[NetBehaviour] salvatore iaconesi

[Helen Varley Jamieson]

last week my copy of "frankenstein reanimated" arrived & i immediately 
turned to page 175 and read patrick lichty's interview with salvatore, 
about "la cura", the collaborative artistic project to open source a 
cure for the brain cancer that he had just been diagnosed with (the 
interview was made in 2012).


salvatore died a couple of weeks ago, on 18 july. has this sad news 
already come through on netbehaviour? maybe i missed it ... i am 
remembering salvatore's smile and laugh, his warmth and generosity; and 
the cyberformance that myself, francesco buonaiuto and miljana perić 
created for "la cura" (which was only performed once, for salvatore & 
oriana, in 2012 or 13 & now exists only as fragments on my hard drive).


r.i.p. salvatore - i am glad to have known you!

h <3

--

helen varley jamieson

he...@creative-catalyst.com
http://www.creative-catalyst.com
http://www.upstage.org.nz
https://mobilise-demobilise.eu
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Re: [NetBehaviour] salvatore iaconesi

[marc.garrett via NetBehaviour]

Hi Helen and all,

I was hoping someone other than myself was going to say something about 
Salvatore on the list. Mainly because I'm not well enough at the moment to 
write about something so important. Sure, posting and doing small energy things 
on platforms such as Twitter etc is different than writing something special. 
There is a general and very interesting piece of text saying goodbye on 
Oriana's Facebook page which I'll post here.

We showed the work "la cura" at three different venues, and I'm glad his 
interview with Patrick is in the "frankenstein reanimated" book, it reflects a 
solid reference to his presence with Furtherfield. I'll also be featuring 
Salvatore & Oriana in my other book next year about 25 years of Furtherfield, 
which was what my PhD was all about. That'll be exciting.

Ruth and I loved Salvatore's intelligence, experimentation and positivity. It 
was infectious, generous and addictive. The combination of Salvatore & Oriana 
together, is a playful wildness I will miss. I hope to meet Oriana in the near 
future.

It is especially concerning regarding Salvatore's battle with cancer, because 
as many know on here, I've had my own troubles with cancer and nearly died 
myself. I'm just so glad that I am alive, and able to share with others his 
fantastic spirit in my own way.

Goodbye Salvatore, we'll never forget you - you're still with us now.
Marc.

=>

DR Marc Garrett | Exploring Class in Post-digital Cultures and making art real 
- https://marcgarrett.org/

Furtherfield | Disrupts & democratises art and technology through exhibitions, 
labs & debate for deep exploration, free tools & open thinking. 
http://www.furtherfield.org
DECAL | Decentralised Arts Lab is an art, blockchain & web 3.0 technologies 
research hub for fairer, more dynamic & connected cultural ecologies & 
economies now - http://decal.is/
http://decal.is/

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--- Original Message ---
On Tuesday, August 2nd, 2022 at 9:21 AM, Helen Varley Jamieson 
 wrote:

> last week my copy of "frankenstein reanimated" arrived & i immediately turned 
> to page 175 and read patrick lichty's interview with salvatore, about "la 
> cura", the collaborative artistic project to open source a cure for the brain 
> cancer that he had just been diagnosed with (the interview was made in 2012).
>
> salvatore died a couple of weeks ago, on 18 july. has this sad news already 
> come through on netbehaviour? maybe i missed it ... i am remembering 
> salvatore's smile and laugh, his warmth and generosity; and the cyberformance 
> that myself, francesco buonaiuto and miljana perić created for "la cura" 
> (which was only performed once, for salvatore & oriana, in 2012 or 13 & now 
> exists only as fragments on my hard drive).
>
> r.i.p. salvatore - i am glad to have known you!
>
> h <3
>
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
> [https://mobilise-demobilise.eu](https://mobilise-demobilise.eu/)___
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Re: [NetBehaviour] salvatore iaconesi

[Alan Sondheim via NetBehaviour]

Hi Everyone,

I was hoping someone would say something; I didn't know him, but from his
work at Furtherfield, I felt his thinking resonated with my own the
strongest in the show.
There was no bio for him in the back; was that his desire?

