me for Music designed for Futurists!