8bit drummer reality check through the skull

#8bit drummer reality check through the skull software
#8bit drummer reality check through the skull code
#8bit drummer reality check through the skull mac

I finally know what relationship I want to have with my audience. Now I want to capture them before they are fully form, when all there is is a well formed question, waiting to be answered. This concept resulted in works that were somehow ideological and closed. In the past, I illustrated the progress of my thoughts. I realized several things about myself: for some, art is a form of therapy for other, a form of political activism others choose pure formal aesthetics… All of my work is a form of active philosophical investigation. Beside of the fact that I’m using 3D animation this time, there is a whole new conceptual skeleton. Marcin Ramocki: represents a new chapter in my work and I’m really excited about it. So it was jazz programming of sorts…įilippo Lorenzin: Let’s talk about your projects in Italy: you have a solo exhibition called at ULTRA gallery in Udine and did a lecture and a workshop at the Academy of Fine Arts in Venice.

#8bit drummer reality check through the skull code

I never commented out my own code and never did anything the same way twice. It needed to be too fast for the processor to work properly.

#8bit drummer reality check through the skull mac

History/Tectonics (2003-04) depended on glitches that happened with a specific model of G3 Mac and the slowness of its processor. My codes were never professional… In fact they were terrible from programming perspective. I found the process of discovery quite appealing: being able to focus on a specific goal allows your mind to become clear, like in meditation.

It is a much more intellectual operation. And I actually don’t think so… When you write a program you have a very clear outcome in mind, you are finding a solution to a specific task. That, and the fact that I come from traditional fine arts… Somebody who studied computer sciences, music or design in the early 2000s would have a very different outlook…I’m inevitably entangled with art history as it unfolded in the 1990s.įilippo Lorenzin: When did you start programming? Do you think it resembles other artistic practices? I introduced the element of viewer interaction with History/Tectonics and that interest lasted for several years.įilippo Lorenzin: Do you think your way to analyze these topics depends in some way by the historical period in which you started to be interested in them? Allowing these narrative fluctuations made me feel like I was an inch closer to reality, as it “truly” unfolds… The generative theme continued with pieces like Telling Time (2003-04) or Japanatious (2001-03), which randomizes all sounds of spoken Japanese into an absurd meaningless poem. I think my Director piece Virtual Singer perfectly exemplifies the nonlinearity I mentioned: I turned myself into a random singing machine, where the melody I sing is endless and never repeats in the same sequence. That tradition is somehow continued with Jitter and Processing, but they are not as approachable… And the dynamics of the art world are different.

#8bit drummer reality check through the skull software

It is fundamental to realize the importance of early Macromedia Director and verbose lingo for that whole generation of artists, who came out of traditional arts and wanted to work with software art. 1090s were about establishing the boundaries of the medium, formalist analysis: they were very Greenbergian. I found that to be the true meaning of computer based artwork, the essence of it. Stories that could unfold in many different ways, driven by an algorithm, requiring a processor. Marcin Ramocki: Back then my biggest discovery was nonlinear narratives. “Filippo Lorenzin: How would you define digital media’s role in your life in the mid-1990s? What are the biggest differences between your relation with them at that time and nowadays?

Digicult (Italy): The Body in the Digital Dimension – Interview with Marcin Ramocki