Adnan presented the boattr project during the EI 2019 conference.
Founded in 1947, the Society for Imaging Science and Technology (imaging.org) is a professional international organization dedicated to keeping members and others apprised of the latest scientific and technological developments in the field of imaging through conferences, educational programs, publications, and its website.
IS&T encompasses all aspects of imaging science, with particular emphasis on digital printing, electronic imaging, color science, image preservation, photofinishing, pre-press technologies, hybrid imaging systems, and silver halide research.
History
In 1947 a group of 81 researchers from the National Archives, US Navy, National Bureau of Standards, Signal Corp Engineering Laboratory, Massachusetts Institute of Technology, Georgetown University, Bell & Howell Co., and Eastman Kodak Co.—to name a few—worked together to form the Society of Photographic Engineers. The goal was to establish a society to concentrate on publishing scientific papers in the area of photographic engineering. Before this, papers where published in a multitude of publications mixed with other papers of various non-related material. The membership more then doubled before 1950. The first issue of “Photographic Engineering” was published in January 1950.
As a result of “Photographic Engineering”, the newly formed Society was able to bring in 18 corporate members, including Bell & Howell Co., Eastman Kodak Co., Bausch & Lomb Optical, Graflex Inc., and Kollmorgan Optical. By the end of 1950 the Society had 33 corporate and more than 270 individual members.
The Society of Photographic Engineers changed it’s name in April 1957 to the Society of Photographic Scientists and Engineers (SPSE). Shortly thereafter the first issue of the “Journal of Photographic Scientists and Engineers” was published. On Jan. 29, 1992, the name of the Society was changed to the Society for Imaging Science and Technology (IS&T).
The EGS seminar this year will continue to pursue the question of refugees, rights, and representation. The struggle for rights and recognition occurs on a battlefield of representations, among other things, and some of the chief actors on that field are humanitarians. “Refugee” is a category for both humanitarian and human rights discourses, and the tension between the two representations of this condition has given rise to a robust critical literature. To claim rights is not the same thing to ask for help; the demand for justice can be very different than the plea for aid. Both discourses, though, make reference to the concept of ‘humanity,’ and both practices increasingly rely on forensic or evidentiary strategies. We will explore critical accounts of humanitarian action and ask about their significance in light of the ongoing criminalization not only of migrants in the Mediterranean and elsewhere, but also of the humanitarians who seek to aid them. Is a new sort of politics of humanitarian action emerging in response to this targeting? We will continue to work with the investigators of Forensic Oceanography (this year Charles Heller will join us) , and we will also meet with humanitarian activists based in Malta.
SESSION 1: EXPELLED FROM HUMANTY ALTOGETHER
Hannah Arendt, “The Decline of the Nation-State and the End of the Rights of Man,” in The Origins of Totalitarianism, World Publishing (1958), 267-302
Jacques Rancière, “Who is the Subject of the Rights of Man?,” South Atlantic Quarterly 103:2-3 (Spring-Summer 2004), 297-310
SESSION 2: CRITIQUE OF HUMANITARIAN REASON
Didier Fassin, “Truth Ordeal” and “Conclusion,” in Humanitarian Reason, U Cal P (2011), 109-129, 243-257
Miriam Ticktin, “The Illness Clause,” in Casualties of Care , U Cal P (2011), 89-127
SESSION 3: FORENSIC OCEANOGRAPHY 1: FROM NON-ASSISTANCE TO DEATH BY RESCUE
Charles Heller and Lorenzo Pezzani, “Case: Left-to-Die Boat” and “Liquid Traces,” in Forensis, Sternberg (2014) , 638-655, 657-684
Heller and Pezzani, “Ebbing and Flowing,” Near Futures Online 1, March 2016
Forensic Oceanography, The Left-to-Die Boat Case (2012): http://www.forensic-architecture.org/case/left-die-boat/
Forensic Oceanography, Death By Rescue (2016): https://deathbyrescue.org/report/narrative/
SESSION 4: FORENSIC OCEANOGRAPHY 2: CRIMINALIZING RESCUE
Amnesty International, Between the Devil and the Deep Blue Sea (2018)
Forensic Oceanography, Blaming the Rescuers (2018):
https://blamingtherescuers.org/
Valentina Zagaria, “When rescue at sea becomes a crime,” Open Democracy (15 September 2018)
https://www.opendemocracy.net/can-europe-make-it/valentina-zagaria/when-rescue-at-sea-becomes-crime-who-tunisian-fishermen-arrested-in-italy-really-a
Giulia Bertoluzzi, “Tunisian fishermen on the front line of migrant tragedy,” Middle East Eye (31 October 2017)
https://www.middleeasteye.net/in-depth/features/fishermen-zarzis-1153799343
SESSION 5: SEMINAR WITH MALTA HUMANITARIAN ACTIVISTS
SESSION 6: RESCUE AS DEPOLITICIZING OR REPOLITICIZING?
