J'adore diy






——spaces & methods

I am a webarchive.

You can use me.

Go through me.

Inspect my body of links.

The eco-critical multimedia installation »J’adore Venise« investigates the entanglement of hyper tourism, surveillance capitalism and simulations focusing on the complex socio-ecosphere of Venice.

What happens when tourism becomes the main narrator: When the tourist narrative infiltrates local economies and becomes the main place-making tool? Unavoidably, the temporal and spatial constraints of tourism experience redefine the perception and consumption of a specific site introducing a simulated authenticity that annihilates local narratives and self-identity processes.

As US American artist Ian Cheng states in his book »Live Simulations«, simulations can be understood as a »reality gym«, where behavior, patterns and narratives emerge in form of a choreography so to better understand our own surroundings: Behavior itself become material for composition and Gestaltung.

In this regard, can we glitch extremist, romanticized and tourist narratives by creating simulations of simulated authenticities? Is the virtual consumption of a space a viable, more sustainable alternative? How can we reformulate the extractive narrative of surveillance capitalism through digital tools aiming to give agency back to local citizens, users and narratives?

Through a video essay, an interactive video game, a webarchive and a material simulation of the lagoon by means of local seaweeds and mussels, the installation “J’adore Venise” aims to speculate on more sustainable ways to interact with the city of Venice.


#Animation Controller


#Character Animation


#Collidion, Colliders & Hitboxes


#Extract 3D Models from GoogleMaps&Earth





#Glass Material




#Player Health System



#Player Movement





#Scene Changer




#UI Menu


#Water Shader



#Default Artificial Ground

#Raw Material

#Raw Material Simulation



Azienda Agricola La Serenissima

Società Agricola Serenissima srl produce microalghe e cianobatteri con la tecnologia dei fotobioreattori di ultimissima generazione, i GWP®-II (brevetto WO 2011/013104 e WO 2004/074423).

Si tratta di una tecnologia innovativa e brevettata che prevede la coltivazione di microrganismi fotosintetici all’interno di sacchi in materiale plastico disposti verticalmente, che contengono acqua pura arricchita di sali minerali, e di CO2: nelle camere di coltura viene continuamente insufflata aria, così da conseguire il duplice scopo di smuovere l’acqua, e con essa le microalghe in essa contenute, e di favorire la fotosintesi clorofilliana, e di eliminare l’ossigeno prodotto dall’attività fotosintetica. Quando si raggiunge una concentrazione adeguata nel mezzo di coltura, si separa l’alga dall’acqua (grazie all’uso di membrane di ultima generazione), e si disidrata la biomassa a temperature non superiori ai 30° (per non alterarne i principi attivi). Tutto il procedimento di estrazione avviene in modo meccanico, garantendo quindi una totale purezza e sterilità del prodotto finale.

La microalga così realizzata risulta quindi avere un alto grado di purezza, e a conservare tutti i suoi principi nutritivi

L’impianto, brevettato in tutto il mondo, permette di ottenere un prodotto senza impurità e dai principi nutritivi intatti. E’ad oggi uno tra i maggiori impianti a fotobioreattori d’Europa





#This Papaya tastes perfect

A new technology is only as valuable as its ability to assault human dignities.

If I force the little genius to look past his feelings of shame in this stripped down state, behavior itself can become a material. Can we compose with behavior?

#Entropy wrangler

Growing a consciousness means dealing with uncertainty. We know now that the uncertainties produced by the entropic forces or reality have a secret shape. Probability, simulation, narrative, are tools to model this shape. An organisms bathed in these tools can come to organize and wrangle the shape of uncertainty.

Symbols decompose. Choreographies emerge. Assemblages assemble.

We play in its shape.

#Droning Like a Ur

we can then imagine the first among them to grow a consciousness. Overwhelmed and lonely, worse than hearing ghosts: seeing yourself on the first inner expedition, wandering towards unending mental horizons of possible pasts and futures with no stable author or design.

#Thousand Islands Thousand Laws

The camera moves through the simulation like a nature documentarian, uncertain as to what in the frame is truly of interest, hedging on every emergent story. It learn to focus on small disruptions, where lines of influence are revealed and status gets reshuffled.

Noise becomes information

The only stable view is of change itself.

#Baby ft Bali

Sensual Bot meets Sales Bot

(LINKS interview : Melting Asphalt, Ribbonfarm, wait but Why)

Behavior as a volatile material

Simple interface language fo echo simulation to speak to each other. This meant they could steal attention or corrupt each other’s mini ecology. To confuse the inner boundary of each work.

To cannibalize the gaming environment (Unity) to basically make a video games that learns, stupidly, to play itself.

The simulation in the end is a virtual space with a huge accumulation of mini-behaviors with no master design, just tendencies.

WHAT IS A SIMULATION? Simulation is not a symbolization or a representation. It is a sandbox of reality’s dynamic processes, or like reality gym. (We simulate with friends what to say to haters and lovers). It is a private game we devise when the aliveness of a situation is too complex to really know.

Darwin says the best live simulation is nature. But we desire a live simulation at scale with human spacetime.

If there is an ethic, it is that ipHone is as natural as a bird’s nest, just wrapped in a consensual.

#Scripted Reality

Simulations are likewise just as much a part of reality as physical objects, living beings, bract formulae, or secret fantasies. Live simulations can therefore by all means be comprehended as a pun with several possible interpretations: Is life being simulated here or is the simulation alive?[…] As soon as casual relationships are pretended they can be abstracted as encoding and decoding processes or are even constituted on the basis of these abstractions. […] Instead of staging seamless symbioses, the artist precisely declares the misunderstandings, misjudgments, and shifts that emerge from the process to be a creative source.


Simulation have at leas two images: the manifest image and the scientific image (reality of appearance and reality of being) . […]By flattering the 2 images of simulation, its appearance ans its being onto each other , the realm of computation ensures that uninterrupted connections between what humans are and what humans think still sustain the bedrock or representation. But when the connection breaks down, then the paranoia that there is a computational agent through humans becomes an hallucination (an alien reality), but then this hallucination becomes real as the computational infrastructure of everyday life is finally revealed. Simulations reveal their schizophrenic nature: the non correspondence or the non reciprocity between two imcompossible orders of reality. Humans enchanted cognitive state of awareness makes sure that the two images can remain one

Metzinger argues that the sense of self is an illusion because consciousness creates a mental model of itself , and creates a model of its relations to others . […]After all simulations tell us that we are no one —there is no real self that gives us identity. […]And yet to be able to simulates to be able to account for or to have a conceptual structure for establishing a meaningful relations between the material substrate and its manifestations. In short, the manifest image of simulation is related to the algorithmic infrastructure of that image due to the complex structure of cognition embedded in the algorithmic baseline and is the able to extrapolate meaning from it. […]conceptual architecture that is a ware of it.[…]Simulations have a place and a role in the contemporary landscape of cultural, aesthetic and political production. […]Hence the task of simulations is to abstract the meaning imbued in these cultural, aesthetic and political practices, by recoding the rules and the performativity of the language of culture, aesthetics and politics within. […] In the realm of simulation, there is no space for superhuman, posthuman, transhuman; no place fro teleological progress or divine prophesy that could save us from uploading our consciousness, smartening up our bodily functions, quantifying ourselves. […]Simualation are their own, not ours.

