Achim Szepanski, philosopher, musician, record producer, writer, blogger and political activist. He directs his subversive media operations from his HQ in Frankfurt. Since 2015 worldwide cutting edge texts have been published on his radical information website Non-Copyriot (http://non.copyriot.com). He worked for the leftist German newspaper, “Langer Marsch”. In the 80’s he was a member of the electro-noise and industrial-punk groups PD and P16.D4. Later on he founded the label Black Out (1989), Force Inc. (1991), A Thousand Plateaus (1994), Position Chrome (1996), Forcetracks & Ritornell (1998). Among the publications noteworthy is the trilogy of novels Pole Position (Rhizomatique, 2011), Saal 6 (Rhizomatique, 2011), Verliebt ins Gelingen (Rhizomatique, 2014), and the philosophical-political writings Kapitalisierung Bd. I – Marx ‘not-Ökonomie (Laika Verlag, 2014), Kapitalisierung Bd. II – Non-Ökonomie des gegenwärtigen Kapitalismus (Laika Verlag, 2014), Der Non-Marxismus. Finance, Maschinen, dividuum (Laika-Verlag, 2016)
Adi Newton began his life long involvement with sound via painting and through a theatre project which began his involvement with the electronic trio The Future from which he founded ClockDVA and TAGC / The Anti Group both of which are increasingly considered as one of the pre eminent pioneers of 80’s experimental music. The CDVA acclaimed albums include the 1988 electronic masterpiece Buried Dreams & the 1980 electro acoustic Thirst while TAGC can cite the Meontogical Research Recording series and the ambisonic landmark Digitaria as much appraised and influential works. The Psychophysicist album is also considered as a important seminal work devised / produced and composed by Adi Newton and Andrew Mckenzie of the Halfer Trio. Newton has recently returned to painting and intends to explore and develop his multi discipline practice into the art and painting arena while still remaining very active within the DVA/TAGC/PSYCHOPHYSICIST projects. Newton directs all three projects as well as the Multi media production company.
Ali Beidoun is a video artist born in Beirut and based in Reggio Emilia, Italy. Ali tends to explore the identities of the places in which he lives in. Thus, his work is often stimulated by the transitions that he experienced moving between various countries and cultures. With a diploma in dramatic arts in Beirut and the cinema studies in Bologna, he enriched his artistic practices by mixing different multimedia forms. His theatrical background is very present in his work as a filmmaker. He works on urban contexts with a poetic approach, where the fragility of the individual is amplified in invasive situations such as big cities, factories, and spaces that condition the human psychology. Lately, Ali is very interested in the role of machines in the modern arts and is experimenting with sound design and electronic music. He is involved in a research project on how to form images using midi controls so that they get manipulated in an approach similar to the sound design
Claudio Kulesko studia filosofia presso l’università Roma3. Si occupa principalmente dell’opera di Deleuze e Guattari ma il suo campo di ricerca si estende all’ecologia, al realismo speculativo, alla filosofia delle scienze, al pessimismo filosofico e al pensiero di Georges Bataille. È tra i fondatori e organizzatori del “Seminario Musica e Filosofia” dell’Università Roma3. Ha collaborato con diverse testate online e in formato cartaceo, fra le quali Not, Liberazioni, Effimera, OperaViva e L’Indiscreto.
Demystification Committee is a collaborative framework set-up to investigate the globalized, extra-state, covert systems and large-scale networks, processes and technologies that shape our society. The Committee is chaired by Oliver Smith and Francesco Tacchini.
(Transmediale 2018/Offshore Economist) :: “It’s estimated that as much as half of all global wealth is stacked in or routed through tax havens. These tax havens, or ‘secrecy jurisdictions’, are one part of the parallel legal and financial system known as offshore. Through the offshore system, trillions of dollars appear to flow amongst a multitude of businesses. This money seemingly traverses the globe, while truthfully remaining concentrated in the hands of a few powerful actors in a few powerful countries. In many ways, offshore is a place of its own, made up of the balance sheets and tax returns of countless companies. A hive of secretive activity distributed across the globe. If it’s a place, can one visit? Where is it, and what can you do here? How might it feel to become part of it? Throughout summer 2017, the Demystification Committee set out to model and explore the systems and structures of offshore finance, and the murky world of the jurisdictions that enable its existence, with the aim to open up opportunities for subversive, wasteful fun. The Demystification Committee set up an international corporate structure across three jurisdictions, the Offshore Investigation Vehicle. This vehicle operates at once as a guide and a shield: not only does it provide access to a hidden world of knowledge and opportunities; it also guarantees the secrecy of the actions undertaken there. Once set-up, the Offshore Investigation Vehicle was opened to others in an attempt to create a community of people interested in this effective and toxic parallel legal system. The community was formed through the norms of corporate law, playing with the company’s legal structure: shares were issued; meetings called; resolutions voted on. At the first general meeting of Empire Management, the UK limited company at the top of this structure, the Vehicle’s objectives were collectively set. A dozen new shareholders advanced and discussed a number of operations, with the aim to begin misusing the privileged Vehicle’s structure set-up both onshore and offshore. The idea of producing a seditious mirror version of the Economist, to be known as the Offshore Economist, was advanced, discussed and approved. The publication focuses on those ruptures and cracks inherent to the practice and world of offshore, which are the qualifying loopholes for those invested, and investing, in it. Through fictional stories, marginal poetry, fragmented legalese and a shifting form and layout, this publication pursues an aesthetic of offshore — a world that is dual and slippery, real and beyond real, and — at times — surreal.” (Demystification Committee, Berlin, late January, 2018)
Edmund Berger is an independent writer, researcher, and activist living in Louisville, Kentucky. His primary focuses are on the evolution of technology and its impact on changing modes of capitalist production, the role of warfare in the economy, and the history of the avant-gardes as critiques and responses to paradigms of power. He blogs intermittently at DI Research Zone 22, Deterritorial Investigations Unit and Synthetic Zero. His debut books is Uncertain Futures. An Assessment of the Conditions of the Present (Zero books, 2017). Rizosfera has published his essay «Grungy Accelerationism» (The Strong of the Future, 2016) and «Underground Streams» (The Strong of the Future, 2017).