Sophie Hinger, “Transformative Trajectories” (interview with Heller and Pezzani), Movements 4, no. 1 (2018), 193-208
Heller and Pezzani, “The Perils of Migration” (October 2018), draft – no circulation
Paolo Cuttitta, “Repoliticization through Search and Rescue”,” Geopolitics 23, no. 3 (July -September 2018), 632-660
Paolo Cuttitta, “Pushing Migrants Back to Libya, Persecuting Rescue NGOs,” Border Criminologies blog (18 April 2018), Parts I and II
IF WE HAVE TIME
Joe Sacco, “The Unwanted,” in Journalism, Jonathan Cape (2012), 107-157
https://www.vqronline.org/vqr-gallery/unwanted-part-1
https://www.vqronline.org/vqr-gallery/unwanted-part-2
Logistics defines itself as a procedure in which every exception from the rule and every error are part of the plan. Frictionless transport means sophisticated planning and optimized processes. The work OSTLHINEECSION (Postal Machine Decision Part 1), by the Swiss collective !Mediengruppe Bitnik seeks out the imperfections in the logistic systems in which nowadays computers calculate nearly all necessary decisions. To do so 21 packages were shipped out from Berlin via the logistics services provider DHL Express. Each package was, however, given two delivery addresses: one in Halle (Saale) and one in Brussels.
The work experiments with a decision-making process that was never intended and references the work ThePostman’sChoice by Ben Vautier from the year 1965 in which a postal worker decides where a postcard that has two delivery addresses is finally to be sent. As it was back then, the standard rule in digital shipping operations is that for every shipping unit there must be one sender and one clear recipient. In between these two the logistics system works mechanically by means of barcodes, scanners and programmed directives. Autonomous judgements based on the same source information also remind us of Buridan’s ass and its dilemma, providing insights into a system that usually works invisibly.
Transformer is a multifaceted, two-year project presented by Blitz, in collaboration with Central Saint Martins, University of the Arts London, and culminating in a multi-site exhibition in September 2018. The project will build a relationship between a Maltese artistic context and an international cultural network through a series of border-crossing curatorial and artistic exchanges. The project includes curatorial research, artist residencies, a website, public talks, workshops and a multi-site exhibition in spaces across Malta during the 2018 European Capital of Culture year.
The activities will be a collaboration between project partners from Malta, the United Kingdom, Spain, Morocco, and Greece, with the aim of building a network which will help develop Artist Run Organisations (AROs) and the contemporary art context in Malta.
Transformer focuses on the dynamic generated by AROs and their engagement with contingencies of the present, engendering artistic discourse via artists-based research activities in-situ. Transformer institutes a ground-up, grassroots, sustainable and long-lasting interchange; nurturing, developing and extending the activity of the Maltese contemporary art scene, widening its sphere of influence, and embedding it within European and international communities of practice
20 June 2018 was World Refugee Day and to commemorate this day several events have been organized. Over the course of history, people have moved to other countries for many reasons: survival, hunger, persecution, climate change, and a new future. Sometimes they even move for love. Without migration and travel, the Mediterranean wouldn’t be what it is today: a region with a rich array of cultural backgrounds and heritage.