What is a simulation? Think of a simulation as a videogame that plays itself. If Reality is the mother of all territories - full of endless ongoing surprises, swells of chaos, pockets of order, emergent behavior, and never ending - then a simulation is an artificial territory. One that is humbled when compared to Reality, but nonetheless ongoing and capable of self-generated surprises.



The constrcut of gender binary is, and has always been, precarious. Aggresively contingent, it is an immaterial invention that in its toxic virality has infected our social and cultural narrattives. To exist within a binary system one must assume that our selves are unchangeable, that how we read the world must be chosen for us, rather that for us to define—and choose—for ourselves. [...]The idea of "body" carries this weapon: gender circumscribes the body, "protects" it from becoming limitless, from claiming the inifinite vast, from realizing its true potential. [...]A body that pushed back at the application of remains indecipherable within binary assignment, is a body that refuses to perform the score. This nonperformance is a glitch. This glitch is a form of refusal. Within glitch feminism, glitch is celebrated as a vehicle of refsual, a strategy of nonperformance. [...]As politicla scientist and anthopologist James C. Scott writes, "Legibility [becomes] a condition of manipulation."


To glitch is to embrace malfunction, and to embrace malfunction is in and of itself an expression that starts with "no". [...]Space is not just claimed by those excercising the "primary gaze" E. Jane speaks of, but is also made for them[...] However if we assume that Audre Lorde's 1984 declaration that "the master's toll will never dismantle the master's house" still holds true, then perhaps this insitutions—both online and off—require is not dismantling but rather mutiny in the form of strategic occupation. The glitch challenges us consider how we can "penetrate...break...puncture...tear" the material of the institution, an by extension, the institution of the body. [...]Othered bodies are rendered invisible because they cannot be read as normative mainstream and therefore cannot be categorized. [...]The etymology of glitch finds its deep roots in the Yiddish getschn (to slide, glide, slip) and the German glitschen (to slip). Glitch is thus an active word, one that implies movement and change from the outset; this movement implies error. [...]Herein lies the paradox: gitch moves, but glitch also blocks. It incites movement while simultaneously creating an obstacle.


There are many ways to think about the body. When poet, artist and curator Anais Duplan speaks of "cosmic bodies" he advances a unique turn. This cosmic corporality provides exciting insights into how we might approach the body as an architecture. [...]Body is a world-building word, filled with potential, and, as with glitch, filled with movement.


Imagine being useless.—Richard Silken, "Seaside Improvisation" [...]defines "disappearing bodies" as a "basic problem of modernity", citing that increase of surveillance correlates directly with the "growing difficulties of embodies surveillance that watches visible bodies." [...]With these various modes of online engagement, we leave traces of ourselves scattered across the digital landscape, vulnerable to be tracked and traded for profit.


Every time we elect to have the form autofill the next time around, we participate in an act of naming, the process od identfying ourselves withn highly networked social and cultural algorithms. We are standing inside the machine and everyday we make a choice wether or not to rob ourselves. We banally are complicit with the individual theft of our personal data. [...]To become error is to surrender to becoming unknown, unrecognizable, unnamed. [...]All this is done in an attempt to keep things up and running; this is the conceit of language, where people assume if they can find a word to describe something, that this is the beginning of controlling it. [...]Errors bring new movement into static spaces;[...] What is a body without a name? An error. [...]Yes, as abreu observes, we are indeed hyperlinks, signs and signifiers waiting to be clicked through, decoded, consumed. [...]Unnamed and useless, failing fantastically, we remain "porous bodies" in our pathway towards liberation. Endlessly, we reboot, revive, scroll, survive.


This is why, in order to reimagine the body, one must reimagine space. [...]Readability of bodies only according to standard social and cultural coding (e.g., to be white, to be cisgender, to be staright) renders glitched bodies invisible, extends safety, keeps bodies un-surveilled. [...]Elsewhere, we remain unreadable. To glitch the body requires the simultaneous occupation of some-where and no-where, no-thing and every-thing.


Skin also helps us feel. When pressed against another, we recognize where we end where another begins.


buffering, crashing, damaging, deleting, reformatting.[...]We change course when confronted with systems that refuse to perfom. [...]It is our responsability collectively to infect, and, as we prompt social seizure, to bear witness to and for another, to make impossible pathways secure and viable as all else short circuits toward a triggered collapse.


Hasn't the gltich then become a means of seeing the unseen?[...] To revolutionaize technologies toward an aplication that truly celebrates glitched bodies, perhaps the only course of action is to remix from within, specifically programming with the unseen or illegible in mind as a form of activism. To "adovcate for the user," in Okoye's words, one must innovate, encode, engineer the error into the machine, as a remix rednering the machine unrecognizable to itself, prompting its failure as a radical act.


One is not born, but rather becomes, a body. And one is not born, but rather becomes, a glitch. The glitch-becoming is a process, a consensual diaspora toward multiplicity[...] We refuse to shrink ourselves, refuse to fit. [...]We fail to function for a machine that wasn't built for us.


#Le Calli di Venezia: una passeggiata attraverso il (non) collegato

Per l'io narrante del frammentario scritto di viaggio filosofico di Sartre "La regina Albemarle o l'ultimo turista", la Città d'Acqua è l'unico luogo abitato al mondo che non sia dominato dalla connettività universale creata dalle strade (o autostrade e ferrovie). Agli occhi di questo visistatore—che potremmo identificare come l'ultimo turista del titolo—solo Venezia è in grado di sottrarsi all'inevitabile condizione di essere attraversata e percorsa: "A volte è stata un porto d'arrivo, più spesso un porto di partenza o un porto di casa: mai un luogo di passaggio". Nessun movimento l'attraversa, nessun impulso le viene comunicato dall'esterno: tutte le forze terrestri vengono a morire nell'acqua circostante, senza toccarla: i veneziani hanno attraversato l'universo, ma l'universo non ha mai attraversato Venezia." Il significato di queste parole si può comprendere solo attraverso un confronto tra Venezia e le altre città: il turista di Sartre le vede costrette, da una morsa inflessibile, in una rete di trasporti che trasforma il globo in un'unica arteria, un transito omnicomprensivo che non ha lasciato nessuna casa e nessuna città ai suoi abitanti: appena varchiamola porta di casa, diventiamo parte del flusso che scorre incessanetmente sulla terra, il cui corso non ci appartiene

[...]Le sue calli sono locali; nessuna di esse ha origine fuori dalla città, nessuna finisce fuori; sono strade artigianali, "fatte in casa", veramente autoctone, strade di quartiere o, ancora di più, di isola, delimitate da altre strada simili, che terminano in un impasse o che portano improvvisamente su un rio senza ponte.

#Acqua ed architettura nell'Antropocene

Il presupposto della mobilità: le persone possono entare ed uscire dalla natura a loro piacimento, e così, quando la natura diventa selvaggia, le persone diventano turisti.