Emilia Marra holds a Master in « Philosophies allemande et française dans l’espace européen » – Europhilosophie Erasmus Mundus (UTM, UCL, BUW), and she is now a PhD student at the University of Trieste with a project on the concept of system between Hegel and Spinoza and their contemporary French interpretations. Her researches mainly investigate the French contemporary philosophy, with a special focus on the philosophy of Gilles Deleuze. She published in journals such as Esercizi filosofici, Interpretationes, Philosophy Kitchen, S&F, Estetica. Studi e ricerche, La Deleuziana, of which she is member of the editorial board. She also translated Pierre Macherey’s Hegel ou Spinoza.
Emilia Marra ha conseguito la tesi specialistica all’interno del programma « Philosophies allemande et française dans l’espace européen » – Europhilosophie Erasmus Mundus (UTM, UCL, BUW), ed è attualmente dottoranda in filosofia presso l’Università degli Studi di Trieste con un progetto sul concetto di sistema nelle interpretazioni francofone contemporanee di Hegel e Spinoza. Le sue ricerche riguardano principalmente la filosofia francese contemporanea, con particolare riguardo per Gilles Deleuze. Ha pubblicato in riviste quali Esercizi filosofici, Interpretationes, Philosophy Kitchen, S&F, Estetica. Studi e ricerche, La Deleuziana, della quale è membro del comitato editoriale. Ha tradotto per il mercato italiano il volume di Pierre Macherey Hegel ou Spinoza.
Enrico Marani ha costruito diversi progetti artistici e sonori nel tempo. Inizia l’esperienza musicale negli anni 80 partecipando all’esperienza T.A.C. con Simon Balestrazzi e Massimo Pavarini e tenendo concerti e performance in Italia. Fonda Duozero, con Fabrizio Tavernelli (AFA) suonando in vari festival e coinvolgendo musicisti come Massimo Zamboni (CCCP, C.S.I.) scrittori (Davide Bregola) ed attori (Marco Valerio Amico) che parteciperanno anche alle registrazioni dei due album; musiche di Duozero sono state utilizzate per soundtrack e documentari. Fonda Secret Voices insieme al chitarrista americano Tim Motzer (Ursula Rucker, Jaki Liebezeit e David Sylvian) e Naked Eye con la violoncellista scozzese Christine Hanson. Negli anni 90 partecipa all’esperienza artistica collettiva del maffia con il progetto 2blue insieme a dj Rocca, stimato dj in tutta Europa. 2blue vede la partecipazione di Ursula Rucker e Dave Watts (Fundamental) alla voce e Tim Motzer alla chitarra . Collabora con le Forbici di Manitù di Manitù Rossi insieme al giornalista e mail artist Vittore Baroni. Da sette anni ha sviluppato un progetto solista. Samora, dove alla musica elettronica affianca la poesia, collaborando con Steve Kilbey (Church), Christine Hanson e Gavin Friday (Virgin Prunes) tra gli altri. Samora ha prodotto 4 album tra il 2012 ed il 2018.
Erik Davis was born during the Summer of Love within a stone’s throw of San Francisco. He grew up in North County, Southern California, and spent a decade on the East Coast, where he studied literature and philosophy at Yale and spent six years in the freelance trenches of Brooklyn and Manhattan before moving to San Francisco, where he currently resides. He is the author of four books: Nomad Codes: Adventures in Modern Esoterica (Yeti, 2010), The Visionary State: A Journey through California’s Spiritual Landscape (Chronicle, 2006), with photographs by Michael Rauner, and the 33 1/3 volume.
Led Zeppelin IV (Continuum, 2005). His first and best-known book remains TechGnosis: Myth, Magic, and Mysticism in the Age of Information (Crown, 1998), a cult classic of visionary media studies that has been translated into five languages and recently republished by North Atlantic Press. He has contributed chapters on art, music, technoculture, and contemporary spirituality to over a dozen books, including Suzanne Treister’s HFT: The Gardener (Black Dog), Future Matters: the Persistence of Philip K. Dick (Palgrave), Sound Unbound: Writings on Contemporary Multimedia and Music Culture.
