Digicult was called by Giorgio Mortari to collaborare with the Dissonanze Festival in 2006 to curate the whole program of the Theatre Hall at Palazzo dei Congressi, one of the three parts of the festival together with the Terrace and the Dancehall. A video-screening were prepared, called “Visual Music”, critically collecting some international audiovisual artists working on the aesthetic and synesthetic connection between sounds and images, both in live performances and videos.
Artists and research centers included in the screening Ryoichi Kurokawa, Semiconductor, Tez, Reline 2, Phoenix Perry, DFuse, Scott Pagano, Dataflow, Motomichi Nakamura, Bas Van Koolwijk, Antonin De Bemels, Jan Van Neuen, Karl Kliem, Netherlands Media Arts Institute, Six Pack Film, Res Festival Turin, Plateaux Festival, Live!Ixem
One of the more relevant characteristics of the video as an instrument, and its digital audio-visual arborescence that I think is worth talking about, is its indisputable capacity to transform the sensorial space that surrounds us into the object of research that characterises it. At the same time it manages to do so as a hybrid medium, capable of having different expressive methods within itself and being able to take on a predominant role in contemporary aesthetics… as well as in growing electronic mass culture.
The Visual Music fair, takes its origin from this seed of thought, presenting itself as a complex and long path toward fruition of that process of analysis, spontaneous and unstoppable, that has characterised video and audio-visual research in most recent years.