Als historisches Beispiel für dieses schlagkräftige Junktim aus Anonymität und Radikalität seien exemplarisch die venezianischen Patrizier genannt, erste Bürger einer Jahrhunderte alten, unabhängigen Republik, die sich, neben drakonischen Strafen, erhebliche egalitäre Freiheiten erlaubte. Gerade weil jeder mit der Korrumpierbarkeit jedes anderen wie der eigenen (!) rechnete, ersannen die Venezianer ein ausgeklügeltes System, um Macht institutionell zu begrenzen: durch so komplizierte Wahlverfahren, dass Absprachen aussichtslos wurden, durch Amtspausen, die so lang wie das Amt selbst währten (im Schnitt ein Jahr), Ämterrotation, temporäre Gremienverdoppelung und d.h. Kompetenzkonkurrenz bei Fehlentwicklungen – zuletzt durch Gesandten- und Spitzelberichte, die in ihrer Akkuratheit und in ihrem Ausmaß durchaus an den gegenwärtigen NSA-Skandal heranreichen. Im analogen Zeitalter der Renaissance gab es hierfür zugleich ein radikales Gegenmittel, eine Form der Vermummung, die beiden Geschlechtern zustand und das Leben auf engstem Raum und mit inzestuösem Personal überhaupt erst erträglich machte: Es scheint also kein Zufall zu sein, dass mit dem Aufstieg Venedigs zur Großmacht des Mittelmeerraums die venezianische Oberschicht und später alle Schichten anfingen, sich auch außerhalb der Karnevalszeit in der Öffentlichkeit eine schwarze Kapuze überzuziehen (die baùta) sowie eine einheitliche weiße Larve vors Gesicht zu binden, die sogar das unerkannte Essen und Trinken erlaubte. Die Venezianer entdeckten Anonymität nicht als Bedrohung, sondern als Versprechen, als künstlich hergestellte Gleichheit, in deren Schutz Verschiedenheit, auch Verschiedenheit der Motive gedieh.

Diese sog. „Gesellschaftsmaske“, die bald beim öffentlichen Wahlgeschäft, im Kasino, wie im Theater sogar zur Pflicht wurde und bis heute auf zahllosen Guardi-, Canaletto- oder Longhi-Gemälden zu sehen ist, verdankte ihrer Beliebtheit – so die These – gerade der Vielseitigkeit ihres Gebrauchs und der Doppeldeutigkeit ihrer Funktionen: Die baùta kompensiert die Erfahrung sozialer Beengtheit, indem sie Anonymität als Schutz ausweist; sie quert die Finesse der Gesandtenberichte wie der venezianischen Portraitkunst, indem sie Entlastung von der gegenseitigen Gesichtserforschung verspricht; sie erlaubt zugleich das unerkannte Beobachten anderer unter dem Schutz der eigenen Maske; sie huldigt dem venezianischen Bescheidenheitskodex, indem sie als Zeichen reiner Ehrenwertheit erscheint; sie gleicht aus, was verschieden ist (wie Personen und ihre Standeszugehörigkeit) und was in seiner Verschiedenheit Gegenstand von Anfeindung werden könnte (die Maske als Uniform); sie schützt vor Erpressbarkeit (beim öffentlich auf dem Markusplatz zu verrichtendem Wahlgeschäft), vor Gläubigern und überhaupt vor Ehrverlust (etwa durch öffentliches Betteln, ja, auch das taten verarmte Patrizier). Die venezianische Gesellschaftsmaske bietet daher nicht nur temporären Schutz vor dem eigenen Überwachungsstaat, sondern sie ist darüberhinaus eine mächtige Institution des ubiquitären sozialen Ausgleichs.

Ist es vermessen, nach der Binnenlogik zu forschen, die von diesem so dringend nötigen Ausgleich beseelt über den katholischen Radikalen Guy Fawkes, der sich unter dem Allerweltsnamen „John Johnson“ zum „gunpowder plot“ (1605) bekannte, zu der Fratze aus der Hand eines Comiczeichners führt? David Lloyds dystopisches V FOR VENDETTA verwendet in den 1980er Jahren zum ersten Mal jenes grinsende Konterfei (schwarz, auf weißem Grund), das schließlich in den nuller Jahren durch die Anonymous- wie die Occupy-Wall-Street Bewegung als anarchistisches Erkennungszeichen stilbildend geworden ist: “it seems quite unique, an icon of popular culture being used this way.”23 Die sog. Guy-Fawkes-Maske wirkt wie eine comichaft überzeichnete venezianische bautà – im Gewand der Popkultur.


Software can track individuals' speed and path of travel, as well as age, sex and country of origin. Officials say the data is being gathered to prevent crowding and cellphone data is gathered anonymously. A data manager in Venice, Luca Corsato, said the city's "massive and constant" use of data is "dangerous". 

#Venice, Overwhelmed by Tourists, Tries Tracking Them

The city’s leaders are acquiring the cellphone data of unwitting tourists and using hundreds of surveillance cameras to monitor visitors and prevent crowding. Next summer, they plan to install long-debated gates at key entry points; visitors coming only for the day will have to book ahead and pay a fee to enter. If too many people want to come, some will be turned away.

“Either we are pragmatic, or we live in the world of fairy tales,” said Paolo Bettio, who heads Venis, the company that handles the city’s information technology.

But many residents see the plans to monitor, and control, people’s movements as dystopian — and either a publicity stunt or a way to attract wealthier tourists, who might be discouraged from coming by the crowds.

“It’s like declaring once and for all that Venice is not a city, but a museum,” said Giorgio Santuzzo, 58, who works as a photographer and artist in the city.

Venice is, by many measures, already a dead city. Many Venetians are frustrated having to travel to the mainland to buy undershirts because souvenir shops selling fake Murano glass have driven out businesses catering to locals.

They are tired of tourists asking them where they can find Saint Peter’s Square — it’s in Rome — and of local politicians milking the city for tourism money while disregarding the needs of residents.

Still, many say, the high-tech solutions will not bring a more authentic Venice back to itself. Instead, they fear it will steal some of the romance that remains.

“Venice,” Ms. Iglesias sighed, “is the perfect place to lose yourself.”

But Venice, it turns out, did not lose sight of them.

Above the couple’s heads, a high-definition camera was recording about 25 frames per second. Software tracked their speed and trajectory. And in a control room a few miles away, city officials examined phone data gathered from them and just about everyone in Venice that day. The system is designed to collect people’s age, sex, country of origin and prior location.

“We know minute by minute how many people are passing and where they are going,” Simone Venturini, the city’s top tourism official, said as he surveyed the control room’s eight screens showing real-time frames of Saint Mark’s Square. “We have total control of the city.”

Originally, the surveillance cameras beaming in the images — along with hundreds more citywide — were installed to monitor for crime and reckless boaters. But now they double as visitor trackers, a way for officials to spot crowds they want to disperse.

Officials say the phone-location data will also alert them to prevent the type of crowds that make crossing the city’s most famous bridges a daily struggle. In addition, they are trying to figure out how many visitors are day-trippers, who spend little time — and little of their money — in Venice.