(MIT, 2008), AfterBurn: Reflections on Burning Man (University of New Mexico, 2005), Rave Ascension (Routledge, 2003), and Zig Zag Zen (Chronicle, 2002). In addition to his many forewords and introductions, Davis has contributed articles and essays to a variety of periodicals, including Bookforum, Arthur, Artforum, Slate, Salon, Gnosis, Rolling Stone, the LA Weekly, Spin, Wired and the Village Voice.
Ettore Dicorato è nato a Trani nel 1992 e vive a Barletta. Diplomatosi in Fumetto e Illustrazione presso l’Accademia delle Belle Arti di Bologna, ha partecipato alla pubblicazione di alcuni importanti progetti editoriali tra cui Pallottole vaganti dedicato a Luigi Bernardi e Domani viene da ieri di Rostagno e Gabos. Nel 2014 è stato selezionato come illustratore in occasione dell’innovativo progetto Body Worlds di Von Hagens, in mostra a Bologna. Attualmente lavora come illustratore freelance. All’attivo progetti musicali e performativi con il pittore e musicista Stefano Ricci, il musicista e regista Roberto Paci Dalò e il violoncellista Giacomo Piermatti nello spettacolo Quello che ho visto. In uscita a novembre 2019 un album per Rizosfera dal titolo La Voce del Castoro con Stefano Ricci, ad aprile 2020 la Chaos Variation VII, sempre con Stefano Ricci e Obsolete Capitalism.
Franco Motta è ricercatore in Storia moderna presso l’Università di Torino. Tra i suoi interessi di studio, le strategie politiche e culturali della Chiesa cattolica tra XVI e XVIII secolo. Ha curato l’edizione della Lettera a Cristina di Lorena di Galileo Galilei (Marietti 2000) ed è autore di una biografia del cardinale Roberto Bellarmino dal titolo Bellarmino. Una teologia politica della Controriforma (Morcelliana 2005). Con Massimiliano Panarari ha pubblicato nel 2012, presso le edizioni Marsilio, il pamphlet storico-politico Elogio delle minoranze. Le occasioni mancate dell’Italia‘ e, tramite le Edizioni Il Sole 24 ore: ‘Bellarmino. Teologia e potere nella Controriforma’ (2014).
Si occupa di filosofia, arte e musica.
Laureato all’università di Roma Tre con una tesi sul concetto di ritornello nell’opera di G. Deleuze, le sue attuali ricerche riguardano la rilettura in chiave filosofica del fenomeno musicale, con particolare attenzione al ritornello e al ruolo e la responsabilità dell’’artista come colui che “esperendo, fa esperire”.
Dal 2014 è nel gruppo fondatore di Abaton Project, progetto anonimo di sperimentazione artistica e politica nella produzione musicale, video e fotografica.
Dal 2015 lavora e scrive insieme a Marta Acciaro. Il duo Marta e Giuseppe lavora alla realizzazione di scritti ed opere, tra cui il ciclo “Frattempo“ che indaga il rapporto fra l’essere umano e il tempo nell’era della sussunzione di massa.
Dal 2018 è responsabile, con il collettivo Nodb185, dell’organizzazione del Seminario Musica e Filosofia Roma Tre.
London-based, Glasgow-born, disc jockey and producer, not to mention Brian Eno admirer, Howie Bernstein pioneered the fusion of dub, jazz, ambient and hip-hop with the atmospheres he crafted for Soul II Soul. His own early singles, later collected on Best Foot Forward, gained his credentials to work with rock stars such as U2, Sinead O’Connor, Massive Attack, Tricky, Bjork. Whatever he worked on, he left his mark on it. A real champion of sound and a Maestro at decks. His label, Pussyfoot Records, ran from 1994 to 2002 and released over 20 albums and compilations and around 50 singles. It has now reopened with new challenges to defeat!
Katja Diefenbach, philosopher, professor of Aesthetic Theory at Merz Akademie in Stuttgart. Former lecturer at the University of Fine Arts (Berlin) and Humboldt University (Berlin) and director of the research project After 1968. On the notion of the political in the post-Marxism (www.after1968.org) at the Jan van Eyck Academy of Maastricht (Netherlands). She writes of post-structuralism, Marxism, deconstruction and new forms of capitalism under the aegis of neoliberalism. Among the publications noteworthy is Encountering Althusser: Materialism and Politics in Contemporary Radical Thought, which she co-authored with Sara R. Farris, Gal Kim, Peter D. Thomas (Bloomsbury, 2013). Forthcoming Politik der Potentialität. Spinoza-Rezeptionen postmarxistischen in der Philosophie (2017).
