ISEA 2011

https://www.neme.org/projects/participations/isea2011

Through the Roadblocks: Technology and Orality

This panel will dis­cuss how oral­ity and tech­nol­ogy in the arts, through so­cial narratives and urban de­ter­mi­nants, trans­mute re­sult­ing in lo­calised adopted new forms. The pro­found changes that have in­flu­enced artis­tic cre­ative processes by digital tech­nol­ogy are lead­ing to a re­de­f­i­n­i­tion of both the role of the artist and the relation­ship be­tween artist and au­di­ence. It has been thor­oughly discussed that dig­i­tal media art forms have a ten­dency to aban­don the clear-cut di­vi­sion be­tween in­di­vid­ual cre­ator and au­di­ence and move to­wards col­lec­tive sit­u­a­tions where au­thor­ship is shared be­tween many. (Alexan­der 2007, Austin 2007, Bakioglu 2007, Pet­titt 2007). This panel dis­cusses how elec­tronic arts and tech­nol­ogy re­late to col­lec­tive and non-writ­ten as­pects of cul­ture. It ex­am­ines both spon­ta­neous processes sup­ported by the na­ture of dig­i­tal media and con­scious strate­gies that build on per­cep­tion and orality in glo­cal cul­ture.

The panel will present and dis­cuss issues re­lated to this topic cen­tral to their collaborative re­search as par­tic­i­pants in the NeMe initiated project Through the Roadblocks which was first presented in May 22, 2009 at the e-Mo­bi­LArt con­fer­ence dur­ing the Thes­sa­loniki Bi­en­nial. This pro­ject in­ves­ti­gates how ideas and con­cepts are adopted and as­sim­i­lated re­gard­less of po­lit­i­cal, cul­tural and spa­cial bound­aries. A team of cu­ra­tors, cul­tural man­agers, schol­ars and artists lo­cated in 10 coun­tries spanning from Aus­tralia to UK and from Turkey to Is­rael and Pales­tine have been invited and their pro­pos­als are cur­rently under de­vel­op­ment promis­ing a rich va­ri­ety of in­ter­pre­ta­tions which will de­fine the sec­ond stage of the pro­ject. The third phase is planned to take place in Cyprus in 2012.

  • Chair
    • He­lene Black
    • Ian­nis Zan­nos
  • Pre­sen­ters
    • George Ka­todry­tis
    • Lan­franco Aceti
    • Dim­itris Char­i­tos
    • Yian­nis Co­lakides

Presentation date: 16.09.2011: 13:00 – 14:30

Through the Roadblocks: Technology and Orality

1. Introduction: “Through the Roadblocks”

In the history of architecture, cities have been trying to protect themselves by building walls enclosing their territories from the surrounding area and separating them from what exists beyond their locality. This is still practiced but in reverse. The walls since the 1950s are not built to protect but to isolate and exclude communities. Such was the case of Berlin and currently, Palestine and USA/Mexico. Architects such as Buckminster Fuller (Dome over Manhattan), Superstudio (Continuous Monument) and Rem Koolhaas (Exodus) however continued to experiment with the idea of large enclosed urban territories. The breakdown of the Iron Curtain marks a radical change in the way societies impose boundaries between groups of people: The apparent regional, physical boundaries are gradually being replaced by invisible, virtual ones, while at the same time boundaries between countries and ideological blocks are being replaced by socioeconomical divides, which find again their physical expression in gated communities. Motivated by this observation, the NeMe project “Through the Roadblocks” explores the permeability of politically induced barriers, both physical and perceived, aiming to investigate notions of how concepts are adopted through mutation, augmentation and resulting in cultural adaptation irrespective of political, societal or cultural constraints.