Once officials establish such patterns, the information will be used to guide the use of the gates and the booking system. If crowds are expected on certain days, the system will suggest alternative itineraries or travel dates. And the admission fee will be adjusted to charge a premium, up to 10 euros, or about $11.60, on what are expected to be high-traffic days.

City leaders dismiss critics who fret about the invasion of privacy, saying that all of the phone data is gathered anonymously. The city is acquiring the information under a deal with TIM, an Italian phone company, which like many others is capitalizing on increased demand for data by law enforcement, marketing firms and other businesses.

In fact, data from Venetians is also being swept up, but city officials say they are receiving aggregated data and therefore, they insist, cannot use it to follow individuals. And the thrust of its program, they say, is to track tourists, whom they say they can usually spot by the shorter amount of time they stay in the city.

“Every one of us leaves traces,” said Marco Bettini, a manager at Venis, the I.T. company. “Even if you don’t communicate it, your phone operator knows where you sleep.” It also knows where you work, he said, and that on a specific day you are visiting a city that is not.

But Luca Corsato, a data manager in Venice, said the collection raises ethical questions because phone users probably have no idea a city could buy their data. He added that while cities have bought phone location data to monitor crowds at specific events, he was unaware of any other city making this “massive and constant” use of it to monitor tourists.

“It is true that they are under attack,” he said of the city’s leaders. “But giving the idea that everyone who enters is labeled and herded is dangerous.”

An unregulated proliferation of bed-and-breakfasts and home-shares like those found on Airbnb has made rent unaffordable for locals, and the well-connected tourism sector has suffocated most other economic activities.

The number of residents living in the historic center of the city has plummeted to about 50,000 people, down from more than 170,000 in the 1950s. And in recent days, even as international flights remained limited, those who operate the control room said tourists still outnumbered locals.

“I would feel even more that I live in a city that is not a city,” said Mr. Santuzzo’s sister, Giorgia Santuzzo, 63, who retired from her job at a glass chandelier factory. “Should I make my friends pay when they come visit?”

#Venice is watching tourists' every move

They're watching you, wherever you walk. They know exactly where you pause, when you slow down and speed up, and they count you in and out of the city.

What's more, they're tracking your phone, so they can tell exactly how many people from your country or region are in which area, at which time.

In the past few years, however, things have become rather less serene, thanks to the almost 30 million visitors who descend each year on the city of just 50,000 inhabitants.

On the island of Tronchetto, next to the two-mile bridge separating Venice from the Italian mainland, the Control Room opened in September 2020. A former warehouse that had been abandoned since the 1960s, it's part of a new headquarters for the city's police and government -- a self-described "control tower" for the city.

The building has offices for the mayor, other dignitaries, and a large CCTV room, with cameras feeding in images from around the city, watched over by the police.

"This is the brain of the city,"

It's the pedestrian numbers, however, that are of more interest to the authorities looking at tourism patterns. The system not only counts visitors in the vicinity of cameras posted around the city, but it also, in conjunction with TIM (Telecom Italia, Italy's largest telecommunications provider), crunches who they are and where they come from.

On this winter day, before the Veneto region entered another semi-lockdown, for example, so far, 13,628 people have entered Venice, and 8,548 have left. In the hour after 7am, 1,688 people arrived at Piazzale Roma (the gateway to the city by road and tram) -- the commuters.

At 10am, the arrivals reached a peak of 2,411: most likely the daytrippers.

The authorities can see where these new arrivals are from by analyzing their phone data (the information is all aggregated automatically, so no personal details can be gleaned).

There are 97 people in the area around St Mark's Square on this Saturday afternoon, according to Bettini -- of which only 24 are not Italian.

And so far today there have been 955 people in the area, 428 of whom have come from abroad. Of the 527 Italians, only 246 are resident in Venice (if a mobile phone is regularly logged in the city, it is counted as a resident).

"As you can see, the number of daytrippers -- is steep," says Bettini. This is crucial information, because these "hit-and-run" tourists are usually charged with causing the most damage to the struggling city. They tend to come in from other parts of Italy -- often from beach resorts on a bad weather day -- and rarely spend money, bringing their own food and eating illicit picnics on bridges and on waterfronts. But since they don't stay overnight, they cannot be counted by the authorities -- until now.

Italians are logged by the region they live in. Of the foreigners, the system breaks down where they come from (data is based on where their mobile phone is registered, so most likely their country of origin), and displays them as bars on a map on the city -- a graphic representation of overcrowding in real time, with colors going from white to red as the numbers get higher.

Today, 36% of foreign visitors are German, followed by the Swiss (16%) and British (13% -- this visit took place before the new UK variant saw British travelers banned from Italy). Just 1.312% of visitors are from the United States -- although, given that American travelers are still banned from the European Union, it's a surprise it's even that much.

There's plenty more that the authorities are keeping tabs on: how fast people are moving in places like St Mark's Square (start running and the machine highlights you), the tide levels throughout the lagoon (crucial for monitoring acqua alta flooding, and determining when the new Mose flood barriers should be raised).

The system took three years to build, at a cost of €3m ($3.5m). And although some might baulk at the privacy implications (although no personal data is recorded, you and your provenance is essentially being logged as you move around the city), the authorities are very proud.

"In 2021, Venice celebrates its 1,600th anniversary," says Bettini. "And we'll be celebrating with technology."

#Smart Control Room ed il controllo dei flussi turistici (VIDEO)

La Smart Control Room rileva ed elabora dati, garantendo il pieno rispetto della privacy, e flussi video provenienti dalle diverse centrali e dai sensori distribuiti sul territorio e li mette a disposizione, in tempo reale, di un team di operatori esperti delle strutture coinvolte: Actv/Avm, Centro Maree, Comune, Polizia Locale, Protezione Civile, Venis e Veritas.

L’obiettivo: analizzare in tempo reale la gestione dei flussi turistici e di traffico, le imbarcazioni in transito nei canali, il passaggio dei mezzi pubblici. Fino alla disponibilità dei parcheggi e alle previsioni meteo, fondamentali per il delicato ecosistema della Serenissima.

La Control room veneziana raccoglie l’eredità delle sperimentazioni avviate a Torino, centro di studio dei nuovi progetti europei per la sicurezza urbana. O delle esperienze di Firenze e Bari Matera 5G, dove il progetto smart city è stato rodato per la gestione dei flussi pedonali e il monitoraggio strutturale dei parcheggi. Un bagaglio di conoscenze che confluisce nella nuova cabina di regia veneziana, dove sicurezza, tecnologia e privacy si uniscono per portare le città italiane nel futuro. Sono molti i casi in cui questa tecnologia può essere messa al servizio della vita collettiva: dalla gestione intelligente del traffico agli spazi di aggregazione collettiva, il controllo della raccolta dei rifiuti fino al monitoraggio dei flussi di persone. Che ogni giorno attraversano le città sempre più coinvolte nel processo di digitalizzazione del Paese

#A Venezia una Smart Control Room per migliorare mobilità e sicurezza

Il progetto per proteggere la città è stato sviluppato da TIM – Telecom Italia per Venezia Informatica e Sistemi – Venis

restituzione di una vista integrata e multilivello dello “stato della Città”

Oltre al ruolo di aggregazione ed elaborazione dati, inoltre, la piattaforma mira a dotare i funzionari del Comune di raffinati strumenti di data analytics, con cui estrarre valore da tutte le tecnologie digitali già implementate dal Comune e dalle società pubbliche e private con cui è in relazione (ACTV, ARPAV eccetera), oltre che da fonti Open-Data (per esempio meteo, menzioni social e così via).