Lorenzo Pagliei is composer, electronic musician, pianist and orchestral conductor. After his musical studies in Italy (best Diploma in 2000 at the Master Course in Composition at Accademia Nazionale di Santa Cecilia in Rome – President of the examination board Luciano Berio), he moved to Paris, selected by the Reading Panel of Ircam – Centre Pompidou. His music focuses on frameworks of different kinds of tempi : various temporal layers are often superimposed at different speeds, creating a polyphony of sound curtains mutually sliding. The flux of time is never regular or linear but curved ; the curvature principle extends to musical details often constituted by micro-variations of a simple material. In electronic music, particularly relevant in his catalogue, he tries to realize what is not realizable with acoustical instruments: for example the synthesis of unrealistic sounds or materials, the hyper-amplification of objects or acoustical instruments, the use of the space as the main way to open the hearing and to add value to live performance.He has been composer in research at Ircam, where he invented a family of electroacoustic instruments called Geecos. With these instruments, musicians can perform real time sound synthesis and modulation of inner details of sound only by means of hands’ gestures on a surface.
DJ Rocca è un produttore ed un musicista. E’ parte del collettivo Obsolete Capitalism, di cui è amche produttore di musiche assieme a HyperX. Le sue prime produzioni risalgono ai tardi anni 90, e sono per lo più singoli drum&bass e break beat, sotto il nome di Maffia Soundsystemdall’omonimo club italiano. DJ Rocca ha collaborato con Howie B, Pressure Drop, Zed Bias, Dimitri From Paris, Daniele Baldelli e Jazzanova producendo singoli, remix ed albums per alcune delle migliori etichette europee, come Sonar Kollektiv, Compost, Classic, Rekids, Skint, Hell Yeah, Rebirth, Internasjonal, Futureboogie Recordings, Deep Freeze, !K7, International Feel, Gomma, Skint, Rotters Golf Club, Paper Recordings, Tirk, Defected. DJ Rocca collabora con Dimitri From Paris e Daniele Baldelli. Assieme al leggendario Dimitri From Paris ha creato il progetto elettro disco Erodiscotique, con un album per la label giapponese BBQ, quattro EP su Gomma ed Hell Yeah records, diversi remix, e varie tracce incluse nella compilations Playboy Mansion e Back In The House uscite per la Defected records e mixate da Dimitri stesso e Bob Sinclar. Con Daniele Baldelli ha realizzato due album, “Podalirius” nel 2012 e “Quagga” nel 2017, più svariati EP per is It Balearic? e Nein Records. Con il pluripremiato jazzista italiano Franco D’Andrea ha formato il progetto Electric Tree, un trio di musica contemporanea, in bilico tra jazz ed elettronica, con un album doppio uscito ad Aprile 2016 per Parco Della Musica Records, già disco del mese per la rivista Musica Jazz (Giugno 2016).
Come produttore, DJ Rocca, è parte dei progetti Ajello (assieme a Taver), Supersonic Lovers (assieme a Marcello Giordani) e Crimea X (con Jukka Reverberi). Ha remixato artisti del calibro di Oliver Koletzki, Luke Solomon, Blaze, Isolee, Pete Herbert, Bjorn Torske, Chris Coco, Dimitri From Paris, Andrew Weatherall, Justin Robertson, Soul Clap.
DJ Rocca ha anche la sua etichetta Danny Was A Drag King dove realizza uscite di Ajello, Supersonic Lovers, Luminodisco, Verdo, Marcello Giordani, Hard Ton…
Nel 2010, con il progetto DJ Rocca and 5th Suite, ha scalato le classifiche brasiliane con la sua hit “Party Bobba”.
I suoi DJ set sono puro eclettismo per la pista, con grandissimi riscontri in tutti i club dove ha suonato, dal Regno Unito, alla Norvegia, dal Belgio alla Germania, Austria, Spagna, Svizzera, Finlandia, Francia, Repubblica Ceca, Turchia, Cina, Stati Uniti, Giappone e Brasile…
An enduring figure on the edgy frontiers of the British music scene, Mark Stewart, first came to prominence as a member of the punk/dub noisemaking squad The Pop Group, and has been storming musical boundaries and making powerful, confrontational music ever since. Emboldened by punk but not impressed with its stylistic hegemony, Stewart and his friends were eager to start a punk-funk band, and in 1978 he teamed up with guitarists John Waddington and Gareth Sager, bassist Simon Underwood, and drummer Bruce Smith to form the Pop Group. In 1980, the Pop Group split up, and Stewart Bruce Smith, and Waddington appeared on the first album by The New Age Steppers, whose music was a prescient fusion of dub and post-punk experimentalism. It was Stewart ’s first work with producer Adrian Sherwood of On-U Sound, who would prove to be a valuable ally and frequent collaborator. Stewart released his first solo effort in 1983, Learning to Cope with Cowardice; credited to Mark Stewart and the Maffia. Through much of the 1990s and 2000s, Stewart devoted much of his energy to producing and collaborating with other artists, including Tricky, Massive Attack, Trent Reznor. In 2010, he announced that he was re-forming the Pop Group with original members Gareth Sager and Bruce Smith for a series of reunion shows and that the band would begin work on a new album. A new edition of Learning to Cope with Cowardice will be out on 25th January 2019 on Mute.
McKenzie Wark is the author of A Hacker Manifesto, Gamer Theory, 50 Years of Recuperation of the Situationist International and The Beach Beneath the Street, among other books. His latest published book is Twenty-One Thinkers for the Twenty First Century (Verso, 2017). He teaches at the New School for Social Research and Eugene Lang College in New York City.