The Maltese poet Antoine Cassar wrote a poem about this theme, called Map of the Mediterranean. This poem moved Malta-based composer Luc Houtkamp (compositions, electronics and woodwinds; project leader) along with Guy Harries (compositions, vocals, flute, electronics) and Tom Armitage (keyboards) so deeply that they’ve created a show around the theme of migration in time for World Refugee Day. As Antoine Cassar recites his own poem, the experimental ensemble perform newly composed songs about migration, the Mediterranean Sea and the current refugee crises.
Things are what they are—but could they be different? Unter dem Titel face value soll die transmediale 2018 diejenigen Werte und Wertschöpfungsprozesse offenlegen, die zu den extremen politischen, ökonomischen und kulturellen Gräben unserer Gegenwart beigetragen haben. Im Angesicht von wachsenden populistischen Strömungen und immer lauter werdenden reaktionären Stimmen innerhalb und jenseits der heutigen Mediensphäre stellt sich die Frage, wie Künstler_innen, Kulturschaffende und Theoretiker_innen ihre eigenen Wertesysteme reflektieren – facing values – und darüber hinaus auf die gegenwärtige Tendenz reagieren können, Dinge in erster Linie nach dem äußeren Anschein zu beurteilen – taking things at face value. Das Festival findet vom 31. Januar bis 4. Februar 2018 im Haus der Kulturen der Welt statt und bringt wie immer eine Vielzahl von kuratorischen Formaten und Arten des Wissensaustauschs zusammen – von Keynotes über Performances und Workshops bis hin zu Screenings.
Critical design duo Metahaven have repeatedly participated at transmediale and also contributed to Holly Herndon’s new album ‘Platform’. On the occasion of Polymorphism #14, they created two limited edition long sleeve t-shirt designs in cooperation with independent journalist and internet activist Jacob Appelbaum and Holly Herndon – and supported by CTM and transmediale.
The t-shirts will be available for sale at the event on June 11th, all proceeds will be given to the Chelsea Manning Support Network.
The blockchain is widely heralded as the new internet—another dimension in an ever faster, ever more powerful interlocking of ideas, actions, and values. This landmark publication by the curatorial and publishing platform Torque and the art and social change organization Furtherfield brings together a diverse array of artists and researchers engaged with blockchain technology, unpacking, critiquing, and marking its arrival in the cultural landscape. The blockchain’s first and most notorious instantiation is Bitcoin, a highly volatile currency with an equally ambiguous value and cryptic future. Join editors and contributors of the publication for talks and discussions, to explore cryptocurrencies, alternate blockchain applications, and the launch of a free electronic version of the book.
Following the discussion, attendees are invited to buy and barter for the print edition in a live, radically inflationary situation, echoing the current state of cryptocurrencies, to explore a future in which we may increasingly use multiple modes of currency and exchange.
Moderated by Jaya Klara Brekke, Matthias Tarasiewicz
Workshop
Fri, 02.02.2018
16:00 – 18:00
K2
Registration
In this forkshop, the Laboratory for Future Cryptoeconomics will identify and work on future histories of data-driven and consensus-oriented cultures by investigating the face value of blockchain narratives. Despite a history of critical debates undermining the concept, consensus as truth exists and thrives in practice today. This is the evident in the emergence of post-truth media societies that have led to changes in society based on foundations of truth that are sustained only through consensus. Cryptoeconomics offers an alternative approach by reversing the incentivization of truth. In the cryptosphere, conflicts are the driving force of innovation; forking is a method of resolution. Conflicts appear in coding communities on a regular basis, and protocols for resolution have to exist in order to continue development. A “fork” in software engineering describes the situation when developers create their own “branch” and start individual development on it.
Yesterday when I took this image to send to our Garry of Redraw Internet I had just no idea today we would hear bad news.. After 17 years we got just two days to clear out of Deckspace notice to grab work in progress and decant to Bitspace on the first floor.
Greenwich council have been reviewing all their public buildings in the wake of Grenfell Tower disaster and earlier this week visited us at Borough Hall for the first time in a decade.. Our hosts Greenwich Dance have had a series of nasty shocks and SPC are not the only casualty this week, as most sublets of rooms seem likely to be terminated as well. Will find out more this coming week.