NeMe first announced “Through the Roadblocks” on May 22, 2009 at the e-MobiLArt conference during the Thessaloniki Biennial. Since then, a team of curators, cultural managers, scholars and artists located in 12 countries have been invited and their proposals are currently promising a rich variety of interpretations which will define the second stage of the project. These participants who, mostly have had first hand experience of both geopolitical and cultural constraints and related paradoxes which have for a very long time characterised this Eastern Mediterranean region, have been invited to reflect on these considerations and tensions which have informed their academic,visual and curatorial practices. The final stage of this project will take in place in Limassol, Cyprus in 2012 and will include a documentary film festival, an international conference and an exhibition which will focus on collaborative works that mirror the ‘dialogic imagination’ and thus endeavor to frame the project within a culture discourse that has to a large extent, neglected trans-disciplinary voices. The new contexts of a world redefined through networked information technology and global international transport require such an interdisciplinary approach. In order to guide the project, several key areas have been identified, which are summarized here.

2. Key Areas

2.1 Telepresence and Virtuality

The telepresence of new media networks and ensuring media discussion establish the emergence of innumerable contexts and narratives. It is no longer possible to apply a singular critical narrative to the social value of culture that is responsive and relevant to the constantly changing socio-political environment. This resultant fragmentation with a multiplicity of dialogues is possibly the most effective and constructive response to both physical and virtual events often giving a provocative voice and agency to the apparent redundancy and aporia of conventional mainstream articulation of what, whom and where is a pertinent and worthy cultural focus.

2.2 Minority Discourses

The fairly recent impact of stalwart subaltern and minority discourses using both physical and web-based platforms are changing the dynamics of the historical norm belonging to dominant European and Western aesthetics. The exoteric nature of web based interactivity of a myriad of contributors crosses both borders and the social spectrum eroding issues of difference and distance and it is this networked practice that has denoted a more heuristic methodology in positioning an open-ended understanding and integration of culture and aesthetic thought on a global forum. Within this framework of “new theories for the new reality” (Hardt and Negri, 2004), the impact of location and first hand experience punctuates a qualitative shift to the formation of a new cultural aesthetics with the assimilation of ideas, actions and voices of uneven volume but unanimously challenging and permeating the membrane of the dominant top-down nature of existing systems.

2.3 Migration and Interculturality

In a world marked by constantly increasing migrations due to social instability and economic need, the issues of diverse cultures coexisting have an acute impact on everyday life in many regions and countries. Besides the pressing problems of vital resources such as living space and other fundamental needs for physical survival, equally important and inextricably connected, are the problems of cultural survival and of mutual understanding and tolerance between groups of different cultural backgrounds. In addition to the physical barriers of country boundaries or roadblocks, the intangible barriers of language, culture, habits, social status and mentality play just as important a role in this context.

The individual contributions that form part of “Through the Roadblocks” exhibition deal with above issues as they are manifested in different dimensions of the experience through sound, image, text and action. We report here the approaches of Iannis Zannos, focussed on the aspect of sound, and of George Katodrytis, concentrating on image especially in the urban environment.

3. Sound and Image Aspects

“Osmosis” explores the idea of cultural interchange and adaptation through an acoustic metaphor: It creates a sonic environment where sounds from three different “live” sources change gradually by adopting each other’s distinct characteristics. In the purely acoustic dimension of the project, three groups of sounds are initially placed in different regions of the performance space. As individual sounds start “migrating” from their region of origin to one of the other two regions, they experience the effects of cultural osmosis observed in multicultural societies: They impart some of their characteristics to the sounds of their new environment, while they themselves start adopting characteristics from the sounds of their new environment. Three very distinct types of sources were chosen for this piece: The flying calls of hundreds of swallows (marlins) flying above the city of Corfu in Greece recorded in July 2007 by the composer, the songs of Weddell Seals recorded in Antarctica by marine biologists, and the encoded messages broadcast by “Numbers Stations” for espionage purposes, recorded by short-wave radio amateurs all over the world. Orientation, mating, communication between peer groups and territoriality, are basic needs that lead to strikingly diverse, even alien sonic worlds, in the environments of a small town, the antarctic, and different countries during the cold war. When such different sounds are brought together, the boundaries between familiar and alien become blurred, and a search for new ways of discerning meaning in the maze of seemingly random meetings of different entities begins. The acoustic transformations of the sounds are performed in real time using spectral processing techniques implemented in SuperCollider, an object oriented real time sound and music synthesis environment. This realisation of Osmosis is part of a larger project that involves realizations in interactive installations with different media (sand, water, graphics synthesis).