#Smart Control Room: come funziona il cervello digitale di Venezia

nuove tecnologie come il cloud computing, l’intelligenza artificiale, sensori per l’IoT e piattaforme di analisi dei dati. È la Smart Control Room di Venezia, frutto della collaborazione tra Venis Spa e il Comune di Venezia e tra i vincitori del “Premio Agenda Digitale 2020”. Abbiamo sentito l’Amministratore Unico di Venis Spa Paolo Bettio

#La stanza dove si vede tutto quello che succede a Venezia

C’è chi ne parla come di un «cervello digitale» o di un «cuore pulsante». Chi la vede come una «torre di controllo», chi come una «cabina di regia» tecnologicamente avanzata e chi invece la presenta perfino come una «scatola magica». Secondo il sindaco Luigi Brugnaro, la Smart Control Room rappresenta «un’idea nuova di controllo della città», secondo Simone Venturini, assessore al Turismo,«un controllo totale». TIM, che si è occupata della parte tecnologica del suo sviluppo, la definisce «un unicum a livello nazionale ed europeo nel panorama dei progetti di “Smart City 2.0”» e nel video in cui la presentò citò espressioni come 5G, Internet of Things, Big Data Analytics, Artificial Intelligence e Cloud Computing.

Di recente il Corriere del Veneto ha definito il Tronchetto «l’isola che non c’è di Venezia», perché «non ci abita nessuno». Ci lavorano però molte persone e dal suo grande parcheggio passano milioni di turisti. Negli ultimi anni, inoltre, l’isola è stata riqualificata: Hilton ci aprirà un albergo e già ora ospita, tra le altre cose, il mercato ittico e un nuovo mercato turistico che ha preso il posto del precedente, anche noto come “casbah”.

Alcune mostrano in diretta le immagini a 25 fotogrammi al secondo che arrivano da circa 600 telecamere, la metà delle quali sono nella Venezia insulare

altre mostrano invece mappe e rappresentazioni grafiche sul traffico navale e veicolare, sia pubblico che privato, sui mezzi pubblici, sui flussi pedonali, sulla qualità dell’aria, sull’affollamento dei ponti, sul riempimento dei parcheggi, sulla situazione delle maree, sulla percorribilità dei canali e sul funzionamento del MOSE.

#Venice Glimpses a Future With Fewer Tourists, and Likes What It Sees

“This can be a working city, not just a place for people to visit,”

It can be normal,

the virus has also revealed that a country blessed with a stunning artistic patrimony has developed an addiction to tourism that has priced many residents out of historic centers and crowded out creativity, entrepreneurialism and authentic Italian life.

But it is Venice, a city threatened by inundations of tens of millions of tourists as much as it is by high water, where things changed most drastically.

cash cow worth 3 billion euros, or about $3.3 billion. But with the money comes hordes of day trippers, giant cruise ships, growing colonies of Airbnb apartments, souvenir shops, tourist-trap restaurants and high rents that have increasingly pushed out Venetians.

“We don’t want to go back to that. I want my city to be a real city.”

“Airbnb is like our Covid,’’ he added. “It’s like a plague, and it turned us into a ghost town.”

Co-signed by museum directors and academics, and also by Mick Jagger, Francis Ford Coppola and Wes Anderson, the letter presents “Ten Commandments” for the new Venice, including stricter regulation of ‘‘tourist flow’’ and the Airbnb market, and support for long-term rentals.

#Floating City, la nuova città galleggiante made in Venezia

una nuova comunità acquatica: una serie di piattaforme interconnesse fra loro che ospiteranno una combinazione di edifici alti e bassi, tutti coperti “da una membrana di vetri fotovoltaici, che forniranno elettricità all'intero sistema galleggiante e lo renderanno energeticamente indipendente".

I suoi creatori lanceranno ufficialmente Floating City alla Biennale Architettura 2023 di Venezia, alla ricerca di luoghi e finanziatori che vogliano imbarcarsi nell'ambizioso progetto, possibile soluzione al problema dell'innalzamento dei livelli del mare e ai cambiamenti climatici.

Floating City verrà "progettata per adattarsi alle mutevoli esigenze di diverse città costiere, in particolare di quelle più vulnerabili all'innalzamento del livello del mare a causa della loro bassa elevazione" e si pone l'obiettivo di essere una "città a energia zero con sistemi di trasporto verdi al cento per cento", in cui tutto sarà "dotato di intelligenza artificiale", con il potenziale per "espandersi e ospitare più di 200 mila persone".

#Venice, Invaded by Tourists, Risks Becoming ‘Disneyland on the Sea’

The soundtrack of the city is now the wheels of rolling luggage thumping up against the steps of footbridges as phalanxes of tourists march over the city’s canals. Snippets of Venetian dialect can still be heard between the gondoliers rowing selfie-snapping couples. But the lingua franca is a foreign mash-up of English, Chinese and whatever other tongue the mega cruise ships and low-cost flights have delivered that morning. Hotels have replaced homes.

“If you arrive on a big ship, get off, you have two or three hours, follow someone holding a flag to Piazzale Roma, Ponte di Rialto and San Marco and turn around,” said Dario Franceschini, Italy’s culture minister, who lamented what he called an “Eat and Flee” brand of tourism that had brought the sinking city so low.

Maybe it’s all the luggage, the shopping bags, the lack of Italians.

#Venice Tries to Balance Effects of Visits by Big Ships

Local concerns are manifold, and range from questions over the pollution — water, noise and air — created by the ships, to the impact on the lagoon’s ecosystem and the potential erosion of the marble of Venice’s buildings and their underwater foundations.

“Everyone in Venice works with the cruise passengers, from taxis, to bars, to suppliers — it is one great big turnover,”

In 1999, fewer than 100,000 people visited Venice as part of a cruise; last year there were nearly 1.6 million.

#Venice Flooding Brings City to ‘Its Knees’

Almost exactly a year ago, after a violent storm had swept the city, concerns were raised about the basilica’s ability to withstand the effects of the changing climate, the growing number of days in which the city was under water, and the onslaught of tourists.

Sea levels are rising “at a faster rate” than experts had expected, and that is having a greater impact on the lagoon city, Mr. Bonometto said.

There is also the added fact that Venice is sinking.

#Venice Mayor Is Arrested on Corruption Charges

The Italian authorities on Wednesday arrested the mayor of Venice and more than 30 others in a political corruption case linked to the city’s multibillion dollar flood-protection project. The arrests came only weeks after investigators revealed an embarrassing corruption scandal involving projects for next year’s Milan Expo.