The Network Ensemble is a London-based electronic data-noise duo. Founded in 2015, the Network Ensemble transforms wireless communications into sound in real time using a set of custom-made tools. Originally conceived as a machine to amplify the activity of network landscapes, the Network Ensemble is a freeform and ever-changing set of tools and experiences for sonically uncovering and exploring the hidden operational layer at the very core of the network.
NicoNote aka Nicoletta Magalotti born in Rimini in 1962 approached the theatre with masters such as Yoshi Oida, Gabriella Bartolomei and Woytek Krukowsky. In the mid-80s, she was the singer of a seminal new wave band Violet Eves playing in Italy, France, Swiss, Austria and Greece ( La Cigale, Printemps de Bourges, Transmusicales, U4, Biennale Mediterraneum). An interesting discography for an amazing artistic career until today. NicoNote is also a DJ and inventor of unconventional spaces and has created, among others, the concept-room called Morphine inside the Cocoricò club, in the 90s with DJ David Love Calò and AD Loris Riccardi. She acted in various plays directed by Romeo Castellucci of Socìetas Raffaello Sanzio with whom she has been playing in many international tours directed also by Patricia Allio, Maurizio Fiume, Francesco Micheli, and others. In 1997, she created the acronym NicoNote, which in 2010 became NicoNote Dream Action, a working group leading projects mostly between France and Italy, supported by La Fonderie – Le Mans where she presented in January 2011 her latest creation: Drinnen – performance suite through Schumann.NicoNote works in different frames of the music world, as well as in art performance, in clubbing and entertainment, also attending important festivals ( MilanOltre, Festival Vie, Armunia, Santarcangelo Festival, TNB Rennes, Actoral Marseilles, Eu Network Wien, Short Theatre Roma ), art galleries and foundations like the Foundation Cartier for Contemporary Art in Paris, where she was invited at Le Soirèe Nomades performing her Rhapsody (or Alphabet Dream) in June 2010.
Obsolete Capitalism is a collective for pure independent research. Self-defined as “gypsy scholars”, the collective deals with philosophy, art and politics. Obsolete Capitalism edited and published «Moneta, rivoluzione e filosofia dell’avvenire. Deleuze, Foucault, Guattari, Klossowski e la politica accelerazionista di Nietzsche» (OCFP, 2016), «Archeologia delle minoranze » (OCFP, 2015) and «Birth of Digital Populism» (OCFP, 2014). With Rizosfera edizioni, Obsolete Capitalism published «Deleuze and the Algorithm of the Revolution» (Rizosfera/SF004), «The strong of the future. Nietzsche’s accelerationist fragment in Deleuze and Guattari’s Anti-Oedipus» (Rizosfera/SF001), «Acceleration, Revolution and Money in Deleuze and Guattari’s Anti-OEdipus» (Rizosfera/SF002), «Dromology, Bolidism and Marxist Accelerationism» (Rizosfera/SF009) and «Control, Modulation and the Algebra of Evil in Burroughs and Deleuze» (Rizosfera/SF017 – out in September 2018). The collective also edits the online blogs Obsolete Capitalism, Rizomatika and Variazioni foucaultiane. The collective has a sonic sub-unit under Obsolete Capitalism Sound System moniker: it has released «Chaos Variation I» (12″ EP, NUKFM, 2018), «Chaos Sive Natura» (album, NUKFM, 2017) and, in collaboration with Adi Newton/TAG/The Anti-Group, «Chaos Variation III» (12″ EP, NUKFM, October 2018).
In uscita il suo ultimo libro, La Funzione N. Sulla macchinazione filosofica in Gilles Deleuze.
Pascale Criton was born in Paris in 1954. She studied composition with Ivan Wyschnegradsky, Gérard Grisey and Jean-Etienne Marie. She participated in the Darmstädter Ferienkurse in 1980/88, took electro-acoustic training at CIRM (International Centre for Musical Research, Nice) from 1980 to 1982, as well as a musical computing course for composers at IRCAM (Paris) in 1986. Moreover, she is interested in ethnomusicology and took part in activities of the Research Group on Oral Tradition in Abidjan (Ivory Coast) in 1979. She has directed various creative workshops at the University of Paris (1979-81), the Avignon Festival (1977-78) and the Pantin Conservatory (1981-82). In a different capacity, Pascale Criton was a member of the Musical Theatre Company of Les Ulis, with Michel Puig, Michaël Lonsdale, Catherine Dasté and Edith Scob, from 1975 to 1980, and would pursue her stage experience in the framework of productions with Transcenic: dance, theatre, music and audiovisual, with, in particular, Ecrans noirs, first performed in 1982. In the field of musical research, since 1980, Pascale Criton has explored micro-intervals and their organisation, whether it be quarter-, eighth-, twelfth- or sixteenth-tones. Her writing uses scordatura (specific tuning of stringed instruments, guitars and piano), combined with orchestral instruments and digital synthesis. Fascinated by work on the sound continuum, Pascale met Gilles Deleuze, 1978-87, and took a university degree course in musicological research: Chromatismes, a masters with Daniel Charles, University of Paris VIII (1987), Aspects théoriques et réalisations de la notion du continuum dans la musique du XXe siècle, a post-graduate degree under the direction of Hugues Dufourt, doctoral training in Music and Musicology of the 20th Century, IRCAM (1993), Total chromatique et continuums sonores, une problématique de la pensée musicale du XXe siècle, doctorate. Her research has resulted in State commissions and lectures on musical aesthetics (‘Introduction to La loi de la Pansonorité by Ivan Wyschnegradsky’, Geneva, 1996), as well as synthesis and new instruments. A consulting composer at IRCAM (Department of Musical Research, 1989-91), she has collaborated with the Waves and Acoustics Laboratory at the School of Physics and Industrial Chemistry in Paris since 1993. In 1999, the Ensemble 2e2m devoted a portrait concert to her, as well as a publication devoted to her work, which was brought out in the ‘à la ligne’ collection (Ensemble 2e2m): Pascale Criton, les univers microtempérés. Her works are published by Jobert and have been played in France as well as abroad: Georges Pompidou Centre, IRCAM, MANCA Festival (Nice), Midem (Cannes), Intermusica, Ars Electronica, Darmstadt, Ijsbreker Institute (Amsterdam), Archipel Festival, 3rd Pianoforum (Heilbronn), the American Festival of Microtonal Music in New York and Radio-France.