The grade2* listed building has been systematically neglected by RBG and it’s in a terrible state, all flat roofs have been leaking for years, doors are off hinges and most of the toilets failed long ago.. but they were shocked to discover we were up there doing what we do (whatever that is?) and threw a massive fit, threatening to shut the whole building if we didn’t clear the deck immediately!
Seems a bit harsh really but we have always operated on the basis we would yield to such a request – really expected a bit more notice though.
This will have a big impact on community wireless infrastructure and all the local connections that use the fast network provided by connection provider Redraw. We have the weekend to reconfigure what we can before the doors will be locked. So if you think you have something special stored or just want to get a final look out from the roof over Deptford and Greenwich visit this afternoon or Sunday morning until 1pm..
Great response from friends and subscribers, here are some images from the weekend grind.
We will continue with use of Bitspace until we hear different, it’s stacked with the materials and equipment dragged down the stairs. The weekly Wednesday workshops will also continue between 2 and 8pm. See you there!
A unique project focusing on the exchange of language, poetry and potatoes. Malta and Leeuwarden share strong agricultural ties,exchanging potato crops and seeds twice a year. From these seeds, Maltese farmers grow potatoes which are then shipped back to Leeuwarden. Poetry in Potato Bags makes use of this relationship by exchanging poetry along with the agricultural produce. Poetry in Potato Bags is a Valletta 2018 – European Capital of Culture collaboration with Potatoes Go Wild, Inizjamed, Appoġġ, and, of course, Leeuwarden 2018.
The seminar will be addressed by a number of individual researchers and public entities carrying out qualitative and quantitative research across a number of sectors. Also addressing the conference will be Szilvia Nagy, who forms part of Local Operators Platform (LOCOP), a research network dedicated to critically assessing cultural policies and supra-regional funding strategies such as the European Capital of Culture programme.
Wiċċna / Our Face project, led by Zvezdan Reljic, Yugoslav/Maltese photographer, is planned to be a book of around 200 photographic portraits of individuals from different backgrounds, generations and ethnicities who currently reside in Malta and accompanied by a short caption taken from the individual’s answer to the often complicated question “Where are you from?” Wiċċna / Our FaceZvezdan Reljić Prints by Zvezdan Reljic
Italian post-rock outfit Mokadelic, renowned for their breathtaking soundtracks, besides their albums proper, played two exclusive nights at the University Campus Theatre (ex MITP) in Valletta last weekend. In a rather unique experience for Malta, the five piece Rome-based band, who have scored soundtracks for Oscar-winning director Gabriele Salvatores amongst others, will play their soundtrack to the hit Italian TV series ‘Gomorra’ in its entirety; in what promises to be a special musical and visual experience.
Ħaġraisland is a collection of reflections by Isaac Azzopardi about the changing aesthetics of Malta. Through the use of construction material, appropriation and rubbing techniques, the show revolves around three main references: Austin Camilleri’s installation Stones from 1999, as a Maltese contemporary art canon, Anselm Kiefer’s ideas about art as alchemy and Malta’s changing urbanity.
Led by artistic director Mikiko Kikuta, European Eyes on Japan / Japan Today is a visual arts project that has toured over thirty European Capitals of Culture since 1999. In anticipation of our European Capital of Culture year, the project extended an invitation to Maltese photographer, Alexandra Pace, from Valletta 2018 and photographer Alice Wielinga from our twin European Capital of Culture, Leeuwarden-Fryslân 2018. Both photographers lived and work in Japan, looking to capture the country’s lifestyle through a European lens. An exhibition featuring the work of both artists will be hosted in Malta at Spazju Kreattiv, after which it will travel to Leeuwarden and Japan.