For years, controversy and debate have surrounded Venice’s flood-control plan, known as the Moses project. Work began more than a decade ago on an intricate system of offshore dams intended to protect Venice from the rising waters that threaten to inundate the lagoon city. Environmentalists and others have opposed the project, while supporters say that the dams will provide essential protection against flooding.

The first of the 78 underwater barriers was installed last year. The barriers, housed in tanks anchored to the seafloor, are designed to rise to the surface when high waters threaten the city. The barriers, powered by pressurized air, are supposed to sink below the surface as waters recede. Last July, the Italian police arrested the president of the consortium of Italian industries charged with building the work, amid a corruption scandal linked to the project. He has since been released.

#Put Off by Venice’s Crowds? Try the Oasis Next Door

The website of the city of Venice provides high water advisories to help people avoid flooded areas. Now it also forecasts another kind of flood: tourist inundations. It uses a scale of 1 to 20 stick figures, the kind found on the doors of men’s bathrooms.

Venice has become arguably the European capital of overtourism, an inelegant neologism describing the hordes of tourists who have laid waste to the neighborhoods and character of some of the European continent’s most cherished cities.

“Death in Venice” and “Submerged City” themed headlines.

#Cruise Ship Rams Into Tourist Boat and Dock in Venice, Injuring at Least 4

#Venezia blindata, poche decine di anarchici a manifestare

La temuta mobilitazione degli anarchici si è ridotta ad una manifestazione di alcune decine di persone, che si sono radunate vicino alla basilica dei Frari con striscioni e un megafono per portare la loro solidarietà ai compagni Sorroche e Cospito. Il presidio delle forze dell'ordine è stato invece massiccio, soprattutto in chiave preventiva. Già da venerdì i posti di controllo all'accesso del ponte della Libertà hanno passato al setaccio i veicoli in ingresso, causando lunghe code. Oggi gli agenti in tenuta antisommossa si sono schierati nei vari punti sensibili di Venezia, a partire da campo Santa Margherita, dove era stato annunciato il raduno.

#Altra stretta sui b&b abusivi: scoperti ricavi non dichiarati per 5 milioni di euro

Centinaia di controlli nelle ultime settimane per individuare gli affitti turistici in nero a Venezia e terraferma. La guardia di finanza, in collaborazione con la polizia locale, ha inflitto multe per 216mila euro, scoprendo 31 strutture (per un totale di 150 posti letto) completamente abusive (che non avevano, cioè, mai fatto alcun tipo di comunicazione dell'attività) e altre 8 che avrebbero dichiarato un numero di posti letto inferiore a quello effettivo. C'erano camere ricavate in magazzini, ripostigli, garage e luoghi angusti in genere, in cattive condizioni igieniche e sanitarie. In un caso, ad esempio, è stato riscontrato che la proprietaria viveva nel garage per poter affittare tutte le camere del suo appartamento: in questo modo aveva ricavato 20 letti in più rispetto a quanto autorizzato.

Altre violazioni di carattere amministrativo hanno riguardato quasi 100 strutture ricettive che avrebbero omesso l’esposizione esterna della targhetta identificativa con il codice alloggio, obbligatoria per legge.

Le Fiamme gialle si sono poi occupate delle verifiche sul fronte dell'evasione fiscale, calcolando importi non dichiarati per oltre 5 milioni di euro.

Infine, la stazione navale ha ispezionato i cosiddetti “boat and breakfast”, imbarcazioni adibite al pernottamento dei turisti, promossi online e offerti perlopiù a stranieri: tra questi, 4 unità da diporto, stabilmente ancorate alle rive della Giudecca e Sacca Fisola, che avrebbero svolto l'attività in modo totalmente abusivo, compresa la somministrazione di alimenti. Hanno ricevuto multe per 8mila euro.

#Disturbatore di droni in dote ai vigili urbani per proteggere Venezia

La polizia locale sarà dotata di un apparecchio a onde radio per far rispettare la “no fly zone” sopra il centro storico

#Tornano i Guardians a San Marco e Rialto: gli "angeli del decoro" in servizio già da domani

in piazza San Marco, la nuova squadra di 11 addetti (nove in area marciana e due in area realtina) hanno fatto un ultimo briefing insieme all'assessore al Turismo Simone Venturini.

«Questo è un servizio a supporto del turista, in termini di informazione e accompagnamento - ha detto Venturini - ma anche a tutela del decoro della piazza a fronte di comportamenti che spesso possono essere scorretti. Il compito dei Guardians è raccontare al turista il rispetto e l'unicità della nostra città e, in caso di comportamenti scorretti, avvisare la polizia locale». Rivolgendosi agli addetti l'assessore ha poi aggiunto: «Siete chiamati a un ruolo di grande responsabilità, la nostra città è pronta ad accogliere a braccia aperte chi desidera visitarla e rispettarla, entrando in sintonia con la sua bellezza e con i suoi ritmi peculiari».

Gli "angeli del decoro" fino al 28 maggio saranno in servizio per 8 ore al giorno nei weekend e nei festivi per istruire sulle buone pratiche da tenere i turisti che visitano due delle aree più frequentate della città. A partire dall'inaugurazione del Salone Nautico, prevista il 31 maggio, saranno invece presenti tutti i giorni. La fine del servizio sarà domenica 5 novembre.

#Pasqua a Venezia e sulle spiagge, migliaia di turisti: il prefetto potenzia la sicurezza

Sale l'attenzione sul versante della sicurezza in vista delle presenze turistiche e degli spostamenti delle vacanze di Pasqua: migliaia gli arrivi previsti in centro storico e sul litorale. Per questo la città di Venezia ricalibra il proprio dispositivo interforze e lo rafforza in tutta la provincia: è l'ordine del giorno attorno al quale martedì pomeriggio il prefetto Michele Di Bari ha convocato il Comitato per l'ordine e la sicurezza pubblica. È pronto un potenziamento dei controlli lungo le arterie principali e una intensificazione della presenza delle forze di polizia nelle maggiori località turistiche, sia in laguna che sulle spiagge, con una pianificazione di servizi straordinari per la sicurezza sulle strade. Ogni Corpo sarà in campo: dalla polizia locale alla stradale.

#Gufo legato e costretto in mezzo ai turisti per i selfie: rapace sequestrato e messo al sicuro

Legato e costretto a farsi i selfie con i turisti. Un'altra storia di maltrattamenti contro chi non è in grado di difendersi. Come il rapace, probabilmente un gufo, che mercoledì pomeriggio le forze di polizia hanno trovato fra la gente sul ponte dell'Accademia a Venezia, mentre uno straniero lo teneva legato per attirare turisti disposti a pagare per farsi una foto accanto al volatile. Il gufo è stato sequestrato e messo al sicuro dalla polizia locale di Venezia.

#Allarme bomba in tribunale a Venezia

A far scattare l’allarme una telefonata anonima. Sul posto sono arrivati gli artificieri che hanno setacciato tutta la strumentazione del palazzo di giustizia.