Compositore e interprete, regista e filmmaker, artista visivo nato a Rimini. Ha studiato musica e arti visive (indirizzo architettonico) a Fiesole e Ravenna. Nel 1993 Premio Berliner Künstlerprogramm des DAAD(residenza a Berlino dal 1993 al 1995). Ha insegnato Drammaturgia dei media e Nuovi media all’Università di Siena all’interno del corso di laurea in Scienze della comunicazione. Ha scritto e diretto dal 1985 oltre trenta spettacoli teatrali e di teatro-musica presentati in Europa, Americhe, Medio Oriente, Asia, Russia, Israele, Africa. Direttore artistico della compagnia Giardini Pensili – fondata nel 1985 – i cui progetti sono basati sulla collaborazione tra artisti, tecnici, teorici. Al centro del lavoro l’investigazione sul linguaggio, sui sistemi della (tele)comunicazione applicati ai processi artistici, sulle nuove tecnologie, sulla relazione tra memoria e modernità.Pioniere nell’utilizzo dell’Internet e dell’integrazione tra tecnologie analogiche e digitali, ha realizzato e presentato opere – commissionate da enti radiotelevisivi, musei, festival – in particolare tra Italia, Austria e Germania con lunghe residenze a Berlino e negli USA. Tra le collaborazioni: Philip Jeck, Predrag Matvejevic’, David Moss, Gerfried Stocker, Gabriele Frasca, Giorgio Agamben, Terry Riley, Yehuda Amichai, Maurizio Cattelan, Caterina Sagna, Stalker, Scanner. Artist-in-residence a Vancouver (Western Front), Marsiglia (Montévidéo and GMEM Centre National de Recherche Musical) e Bruxelles (Maison du Spectacle La Bellone).
Ha presentato numerose conferenze e workshop in Europa e negli USA; tra gli altri a BBC Londra, Opera Totale Venezia, Metamorfosi do Sentir Porto, Accademia Belle Arti Ravenna, Certosa di Pontignano, Zeitgleich Kunsthalle Tirol, Museum Moderner Kunst Vienna, Ferdinandeum Innsbruck, Freie Universität Berlino, TU-Berlino, Lisbona, Bilbao.
La discografia include Napoli (1994), Many Many Voices (1995), Horizontal Radio (1994), Ozio (2000), City Sonics (2003), In Two Worlds (2004), Pneuma (2005), Sparks (2007), The Maya Effect (2011), Japanese Girls at the Harbor (Concrete, Tokyo, 2012).
Sara Baranzoni è professoressa di filosofia della performance presso la Universidad de las Artes di Guayaquil, Ecuador.
Collabora con l’IRI di Parigi, il network Digital Studies e l’Hemispheric Institute of Performance and Politics. È cofondatrice della rivista internazionale di filosofia «La Deleuziana» e ha pubblicato diversi articoli e traduzioni sui temi della filosofia francese contemporanea, filosofia della tecnologia, ecologia politica, media studies e arti.
Simon Reynolds, writer, journalist, pop critic. He has been hailed as “the foremost popular music critic of this era” (Times Literary Supplement [UK]), “unassailable” (New York Times), and “the most provocative pop music writer of his generation” (Boston Globe). Reynolds started his journalistic career in 1986 as a staff writer for the British weekly music paper Melody Maker. His writing has appeared in the New York Times, Spin, Village Voice, Rolling Stone, Artforum, The Wire, The Guardian, Slate, Frieze and the Los Angeles Times. He is the author of Energy Flash (Pan Macmillan, 2008), Retromania (Faber & Faber, 2011), Rip It Up and Start Again: Postpunk 1978-1984 (Faber & Faber, 2005), Totally Wired (Faber & Faber, 2009), Shock and Awe: Glam Rock and Its Legacy from the Seventies to the Twenty-first Century (Faber & Faber, Uk, 2016).
simonreynolds.net
Percussionist dedicated to the study and dissemination of New Music, he had solo concert throughout Europe and he played with many ensemble, such as Klangforum Wien, mdi ensemble, Neue Vocalsolisten, Phace, Prometeo and Repertorio zero.