The technology of the production of image, such as telegenic vision and satellite urbanisms, has had a dramatic impact on the way we plan new cities in the 21st century. Middle East deserts are canvasses for global and nomadic crossroads; north-south immigration patterns and east-west trading axes bisect a tabula rasa of hues, extreme climates and strange topographies, provide a complex matrix of interconnectivities. The emerging post-colonial city of the 21st century has grown out of new technologies, telecommunications and mega infrastructures that have brought about dramatic morphological and ecological changes. This is the future state of world urbanism – prescriptive and full of visual dramatization. As the technology in the production of imagery of un-built or newly built architecture has become more sophisticated, its image becomes an end in itself and can now be transmitted across the globe instantaneously. Coastal necklace settlements, sand and silicone, pixelated patterns, landscape and render farms, fractal and parametric formations, simulated SimCities, dynamic formations, master plans and speculative developments are now projecting new satellite urbanisms. This spatial and urban approach emphasizes enclaves but also exclusiveness. We are now planning and designing cities by gazing down on the action from heavens. Reconnaissance technologies turn into spectacle and “telegenic” fantasies addressing mass tourism. Simulated panoramas and imagery of unfinished projects give rise to an exciting promise and fantasy. In effect digital imagery and technology is shaping the future of cities. After all we are all nomads inhabiting an image. The political boundaries are now fused into a new reality, boundaries of enclaves and textures.

The dissolution and re-definition of boundaries has as a consequence a loss of orientation and, in the end, a profound crisis of the established sense of meaning, which been recorded in works such as Technoromanticism by the Architect and Media Theorist Robert Coyne (2001). Theoreticians such as Kingwell (2008) and LaBelle (2006, 2010) analyse the impact of this on the experience of urban environments and of sound. Another approach is based on the impact of technical media on meaning in society as reflected in the phenomenon of literacy and of text as a primary vehicle of meaning(s) (Ong 1982, Olson and Torrance 2001).

4. Conclusion

“Through the Roadblocks” is a research project including a collection of visual investigations which approach the issues of boundaries and meaning through creative collaboration and sharing. The hub of this project, Cyprus, is situated in a region at the geographical boundaries between what has been generally perceived as the western culture of printed media and near eastern culture of orality. Apart from challenging this staid East/West ideological construct, its experimental actions are inherently and inevitably confronted with the challenge of connecting the reconfiguration of meaning at the permeable borders between technology and orality, of direct experience and textual reconstruction.

5. References

  • Coyne, Richard. 2001. Technoromanticism. MIT Press, January 26.
  • Hardt M and Negri. A. 2004. Multitude: War and Democracy in the Age of Empire. Penguin
  • Kingwell, Mark. 2008. Concrete Reveries: Consciousness and the City. Viking Adult.
  • LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. Continuum, April.
  • LaBelle, Brandon. 2010. Acoustic Territories: Sound Culture and Everyday Life. Continuum.
  • Olson, David R., and Nancy Torrance. 2001. The making of literate societies. Wiley-Blackwell.
  • Ong, Walter J. 1982. Orality and Literacy: The Technologizing of the Word. New edition. Routledge.

Helene Black, Iannis Zannos, Lanfranco Aceti, John Francescuti, George Katodrytis, Yiannis Colakides