Latitude 36 – exhibition by Charlie Cauchi, a project stemming from Charlie Cauchi’s upbringing as a Maltese migrant’s daughter in the United Kingdom, brings real-life stories to the forefront to create “a more honest and open debate about migration”. For more information visit www.latitude36.org
Heba Shibani is a Libyan journalist and news producer who has worked in a number of Libyan and international media outlets such as Reuters, Libya’s channel, and Alaseema Television. After eight years in photojournalism and street photography, her approach has evolved to present heritage with a fresh edge, by illustrating the relationship between a place and its residents and focusing on the concept of home. During The Trail Heba will be running photoshoots for Trail visitors, with an option for visitors to keep their photos – a unique opportunity not to miss out on! Heba AlShibaniAllura – The Trail 2018
Malta Calls, a kaleidoscopic outdoor dance performance envelops the crowd in a 360-degree sensory experience. Drama, dance and film join forces in this pumping event, where projections representing ‘Present’ and ‘Future’ twist and turn, play and replay, as their movements capture aspirations, hopes and dreams in a moment of eternal anticipation. Malta Calls will be held on the grounds of St Clare’s College Secondary (ex Sir Adrian Dingli), Pembroke on Friday 20th July from 8pm onwards. ŻfinMaltaValletta 2018 – European Capital of Culture
‘Reflections and Connections’ and ‘Ħaġarna’ inaugurated as part of Art in Public Spaces. Two of the winning projects from the Art in Public Spaces competition which took place in 2015. 6 different projects intended for 6 particular spaces had won this competition. The two projects inaugurated are in Gozo, where ‘Reflections and Connections’ is a public staircase which has been adorned with mosaic in Għajnsielem and ‘Ħaġarna’ is a contemporary sculpture in Xagħra. Minister for Gozo Justyne Caruana was also present for the inauguration of the second project. ħaġarna
Decor Elly is a home-based 3D printing workshop which produces unique figurines for further processing, using decoupage & other finishes. Long before entering the world of 3D printing, Elaine was experimenting with photography and papier-mâché sculptures, as well as textile design including techniques such as weaving and macrame. Then, introduced to 3D design during her studies, she became interested in this process and the scope for creating her own products from start to finish. The range of objects she designed and produced started to grow; from a multi-coloured cow resembling contemporary dialogue with figurative arts (i.e. Damien Hirst), to creative remixes of classical art usually found only in established museums or galleries (e.g. the Venus de Milo, Michelangelo’s David) – all with an unexpected and quirky touch. Beyond Elaine’s intriguing choices of themes, her trademark approach lies in her use of experimental finishes, and how these unusual textures add another level of surprise for her audiences. Decor EllyElly LongLegsMichal Lubay Lubiszewski
We met up with Martha who literally does something out of nothing! Taking #upcycling to a whole new level.
The word MODS stands for “Music on D Spot”, which describes the mission of this collective of Portuguese musicians: to create improvised music with intimate connections to moving images in cinema or video. This edition of MODS COLLECTIVE investigates the work of Malta’s cinema pioneer, Cecil Satariano, an award-winning filmmaker of great artistic value whose work is still largely unrecognised in Malta and Europe. Taking as its starting point two short films by Satariano – “I’m Furious Red” and “Guzeppi” – Portuguese and Maltese musicians bring improvisational forms to table. Much more than a soundtrack, this is a piece of music that works symbiotically with cinema, creating a new layer of meaning alongside Satariano’s work. Created and organised by Capivara Azul – Cultural Association, in co-production with Fondazzjoni Kreattività with the collaboration of Marietherese Voice Studio and with the support of the Valletta 2018 Foundation and the Guimarães Municipality.
The Valletta 2018 Foundation was one of the main partners supporting the Malta Robotics Olympiad, which has now established itself as Malta’s major annual event for design, technology and education. Following two years of successful collaborations, the Valletta Design Cluster partnered with the Design and Technology Learning Centre to present the Design & Technology Expo at a special edition of the Malta Robotics Olympiad (MRO) in 2018. The event brought together educational institutions, technology and innovation-driven enterprises and agencies, as well as private exhibitors, while also hosting diverse national and international events, competitions, challenges and exhibitions. For more information about the event, visit https://www.mromalta.com/
MASTERCLASS by Liliana Cavani at Valletta Campus – University of Malta. During this class Liliana Cavani discussed the distinctive features of her craft of directing film. The event was introduced by Prof Gloria Lauri-Lucente and moderated by Prof Gaetana Marrone Puglia. The session was also be open to questions from the audience. University of Malta
Our European Capital of Culture year begins with a unique celebration that’s worthy of the traditional Maltese Festa. Visit the capital from the 14th to the 21st of January and participate in our island-wide festa!