#Camion con il Duce in Canal Grande, accertamenti della polizia

Un grosso tir con la scritta "Il Duce" e il profilo di Benito Mussolini stampato su un fianco ha acceso le proteste martedì mattina in Canal Grande. Il camion, appoggiato su una chiatta, è al servizio dell'hotel Bauer che ha iniziato i lavori della lunga ristrutturazione che interesserà l'albergo fino al 2025. Denuncia sulla pagina Facebook del Gruppo25Aprile, da parte del consigliere comunale Marco Gasparinetti (Terra&Acqua): «Qui si va oltre. Lo diremmo anche se al posto di Benito Mussolini "il Duce" ci fossero i baffoni di Stalin. Il prestigioso committente (hotel 5 stelle) non ha nulla da dire?».

E ora le forze dell'ordine faranno accertamenti per eventuale apologia di fascismo

#Rialzo delle fondamenta di entrambe le rive del Canale di Cannaregio

Nella prima rientrano gli interventi di anti scalzamento delle fondazioni del muro di sponda, la sopraelevazione della fondamenta di un metro e 10 (sopra lo zero mareografico di Punta della Salute), la rimozione della pavimentazione esistente, il rifacimento dei sottoservizi e il riposizionamento dei masegni in trachite originali con integrazione di quelli deteriorati. Il totale dei lavori in questo caso è pari a 3.660.000 euro. Con il secondo atto approvato la giunta interverrà con lavori che valgono 4.880.000 euro.

«L’Amministrazione comunale è dalla parte dei cittadini - commenta l'assessore ai Lavori pubblici Francesca Zaccariotto - e con l’approvazione di queste due delibere stanzia più di 8 milioni e mezzo di euro per mettere finalmente fine a un problema che attanaglia una zona di Venezia che ancora oggi, a causa della sua conformazione, rischia di andare sotto acqua anche a fronte di maree non sostenute, e che quindi non prevedono l’entrata in funzione del Mose.

#Gondole a motore di plastica: ecco la Venezia del Qatar

Un centro commerciale chiamato “Gondolania” apre a Doha per i Mondiali di calcio. Lo sdegno della stampa internazionale: «Della città lagunare non ha proprio nulla»

#L'accesso a Venezia a pagamento, ma solo dalle 8 alla 17 e poi c'è il "liberi tutti"

Venezia su prenotazione e pagamento, ma a tempo. È questo l’orientamento dell’amministrazione comunale alle prese con la definizione - prima città al mondo - del sistema di prenotazione obbligatoria e contributo d’accesso per chi entra in città da visitatore giornaliero. Prenotazione e contributo, infatti, saranno validi tra le 8 e le 17, la fascia oraria in cui saranno fatti i controlli. Prima e dopo, liberi tutti. Dentro quelle nove ore, invece pagheranno solo i visitatori non veneti. L’intero provvedimento, rinviato rispetto all’avvio della sperimentazione fissata al 16 gennaio, è un sistema complesso di regole ed esenzioni ma ha uno scopo: disincentivare il turismo “morti e fuggi”, quello più dannoso.

L’importo sarà tanto più caro (da 3 a 10 euro) quanto poi saranno “caldi”, sul fronte delle presenze, i giorni previsti per la visita.

Resta l’esenzione per venire a trovare i parenti fino al terzo grado, per la manifestazioni sportive o i funerali (anche in questo caso previa prenotazione con rilascio del codice di esenzione) e la possibilità di un voucher annuale di esenzione per chi viene stabilmente a lavorare a Venezia.

#Slitta l'entrata in vigore del ticket d'accesso

è prevedibile che possa entrare in vigore solo a partire dall'estate.

Da parte sua, il sindaco Luigi Brugnaro continua a sottolineare come il provvedimento sia indispensabile, in virtù del numero di turisti e ospiti che la città si vede costretta ad accogliere ogni giorno. «Non farò nessuna forzatura - ha detto - ma sono deciso ad andar avanti». Allo stesso tempo, invece, il Movimento 5 Stelle veneziano è pronto a continuare a dare battaglia: «Brugnaro ha trovato l'intesa con la sua maggioranza e con la Regione? Buon per lui - sottolinea la consigliera regionale Erica Baldin - ma non pensi che basti un accordo di palazzo a mettere la parola fine sulla vicenda. L'ultima parola spetta ai veneziani: Zaia venga in aula e dica se è d'accordo».

#Ecosistema urbano, Venezia tra le 20 città virtuose d’Italia

Peggiora invece la posizione per l’ozono e il biossido di azoto, altri inquinanti dell’aria. Stessa posizione, invariata, per l’efficienza della rete idrica e migliora la situazione per i consumi idrici, che si riducono. Ma aumentano i rifiuti prodotti. Nota positiva, il miglioramento della raccolta differenziata.

Venezia, nasce la foresta che moltiplica i pesci

A Lio Piccolo, località della laguna veneziana vicino all’aeroporto del capoluogo veneto, sta nascendo un bosco in grado, con la sua sola presenza, di “produrre” più di diecimila pesci ogni anno nelle acque sottostanti. Sono infatti cominciati i lavori di messa a dimora di 12.000 alberi lungo gli argini di valli da pesca abbandonate, antiche vasche di popolamento e riproduzione di pesce che sfruttano esclusivamente fenomeni naturali, con lo scopo di restituire funzionalità e biodiversità all’area di 15 ettari in disuso da decenni.

L’abbandono degli ultimi 30 anni ha causato l’interramento e la scomparsa degli alberi chiamati a tutelare le specie presenti, con la conseguente riduzione della loro popolazione. L’intervento coordinato dal team tecnico di Etifor prevede di dare nuova vita alle valli abbandonate e di migliorare la funzionalità di quelle ancora utilizzate per l’allevamento ittico estensivo, attraverso l’impianto di alberi in grado di proteggere le acque dal sole nei mesi più caldi e dal gelo invernale o dalla Bora nel resto dell’anno, mantenendo così la temperatura dell’acqua ideale per la creazione di nuove colonie ittiche di orate, branzini, boseghe, caustelli, volpine, verzelate e lotregani. Le piante, inoltre, proteggono dagli attacchi dei numerosi predatori volatili tipici della laguna veneziana e rinforzano gli argini stessi con le loro radici.

#33 COLORS—Venice



Walking the whole perimeter of Venice is almost possible. You can take a stroll along the “stomach” (from Zattere to Riva degli Schiavoni) up to the “spine” (Fondamente Nuove) and cross of course the “fin” (The Giardini and Sant’Elena).

You don’t need to be particularly courageous to travel along its stomach when following the fish bone. But you will need a boat to travel though the Grand Canal that divides the island in two, just like a “spinal cord.”

The head is the real and true motor of Venice: it connects the island to the Italian mainland, essentially the world. It is one of the areas most recently constructed and is the first thing you notice when crossing the Ponte della Libertà. On the one hand is the Santa Lucia train station and the other is the island of Tronchetto (known for its parking structure.)

Don’t worry the best part of Venice is not its “head”, but the “heart”, that includes San Marco and everything in between. But the “heart” or city center isn’t everything. We often like to make note of this in our blog. There are less popular areas in Venice that deserve the same attention.