Keynotes from ISEA 2011

Tuesday, 20 September, 2011 - 10:45 - 11:45 For the past five decades digital technologies have produced profound changes for the function of art and the creation and dissemination of artistic productions in general. From the early 1990s through the 2000s networked art, in particular, has undergone a process of “versioning,” moving from its 1.0 to 2.0 release. While the corporate metaphor of Web 2.0 entails a fair amount of hype, marketing, and monetizing, it can also provide an interesting framework for outlining the ways in which networked art has initiated and responded to changes in concepts such as data spaces, identity, and collective production. These concepts have found different forms of expression in the 1.0 vs. 2.0 version of networked environments. Networks, particularly social ones, have evolved and profoundly shaped contemporary art and culture over the past 20 years. One could argue that the data spaces of virtual environments—from Web 1.0, MUDs, MOOs and graphic chat rooms to MMORPGs, Second Life, Facebook and Twitter—have evolved parallel to and in connection with pervasive physical computing that senses and controls events in the physical world by means of computing devices. Both the virtual environments of “cyberspace” and ubiquitous, pervasive computing are surrounded by hype and invite a set of critical questions, among them, how can we classify their effects, which range from enhanced agency and participation to invasive tracking? If dynamic data spaces—from networked data sets to mobile devices—are the “landscape” of contemporary culture, they also have to be seen as a context in which we construct our identity and define ourselves in virtual as well as networked physical space. Different forms of embodiment and disembodiment have been a central aspect of discussions about the changes that digital technologies have brought about for our sense of self and have been articulated in different ways in the 1.0 and 2.0 versions of networked art. Virtual and physical data spaces and issues of identity merge in the forms of collective production enabled by “social media”—the user-generated content created by means of highly accessible and scalable publishing technologies that rely as much on Internet-based tools as on mobile devices for access and distribution. Social media networks have enabled both unprecedented forms of datamining and collective agency. Artistic practice has both helped to initiate and responded to the move from the 1.0 to 2.0 version of networked environments and their respective articulation of data spaces, identity, and collective production. A tracklog of the different ways in which networked art has expressed these concepts can be a portal to the critical analysis of network culture's evolution of over the past 20 years. http://isea2011.sabanciuniv.edu/content/upgrade-path-networked-art-10-20

We would like you to watch this Lanfranco Aceti produced video, presenting Christiane Paul keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35498263.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

Wednesday, 14 September, 2011 - 10:45 - 11:45 The dominant media of the 21st century are now in place: spreadsheets, databases and geographic information systems. Evolved from double-entry book-keeping, from the early adding machines and filing cabinets of the first office revolution, and from the maps that guided the first wave of European imperialism. All three share a move away from origins in chronological ordering. Time is being squeezed out of contemporary media. We need to look hard at its position in digital technology. The moving image media begin with succession – one frame after another – adding the interlaced and progressive scan with the invention of video. Digital imaging brings with it the clock function in image capture and processing; and the introduction of the time-to-live principle in packet switching, which ensures undelivered packages erase themselves so that they do not clog the system. Time is integral to digital media, far more so than to their mechanical predecessors. Vector graphics are a startling example of the potential of this temporal specificity. But vectors are both constrained by the universality of raster displays, and redeployed in video codecs as a means for managing and controlling time. The aesthetics of digital time cannot be separated from its political economy: and art that is digital needs to pay attention to the materiality of digital media, and the politics and economics that define them, especially in the moment of IPv6, HTML5 and the MPEG-LA patent wars. http://isea2011.sabanciuniv.edu/time-to-live

We would like you to watch this Lanfranco Aceti produced video, presenting Sean Cubitt keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35156601.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

Wednesday, 21 September, 2011 - 10:45 - 11:45 Professionals and academics from every discipline are increasing their collaboration between film and game production around the world. This presentation will illustrate 20 years of personal examples in successful collaborations as well as exciting new trends. Based upon Masson's 20 years of interdisciplinary experience working in films and games, and leading the new team-based game program at Northeastern University, this presentation will highlight how a collaborative approach effects the creative process and provides unique insights behind the scenes. Revolution. Excellence. Agility. Northeastern University in general .. and Creative Industries specifically is based fundamentally around experiential learning; that is learning by doing. Like it or not, the college degree just isn't what it used to be. Now to be fair, having a degree in a technical/creative art like Game Design was never as important as it is in most other fields; but College now is as much a social experience, the experience of meeting and learning from others of your own peer group … interdisciplinary, team based experiences. REVOLUTION -- We must build programs that matter, we must not only think revolutionary .. but act revolutionary as well. And Creative Industries is that weapon of choice. We've all seen the concept of

