Enduring Futurism

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**Giovanni De Donà**

Born in Belluno, 1974 

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is a Italian media activist, musician and art curator 

/* Of most recent, he participated to “Everybody talks about the wheather, we don’t”, a conference curated by Marco Scotini at Naba, Milan.

He curated presentation of a book “Breve storia del Futurismo” (by Giacomo Properzj) at Mel Bookstore in Bologna, organizing a reading by the actor Leo Mantovani. 

2008: curated “Industrial lies. Dystopian visions of human developement in the age of immaterial” at  dispari&dispari project, Reggio Emilia; he also was amongst the curators of the Vienna biennial

2007: co-curated an exposition as personal exercice at A+A gallery, Slovenian art center in Venice. 

2006: won Movin’up award (together with Alterazioni Video) to then spend time at Location 1 in New York and P.S.1 for a sound performance that made use of lights and solar panels as microphones 

went at Moca in Shanghai to “Nokia connect to art” and realize the same performance with them, but in a reduced version. 

2005: realized the performance “Photons” in Milano at “Casa dell’Energia” with “Alterazioni Video”, triggering a class4 laser by a drum machine, using oxygen molecules as rhytmical elements. 

2004: got the Philosophy degree with the thesis: “Post modern and new media: intellectual property in digital communication”. 

2003: start conceiving the “Diachronic” software project: an innovative software for music still work in progress, that inspired the “Temporoom” performance made last year at “Conservatorio di Venezia”.

(http://www.diachronic.it) 
2001: participated as “Unlimited Edition” with a digital audio project to “Medi@terra” festival, Balcans.

[[www.media@terra.org]] 

2000: participated with a streaming project that played the delay of the net at “Art+Communication 2000”, Riga

[[http://www.rixc.lv]] 

- played in a collective audio streaming performance with international artists to the Prix Italia RAI transmitted from Bologna. 

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=====DIACHRONIC=====

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 "Today I was reading Deleuze, talking about Bergson, the duration...(reported on the Evolution Creatrice) he talked about metaphysic that investigate duration, isntead science investigate matter. Time is just a function. I will play this function on a fixed duration. Does this way means I'm doing metaphysical epistemology?
Is Diachronic, first of all, first of a new musical instrument, first of a sound manipulator, a player of matemathical function expressed through the earable sound, first of a neo futurist instrument because is vanguard in itself and because concern the Boccioni and Russolo ideas and dreams  .... is this the product of a new epistemology based on the consciousness of time, and so of future/past paradigm, its mythology, and perception of being in itself?
I have the suspect, working on this, to have created a sort of machine of disillusion of time, based on variations of the repetition. Playing variations you can work with matemathical description of nature, and so create a new kind of order. This is not, in fact, a random noise generator. There are rules, and new grammars to build. The avanguardia produce finally a new order. His contrary is pop: to keep something diffused and resume it in a symbolic act. Here I'm producing a new machine, that permit new actions! I'm not using the copy machine of the polish Warhola went to America: I'm breaking codes. This is, in fact, not a new thing in itself, some of these manipulation can be used in normal post production: but its use in real time is part of a new consciousness, of a new way to look to the subject, to his consciousness. The new subject is product of the global connections, our perception is delayed by the buffer of the net, no more drove by the mechanical paradigm of the piston of the Ford of XX century. Acceleration started years and yers ago, and the Futurists just say that: they provocated to say the truth, and then XX century happened, and the illusion of the ethernal present is closer through our usual Skype conferences. The net delay is the last meter that divide the visrtual from the actual, where our bodyes live.
I would say we are here and now, we produced a new nature through the technics, and this is not opposite: is the extreme consequence of the acceleration.  I will play accelerations and its contrary in a fixed duration to represent our time, and our consciousness that is no more linked to the old binomius nature/technich, body/machine: we use machines as external improvement of our cognition, and mathematics implemented in machines as we learn measuring fields and stars figures thousand years ago. Music is to create figures to our perception, out there are frequencyes only. No aesthetic outside men perception. Also no ethic. War finally produced the XX century and showed the extreme consequences of science, like the atomic bomb. This was perceived as "progress". Now technics, finally Internet, is produced by science reasearch, motor of the war. I'm not a XXcentury man. I am the man of now, and this is our present, and this machine implement old dreams and intuitions of plastic dynamism and acceleration, and propaganda, and "the art of noise", and would break the regularity of XX paradigms of fixed repetition we can find in all current sftware for music. This because I have a contemporary perception of time, and old paradigms in new machines are destinated to fail: we have computer: let's use them to theyr peculiar ability, to calculate, so calculate time variations in a more complex order than we humans can do, and play with it!"

//Giovanni De Donà//
*/