He worked with composers like Giorgio Battistelli, Pierluigi Billone, Hugues Dufourt, Ivan Fedele, Beat Furrer, Helmut Lachenmann, Peter Maxwell Davies, Riccardo Nova and Salvatore Sciarrino.
He played together with most prestigious Italian orchestras like Filarmonica della Scala, Fenice di Venezia, Maggio Musicale Fiorentino, Opera di Roma.
In 2011 he was awarded at the Biennale di Venezia with the Silver Lion.
With his group ZAUM_percussion, he’s artist in residence at Festival Milano Musica (2018-2020).
Stefano Oliva, PhD in Philosophy, is a post-doc fellow at the Department of Philosophy, University of Roma Tre and visiting lecturer at the Pontifical Athenaeum S. Anselmo and at the Quasar Design University of Rome. Staff member of RIFL – Rivista italiana di filosofia del linguaggio and Lebenswelt – Aesthetics and philosophy of experience, he has published several articles and monographs such as La musica nell’estetica di Pareyson (2013) and La chiave musicale di Wittgenstein. Tautologia, gesto, atmosfera (2016). He has cooperated with Enciclopedia Italiana Treccani. He has published the Italian edition of Alain Badiou’s book L’antifilosofia di Wittgenstein (2018).
Stefano Ricci è nato nel 1966 a Bologna, vive a Quilow, Germania.
Disegnatore, dal 1986 collabora con la stampa periodica e l’editoria in Italia e all’estero (“Frigidaire”, “Per Lui”, “Dolce vita”, “Avvenimenti”, “Linea d’ombra”, “il manifesto”, “Esquire”, “Panorama”, “Teléma”, “Extra”, “Glamour”, “HP”, “Follow me”, “Libération”, “LesInrockuptibles”, “Internazionale”, “Alias”, “Lo Straniero”, “Télérama”, “L’Humanité”, “Bang”, “la Repubblica”, “Afterhours”, Mondadori, Rizzoli, Einaudi, Salani, E. Elle, L’Ancora, Carocci, Forum, Quodlibet, Gallimard, ecc.).
Depositonero, centoventidisegni (Mano ed. e Fréon ed., 1999), Depositonero/02 (Infinito ed., Fréon ed., e Bries ed., 2002), Depositonero/Sketchbook 03 (Tricromia, Roma, 2004), Depositonero/Sketchbook 04 (Fremok, Paris, 2005; Coconino, Milano), RadioRicci (Galleria Stefano Forni, Bologna; Mami Verlag, Hamburg, 2008), humus vertebra (Dame de Pic, Bruxelles, D406/Logos, Modena, Mami Verlag, Hamburg, 2009) raccolgono una selezione dei suoi lavori.
Nel 1989 pubblica il suo primo libro illustrato, Dottori (Metrolibri), al quale sono seguiti Ostaggi nello spazio (Salani, 1994), Don Giovanni (Salani, 1995, selezionato alla BIB, Biennale dell’illustrazione di Bratislava), Il magnifico libro del Signor Tutto (E. Elle, 1995) e Lamioche (Edition Demoures, 1999). Per i fumetti, oltre ad alcune storie brevi, ha pubblicato Tufo, su sceneggiatura di Philippe de Pierpont (Granata Press,1994; “Strapazin”, n. 34, 1995; Amok, 1996), selezionato nel 1997 per il XXV Festival di Angoulême. Sempre con Ph. de Pierpont realizza nel 1995 Nina et Lili per il libro collettivo Avoir 20 ans en l’an 2000 (Ed. Autrement; “Mano”, n. 1, 1996). Per il mensile “Glamour”, su sceneggiatura di Gabriella Giandelli, nasce il progetto di Anita, poi raccolto in volume (Kappa ed. e Fréon ed., 1998; Ed. Sinsentido, 1999; avant-verlag, 2001). Per il libro collettivo Algérie, la douleur et le mal (Amok/BD BOUM, 1998) ha scritto e disegnato Safia Yacef. Su “Black” (n. 1, 2001) e “Bang!” (n. 3, 2003) è apparsa Identikit, su sceneggiatura di Valerio Evangelisti. Souviens-moi, è stato pubblicato in “L’Humanité” (n.18131, 2002)
Sempre partendo dal disegno lavora per il teatro: collaborando a Bologna con il Teatro Testoni, la Compagnia di Leo De Berardinis, il Teatro della Polvere, l’Emilia Romagna Teatro, il Teatro Storchi, il Teatro delle Passioni, il Teatré Musical Possible, il tetro Galleria Toledo, il Teatré Varia, la Compagnia Modica Manchisi, il Centro di Promozione Teatrale ‘La Soffitta’ (di cui ha realizzato il marchio); per la danza: dal 1996 è l’autore di tutti i materiali di accompagnamento ai progetti di Raffaella Giordano e della Compagnia Abbondanza Bertoni, collabora con la coreografa belga Karine Ponties, Compagnia Dame de Pic; e il cinema: con Mario Martone e Giovanni Maderna. Dal 1994 firma progetti di immagine coordinata e di collane editoriali per le quali è stato selezionato sull’ADI, Design Index 2000, e per il premio Compasso d’Oro 2001. Dal 1995 cura la collana di Edizioni Grafiche di Squadro (Bologna); e nel 1996, con Giovanna Anceschi, fonda la rivista “MANO fumetti scritti disegni”. Dal 2003 al 2009 è direttore artistico di “Bianco e nero” rivista del Centro Sperimentale di Cinematografia di Roma. Dal 2008 dirige, con Anke Feuchtenberger, la casa editrice Mami Verlag.