We would like you to watch this Lanfranco Aceti produced video, presenting Terrence Masson keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35512533.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

Monday, 19 September, 2011 - 10:45 - 11:45 “Data” are a mediation of actual phenomena – an immaterial material – a contradictory trajectory of abstract points or numbers and producing phenomena. Data comprise a set of organized measurements created by instruments that calibrate quantifiable qualities of original source or sources (natural, artificial or recombinant). The act of design – a fundamentally subjective act creates the interface between these forces– whether created by designer, animators, computer scientists (or bioinformatics scientists) or artists create the interfaces that allow interaction with data. In this sense data visualization can be compared to any other creative practice that works with a material that has specific structural qualities and manipulates it within a limited context. The materiality of data (its semiotics) could be compared to the materiality of text – its structure, syntax forming meaning as much as content, but always acting as an abstraction of actual experience. Yet both act back on the world. Given that sensory expression – most often visual, sometimes sonic or tactile – is the only means to perceive many contemporary data sets aesthetics are fundamental, not additive to the emerging field of data visualization. Aesthetics play out within mediation. Aesthetics structure experiences in formal perceptual ways and provide interpretive tools fundamental to constructing meaning. The field of Data Visualization contains aesthetic practices that draw from art, design, computer and information science and the sciences. Data visualizations carry with them the aesthetics and assumptions of their contributing technology. Data visualization technologies absorb aesthetics of 2D and 3D graphics and animation systems, with their formal styles and malleability. In the past decade a new set of graphics tools - some viable for online visualization, others only available through super computer networks or in the laboratory - are available, as either open source (such as Processing) or proprietary software. The more finished the tool the more that styles and capacities are embedded. Each new source of data adds its structure, aesthetic properties and limits. Understandings of how to treat data as a material play out in the making of visualizations. For example Edward Tufte argues that data visualization requires choosing data sets that are of value to the researcher, mining the data, creating a structure for the data, analyzing that data set to find meaningful ways to represent it, analyzing patterns, translating the analysis through aesthetic representation, refining the representation to better communicate, and creating means of manipulating the data. In Tufte’s view, data enunciate their own structures. There is no base case with data; it is inductive reasoning that pulls out knowledge. Through this process they find form, and sometimes also find metaphor or narrative. This may be viewed as data naturalism, structuralism, bearing a truth to materials approach, or, in working with large-scale data sets representing phenomena that cannot be viewed, data-driven design. This talk will discuss data visualization aesthetics within a history of scientific realism, design teleology, disclosing tensions in representing the empirical world and its structures with experimental and revelatory practices. The potential of instrumental and intrinsic expression are presented through contemporary examples of an emerging field. It will end with an overview of my current research in visualizing large bodies of text data, searching for influence and emotional expression. http://isea2011.sabanciuniv.edu/content/data-visualization-materiality-and-mediation

We would like you to watch this Lanfranco Aceti produced video, presenting Sara Diamond keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35275532.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

 
Sunday, 18 September, 2011 - 10:45 - 11:45 In the past 50 years, the distinction between high and popular culture has broken down. Prior to the Second World War, there was a general agreement that literature, the visual arts, and classical music were more important to our culture than, say, films, comic books, or television programs. That agreement started to come apart in the 1960s, a decade that saw the rise in status of the youth movement and such popular forms as rock music. Within the art community itself, a new avant-garde began to ask whether the art of the galleries and the museums really was more important that the visual creativity all around us, even in commercial products. I will call this breakdown

We would like you to watch this Lanfranco Aceti produced video, presenting Jay Bolter keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35241050.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