Valletta 2018 is an exciting year-long celebration – a cultural programme that starts in our capital city and reaches out to towns and villages all over Malta and Gozo. Our Opening Week draws crowds to the heart of Valletta with music and entertainment, street artists and performers spreading word of the Opening around the capital’s streets, exhibitions set in diverse venues around the city, open days that re-discover Valletta’s fascinating historical spaces, community storytelling events centred around the city’s residents and the spaces they use, and much more.
At the centre of our grand festa are the joy, dance, music and reverie that fill Valletta’s four main squares – St George’s Square, St John’s Square, Castille Square, and the area around the Triton Fountain – where the Catalan theatrical group, La Fura dels Baus, blurs the line between audience and performer with outdoor acrobatics, while ŻfinMalta offer contemporary dance performances. Throughout our celebration, digital projections, video art and choral symphony lend the capital a wondrous and magical atmosphere. And all over on the city, travelling bands and performers take the festivities to the streets, inviting residents and visitors all over the Maltese Islands to take part in this spectacular celebration.
On the 20th of January, join us for Erba’ Pjazez, with shows every hour on the hour during the evening. Erba’ Pjazez will be hosted in Triton Square (Il-Qawma tat-Tritoni), St George’s Square (Qalbna), St John’s Square (Elfejn u Tmintax) and Castille Square (Minn Qiegħ l-Imgħoddi għall-Quċċata tal-Ġejjieni).
During the week of the 20th of January, from the 14th of January up until the 21st, come and join us for Opening Week. A variety of activities will be happening in an around Valletta for the entire week leading up to the opening as we prepare to host our European Capital of Culture year. Our Opening Week events are divided in six different themes:
‘Vitor’ was written and directed by Paul Portelli, and produced by Katya Hanna. Behind the camera, as cinematographer, was Michael Carol Bartolo, and the art direction was entrusted to Katrina Xuereb. ‘Vitor’ placed third at the 3rd edition of FICME, the International Student Festival of Short Film, Hammamet, Tunisia. Four short films by the students of the Master of Arts in Film Studies. Two, Vitor and Boy Wonder are by students currently following the course, and the other two are dissertations by the first graduates from the course, Lara Azzopardi (Kuzra) and Bruce Micallef Eynaud (The Inner Voice).
The programme is designed to provide emerging creatives in the community with an opportunity to access and learn from a nourishing pool of talent and a rich network of peers. Keit Bonnici recently graduated with a BA in Design, with 1st Class Honours, from Goldsmiths – University of London. The artist’s background includes studies in Design/(thinking), Art and Engineering. He has also received formation in circus arts and movement. “My aim is to carve out my own creative interdisciplinary practice; and become a freelance designer working with the space between art and design.”
MICAS kicks off its summer celebration with an art talk at MUŻA by Edith Devaney, contemporary curator and head of the summer exhibition at the Royal Academy of Arts, London. This will be followed by the launch of Jumpstart: An Incomplete Timeline and a reception at Castille Square. The MICAS Summer Celebration is happening in collaboration with the Valletta Cultural Agency and it is supported by Heritage Malta and Spazju Kreattiv. MICAS Summer CelebrationMICAS
MUŻA huwa l-isem magħżul għall-mużew ġdid ta ‘l-arti u l-proġett prinċipali ta’ Malta. Il-proġett huwa mużew ta ‘arti tal-komunità nazzjonali, l-ewwel wieħed li qed jiġi żviluppat f’sit storiku fil-Belt tal-Belt Valletta; Sit ta ‘Wirt Dinji tal-UNESCO mibni bħala belt-fortizza. Illum, fl-isfond tal-Belt Kapitali Ewropeja 2018, il-proġett tal-Muża se jkun qed juża prattiċi innovattivi flimkien ma’ tekniċi tradizzjonali biex jiġu indirizzati problemi strutturali maġġuri fuq il-binja storika. Il-prattiċi li qed jintużaw ġew użati l-ewwel darba fl-Italja biex jirristrutturaw binjiet li ġġarrfu bit-terremoti. Din l-esperjenza ġdida se tħalli legat ukoll fil prattiċi tar-restawr tal-bini antik f’pajjiżna u ġew attentati b’mod qalbieni għall-ewwel darba minn Heritage Malta.