È docente del corso di disegno animato al D.A.M.S. Gorizia, Università degli Studi di Udine, insegna disegno, illustrazione, graphic novel, con corsi regolari all’Università delle Arti Applicate di Amburgo (HHW), all’École Européenne Supérieure de l’Image, Angouleme, e all’Accademia di Belle Arti di Bologna.
Tiene seminari e workshop intensivi in Università, Accademie, Istituti d’Arte, Teatri, quali, Accademia di Belle Arti (Venezia), Saint – Luc (Bruxelles), Olinda (Milano), Istituto d’Arte Venturi (Modena), Accademia di Belle Arti Brera (Milano), Olinda/Teatro (Milano).
Dal 2009, prevalentemente nella forma del live painting, collabora regolarmente con i musicisti: Giacomo Piermatti, Ennio, Fresco, Cristiano Pinna, Eddy Vaccaro, Mattia Barro, Pasquale Mirra, Roberto Paci Dalò, Vincenzo Core, Emilio Varrà, Ahmed Ben Nessib, Ettore Dicorato, Hitoshi Kojo, Felix Kubin, Zeus.
Tony is a critical theorist and philosopher of media technology. He currently works as a reader in digital media cultures and communication at the University of East London. His publications include The Spam Book, coedited with Jussi Parikka (Hampton Press, 2009), Virality: Contagion Theory in the Age of Networks (University of Minnesota Press, 2012), The Assemblage Brain: Sense Making in Neuroculture (University of Minnesota Press, Dec 2016) and Affect and Social Media: Emotion, Mediation, Anxiety and Contagion, coedited with Darren Ellis and Stephen Maddison (Rowman and Littlefield, 2018). He is currently working on a book provisionally titled A Sleepwalker’s Guide to Social Media and Contagion (under contract with Polity Press, due 2020). Current research explores a wide range of digital media culture related interests, specializing in social media, virality (socio-digital contagion), marketing power, network cultures, pass-on-power, the convergence between experience (UX) design and marketing, assemblage and affect theory, critical human computer interaction (cHCI), digital activism and neuroculture (e.g. neuromarketing, neuroeconomics and neuroaesthetics).
Zafer Aracagök is a philosopher/musician/artist who taught art theory and continental philosophy at various universities in Turkey. His academic work is published in Turkey, UK, France, USA, China, Germany, Argentina and Mexico. He is the author of three fiction/theory books in Turkish and a number of articles addressing the issues of image, resonance and noise in continental philosophy and in the philosophy of Deleuze and Guattari in academic journals such as Revue Chimères, Pli-The Warwick Journal of Philosophy, Parallax, Third Text, Rhizomes, Postmodern Culture and Symploke. His book, Desonance: Desonating (with) Deleuze was published in 2009. His musical work as SIFIR is well received, released and performed both in Turkey and abroad such as, UK, France, Germany and Italy.
Aracagök organised “Resonances: A Deleuze and Guattari Conference on Philosophy, Arts and Politics” at Istanbul Bilgi University, July 2010; and he edited a special Deleuze and Guattari issue for Parallax (Routledge, 2012). Among his recent works are I Want to be a Suicide Bomber (Little Black Cart, 2013); Zeminsiz Üçleme, (Kült Neşriyat, 2014); and Atopological Trilogy: Deleuze and Guattari (Punctum Books, 2015). The Turkish translation of his Atopological Trilogy was published by Kült Neşriyat in 2015. Non-Conceptual Negativity: Adorno+Life+Deleuze first appeared in Turkish (Sub Press, 2017) is to be published in English with a foreword by Franco Berardi by Punctum Books in January 2019. His most recent publication is a collection of his articles on contemporary art and philosophy, Art: What is There if Here’s Where? (in Turkish, Sub Press, 2018). His last exhibition, Taking from Behind (Alan Istanbul, 2015) won critical acclaim due to watercolouresque multiplicities and the problematics of the figural in representation. As SIFIR, Aracagök contributed to Anthology of Turkish Experimental Music 1961-2014 (Sub Rosa Records, Belgium, 2016).
He is one of the advisory editors of www.rhizomes.net and Kaos Queer+; and he publishes monthly articles on arts and philosopy in Istanbul Art News.
official website: http://www.sifiro.com/