Saturday, 17 September, 2011 - 10:45 - 11:45 Something has been happening to the relationship between the artist and artifact, at least in a growing sector of the digital domain. The old certainties upon which notions of authorship and attribution are based, and within which ideas of creative control reside, are slipping and giving way to new forces. Of course, in a time of transition, this process itself – and the forces behind it – are ideal sites for artistic engagement and interrogation, and some of the most profound interventions to date owe themselves to this community. In fact, cracks and fissures have been appearing in the relationship between the subject and the object more generally, undermining the carefully wrought distinctions upon which the modern era was founded. Let me make clear at the outset that cracks do not a transformation make, but they give us an early warning and an important place to look for further signs of change. My argument in a nutshell is that over the past decade or so, we have had increased access to new ways of calculating, representing and seeing the world, ways dependent on algorithmic interventions between the viewing subject and the object viewed. This intervention has many manifestations, from the changed model of authorship and expertise that Wikipedia represents over and against the Enlightenment paradigm represented by Diderot’s encyclopaedia, to the dynamic and location-aware cartographic systems that we can find on our iPhones and TomToms over and against the fixed cylindrical projection grid of Gerardus Mercator’s 16th Century maps. We can find it in the domain of the archive, where a long fixation with the physical artefact has given way to dynamic information repositories, digital in form but algorithmically accessed and reconstituted. And in the case of the image, grosso modo, the long regime of three-point perspective and its reification of an underlying understanding of subject-object relations constitute the representational order that is also exhibiting fractures in the form of algorithmic visualization systems such as Microsoft’s Photosynth and image recognition-based augmented reality applications. These binary oppositions are complicated by our residual practices – we often act as if nothing has changed, treating these new assemblages as if they were consistent with the much older practices we are familiar with. And this can prove confusing. In our world, the coincident transformations of form taken by information (digitalization, for example) further confuse the issue, garnering credit (or blame) when in fact the algorithmic processing of that data (whether analog or digital) is the real issue. We shall then consider the algorithmic, extracting it from this thicket and reflecting upon its impact. http://isea2011.sabanciuniv.edu/content/towards-new-order-algorithmic-turn

We would like you to watch this Lanfranco Aceti produced video, presenting William Uricchio keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35214488.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

 
Friday, 16 September, 2011 - 10:45 - 11:45 Media Arts landscape of recent years is being increasingly seized by a phenomenon which has yet not received any significant research, classification or analysis: the use of historic media configurations as an integrated part of contemporary media art installations: Internationally renowned artists like William KENTRIDGE, Olafur ELIASSON, Zoe BELOFF, Jeffrey SHAW, Maurice BENAYOUN, Rafael LOZANO-HAMMER create optical experiments, panoramas, phantasmagoria, perspective theaters, camera obscura, anamorphoses, magic lanterns, etc. In our most recent present artists venture in a reflective manner towards new measurements of the complex status of seeing - this is the core of the investigation and includes perception, reception and cognition as well as the process of creating images. The images' historical development between innovation, reflection and iconoclasm reaches in the 21st century a new level of global complexity. In the

We would like you to watch this Lanfranco Aceti produced video, presenting Oliver Grau keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35194212.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

Thursday, 15 September, 2011 - 10:45 - 11:45 In this presentation Verostko outlines sources that dominated his pursuit as an artist for over 60 years. He identifies “form-generating” ideas from early 20th Century pioneers of non-objective art that influenced his pre-algorist work. He illustrates how those underlying concepts shaped his approach to structuring algorithms for creating his art. His presentation illustrates the transition from what he calls “art-mind guiding hand” to “art-mind guiding machine”. By doing so he identifies the power of algorithmic form generators and the unique qualities of form they can yield. This session includes a brief addendum on his 2008 project, the Upsidedown Book and Mural for which he resurrected pre-algorist drawings and transformed them with digital tools. http://isea2011.sabanciuniv.edu/content/brush-hand-brush-machine-1947-2011

We would like you to watch this Lanfranco Aceti produced video, presenting Roman Verostko keynote talk delivered in ISEA 2011: uploaded on vimeo.com/35179044.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.

 

We would like you to watch this Lanfranco Aceti produced video, presenting Isea2011 Tv Spot: uploaded on vimeo.com/29145829.
By viewing it here, you accept Vimeo's privacy policy.

View it here

Note that Vimeo only serves First Party cookies for embedded videos in our site, but acording to their cookie policy, more cookies are used should you wish to view any content in their website.