Zahra Al-Mahdi hija artista, kittieba, novellista grafika u film maker. Bħalissa tagħmel parti mir-residenza ta’ l-artisti ġewwa l-Belt Valletta u qegħda taħdem fuq proġett kif in-nies jinteraġixxu ma’ spazji madwarhom. L-esebizzjoni tagħha ser tiftaħ fil-21 ta’ Ġunju ġewwa Blitz
On December 15th Open Incet will be the place where to talk about cybersecurity and validity of data at the BLOCKCHAIN FOR SOCIAL GOOD, an event that will bring together policymakers, startups, researchers and other representatives of academia, and anyone else interested in the space of blockchain and its potential.
The event will open with the launch of the €5m European Commission Prize: “Blockchains for social good”. The prize has been designed by the European Commission to promote scalable, efficient and high-impact decentralized solutions to social innovation challenges leveraging the technology used in blockchain.
The presentation of the prize will be followed by the panel ‘Uncovering the potential of blockchain’ with the participation of Andrea Bracciali (Lecturer, University of Stirling), Marcella Atzori (Blockchain Advisor and International Coordinator, TrustedChain) and Massimiliano Sala (Professor and Director of the Laboratory of Cryptography (CryptoLabTN), University of Trento). Leonardo Camiciotti, Executive Director at TOP-IX Consortium will moderate the discussion.
Among others, Alessandro Lombardi, Microsoft’s Digital Transformation Advisor, will also participate.
Francesca Bria (Chief Technology and Digital Innovation Officer, Barcelona City Council), Paola Pisano (Deputy Mayor for Innovation and Smart City, City of Turin), Cristina Tajani (Deputy Mayor, Municipality of Milan) and Fabrizio Sestini, Senior Expert for Social Digital Innovation, DG will present the ‘Benefits of blockchain in cities’, a panel chaired by Marco Zappalorto, Director, Nesta Italia.
Throughout the event, a few successful examples of blockchain applications will be showcased by corporates, startups and universities.
The event will close with a networking reception until 16:00 followed by a pitching session about the social goods security aspects introduced by the blockchain, moderated by TOP-IX Consortium.
The event is organized by City of Turin, University of Turin and Nesta Italia in collaboration with the European Commission, City of Milan, UK Government Science and Innovation Network in Italy, Open Incet and Top-ix Consortium.
White Memory – 1989/2018 Art in Malta and Poland is an exhibition curated by Irene Biolchini and Marinella Paderni. The exhibition revolves around the ties between Malta and Poland and the search for identity in the present – which also represents the promise for the future. White is the colour of pureness, but it is also the colour used to cancel, to erase, thus presenting the leitmotiv of this exhibition.
The exhibition includes three generations of Polish artists whose works reflect a two-way movement between past and future, between cultural heritage and the invention of a new art, an aesthetic self-expression that is a symbol of Poland today. In the same way, three Maltese generations are called to confront each other in the spaces of the exhibition. The three generations are represented by: the Modernist generation, which achieved artistic maturity before the independence; the generation that grew up artistically in the Republic; the youngest generation that started to work while Malta was entering into the European Union.
The theme of identity is perceived as one of the fundamentals of contemporary art and culture. The definition of identity, in fact, urges a definition and a reflection upon the European collective memory and history, especially in relation to the events happened between the end of the 20th Century and the beginning of the 21st Century. It is clear that there is no future and memory without the awareness of what our memory and past are.
The exhibition will be held at Spaces A, C1 – C4, Spot A and B at St James Cavalier, Valletta.
This project is supported by the Malta Arts Council and the Polish Institute in Rome and endorsed by the Valletta 2018 Foundation.