Best, Alan, and Marc, I hope you're doing well. At the moment speechless,
too much pain everywhere. And thank you everyone for this list and
Furtherfield -

On Tue, Aug 2, 2022 at 4:21 AM Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> last week my copy of "frankenstein reanimated" arrived & i immediately
> turned to page 175 and read patrick lichty's interview with salvatore,
> about "la cura", the collaborative artistic project to open source a cure
> for the brain cancer that he had just been diagnosed with (the interview
> was made in 2012).
>
> salvatore died a couple of weeks ago, on 18 july. has this sad news
> already come through on netbehaviour? maybe i missed it ... i am
> remembering salvatore's smile and laugh, his warmth and generosity; and the
> cyberformance that myself, francesco buonaiuto and miljana perić created
> for "la cura" (which was only performed once, for salvatore & oriana, in
> 2012 or 13 & now exists only as fragments on my hard drive).
>
> r.i.p. salvatore - i am glad to have known you!
>
> h <3
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
> https://mobilise-demobilise.eu
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] salvatore iaconesi

[roberta buiani via NetBehaviour]

Hi all,
coming out of my lurking mode. I usually don’t post. I tend to be super slow 
and quite shy about almost anything I write, but Salvatore’s departure has 
really shaken me and sometimes I find that writing helps a bit. 
I am pasting below the in-memoriam note I just sent to Leonardo. this is my 
perspective as a fellow Italian who worked several times with him and Oriana 
from a distance, but developed a solid friendship that I cherished for many 
years. 
last time I talked to him was in March. little did I know it would be the last 
time.

peace.
Roberta

---

Writing to celebrate the life and work of Salvatore Iaconesi is not easy. It is 
not easy because his body of work is so extensive and diverse that one would 
never have enough space to fit it in a few pages; it is not easy because it 
extends over, it is entangled, and it is shared with a formidable network of 
collaborators and friends, which he and his life and artistic partner Oriana 
patiently and passionately built for many years. But it is especially not easy 
because his departure is hard to accept. It has been a slow departure, during 
which he planted many seeds for future work and activities, made new friends, 
established new collaborations. “Salvatore Iaconesi is alive” announces the 
website of HER: She Loves DATA, the cultural research centre he and Oriana had 
founded in 2013. Still, it is difficult to accept that his body, and his wit 
are no longer with us.  

Salvatore Iaconesi’s work was eclectic, ranging from projects supporting remix 
and opensource culture, to experiments with AI and hybrid marriages between 
human and non-human, community data mining and data sharing, collective 
performances, pedagogical initiatives, and much more. No matter where and by 
whom his projects were carried on, they were all conceived in the spirit of 
community participation and co-creation involving many actors, human and 
non-human; they could be remixed and expanded, recombined and played with.

I met Salvatore in 2010 at the SHARE festival in Torino. The editorial project 
he and Oriana presented gave me a taste of the spirit that characterized their 
future projects: a drive to reveal the narrow minded, exploitative and 
extractivist rules imposed by institutions and those who retain power, and a 
desire to rectify these rules by mobilizing a network of individuals and 
communities with whom to re-think and find solutions for these rules. REFF 
(RomaEuropa Fake Factory) became a fake cultural institution and an editorial 
project in response to the exploitative rules imposed by the institutions 
promoting a funding contest. Hopeful applicants had to agree to transfer any 
ownership of their work to the funding agency. The latter could then re-use, 
remix and republish said work. However, no project already containing remake, 
mashups, and remix would be admitted. The response was an edited book 
collecting essays, artworks, and editorial experiments that exposed this rather 
hypocritical and contradictory position and enacted the very practices that had 
been forbidden by the contest.

When I first invited Salvatore and Oriana to Toronto in 2014, they had been 
launching a data visualization project titled Human Ecosystems (HE) in Rome 
(Italy) and Sao Paulo (Brazil). The project encouraged members of the public to 
reflect on and visualize the city’s human geographies and affective flows, by 
capturing information from social networks. Instead of just collecting data 
from users and artfully laying them on a map, the goal here was to achieve a 
new and more reflexive understanding of the ways in which different cultures 
express opinions, emotions and affect. Most importantly, it sought to reveal 
how cities’ relational ecosystems are formed and which roles different people 
assume in their communities (influencers, hubs, experts, amplifiers, bridges 
among different communities etc...). This was made to empower the public to 
view data as relational agents rather than discrete bits ready to be collected 
to create more surveillance. Together, during a few (and very snowy) days, we 
worked with students at the Transmedia Lab (York University) and the members of 
the public at ArtSci Salon, our art and science collective, to build an 
affective map of the city. Even the very skeptical City of Toronto’s Open Data 
team was willing to listen.

Freeing data from the grip of institutional and corporate power, from their 
extractivist agendas, from their techno-solutionist patina of fake neutrality 
was at the core of Salvatore and Oriana’s work.  The main mission of their 
cultural research centre is to use data and computation to create new realities 
that would think past using, exploiting, and depleting data and instead rethink 
the configuration of, and the relationships being established in the 
neighborhood, the city and the environment.

The reappropriation, repurposing, and re-vitalizing of data had profound 
political si