That is why, from head to tail, Venice is an unusual and beautiful fish that should be explored and respected all the same.


The Eye of Horus was used as a sign of prosperity and protection, derived from the myth of Isis and Osiris. This symbol has an astonishing connection between neuroanatomical structure and function. Artistically, the Eye is comprised of six different parts.

It was believed that the Eye of Horus Amulet had healing and protective powers. It was used for the living especially as protection against disease and for the dead to prevent the disintegration of the embalmed body

protective magical power and appeared frequently in ancient Egyptian art.


un parco acquatico in cui si circola tra le calli in pareo ed infradito, si bivacca tra le scalinate, ma soprattutto ci si tuffa dai ponti.

Secondo i vari dati elaborati da Legambiente e dall’Arpav, Venezia risulterebbe altamente contaminata dagli agenti inquinanti prodotti principalmente dagli scarichi industriali e domestici. Ad essi si aggiungono anche i mezzi di trasporto acqueo che per anni hanno attraversato i canali veneziani senza alcuna limitazione di emissione. Con l’aiuto di alcune ricerche svolte dall’Ong tedesca Nabu, si evince che l’impatto ambientale provocato dai traghetti sulle vie d’acqua sarebbe maggiore in relazione a quello che traffico urbano ha sulle strade. I punti più attraversati sono quindi i più soggetti ad inquinamento, come il ponte di Rialto ed il ponte degli Scalzi.

ongeneri potenzialmente cancerogeni e composti simili alle diossine. Tra essi il PCB, che facilmente può contaminare l’uomo tramite l’ingerimento, l’inalazione e l’esposizione cutanea.





From today, it is possible to wander through St Mark's Square, cross the Rialto and promenade the waterfront of Venice's Grand Canal via your computer or smartphone.

In order to capture views of the picturesque city from the water, the Trekker cameras were also taken along the canals by boat, for an aspect of the project dubbed "Google Gondola". Since then, Google have been stitching and aligning the images in order to create a seamless panorama of Venice's piazzas, alleways and bridges that can now be explored online.

Venice is one of the last cities in western Europe to be added to Street View, a project which started in 2007. In order to capture locations inaccessible by car, Google created the Trekker backpack to allow individuals to collect images in remote destinations by foot.



Un decalogo per tutelare la Serenissima

Alcuni esponenti della cultura internazionale, tra i quali il regista Wes Anderson, l'attrice Tilda Swinton e l'artista Anish Kapoor, hanno sottoscritto una lettera con alcuni principi per tutelare l'integrità fisica e l'identità culturale di Venezia

1)Conclusione del cantiere del Mose

2)Stop al traffico delle grandi navi in Laguna

3)Salvaguardia dell'ecosistema lagunare

4)Gestione dei flussi turistici

5)Regolamentazione e limitazione degli affitti turistici, anche con minimo di giorni

6)Facilitazioni per affitti locali commerciali e per affitti a lungo termine per residenti

7)Controllo delle licenze commerciali

8)Decoro urbano

9)Limitazione del moto ondoso: tramite la gestione del traffico acqueo

10)Pianificazione e destagionalizzazione di eventi culturali e valorizzazione del patrimonio storico artistico




#Robertas Narkus—Gut Feeling

Gut Feeling, dell’artista lituano Robertas Narkus, è un’opera complessa che si muove abilmente tra il desiderio sincero di cambiare il mondo, il credo nella promessa della collaborazione, le egocentriche ambizioni dell’artista e un ammiccamento alle strutture finanziarie, al progresso tecnologico e all’umorismo. Il termine gut feeling descrive un certo senso di intuizione, una sensazione che, secondo una tradizione quasi dimenticata e le ultime scoperte scientifiche, lega strettamente l’attività dell’intestino al cervello.In collaborazione con un noto esperto di fermentazione, scienziati, artisti, residenti e piccole imprese locali, Narkus ha creato, in uno degli ultimi campi non ancora gentifricati di Venezia, nel sestiere di Castello, una scultura sociale – una cooperativa surrealista che produce un misterioso prodotto a base di una specie invasiva di alga raccolta nelle acque locali.

#Elmgreen & Dragset—Useless Bodies?

Si potrebbe addirittura affermare che le nostre identità fisiche siano diventate più un ostacolo che un vantaggio. Nel primo ventennio del 21° secolo il corpo detiene lo status di prodotto i cui dati vengono raccolti e venduti dalle Big Tech. In un’epoca in cui la mercificazione dei dati personali da parte delle aziende tecnologiche è di dominio pubblico – seppur inutilmente – e l’influenza di queste organizzazioni su ogni aspetto della nostra vita è sempre più dilagante, ci fa un po’ paura pensare al ruolo futuro dei nostri corpi.

#A Lack of Clarity—Stefan Kruse

Public light rips through the night of a modern city. Sleeplessness is lit up by a computer monitor in an urban space, where day and night are no longer distinguished. A nocturnal journey through a strongly lit and populated city as a filmmaker reflects upon the increase of new surveillance technologies around him. Starting from videos of thermal cameras found online, a reflection goes through the changes in the contemporary city, the extension of social control mechanisms and the evolution of digital technologies to face the frontiers of a progressive expansion of the field of visible - and controllable - in the surveillance society.

#All Light, Everywhere—Theo Antony

It follows the biases on how humans see things, focusing primarily on the use of police body cameras.

#In Aquis fundata—Andrea De Fusco

Fuori dall’immagine stereotipata da cartolina, protagonisti marginali e quasi invisibili sono gli ultimi veri veneziani.

#Sun & Sea (Marina)

Sun & Sea (Marina). Opera lirica per 13 voci. Immagina una spiaggia – tu sei lì, in questa scena, o, anche meglio, la osservi dall’alto –, il sole cocente, creme solari, costumi dai colori sgargianti, palmi e gambe sudati. Arti stanchi, distesi oziosamente su un mosaico di teli da mare. Immagina gli occasionali schiamazzi dei bambini, risate, il rumore del furgoncino dei gelati in lontananza.Il ritmo musicale delle onde che si infrangono, un suono calmante (su questa spiaggia, non su qualsiasi altra). Il crepitio dei sacchetti di plastica che turbinano nell’aria, il loro fluttuare silenzioso, come una medusa, sotto il pelo dell’acqua. Il boato di un vulcano, un aereo o un motoscafo.Poi un coro di canti: canti della vita di tutti i giorni, canti di preoccupazione e di noia, canti di quasi nulla. E subito sotto il lento scricchiolio di una Terra esausta, ansimante.

#Franz Erhard Warther + La Gomera 100% live

Walther conceives of his sculptures, or “workpieces,” as places for the body — inhabitable spaces that can be modified in their appearance and significance by multiple arrangements or display solutions, and also by actions, or “activations,” suggested by the artist and the pieces themselves. The time, space, and energy involved in the manipulation of the works become the main themes, requiring the viewer’s participation to complete the aesthetic experience.

#Mariam Natroshvili and Detu Jincharadze—I Pity the Garden

I Pity the Garden by Tbilisi-based artist duo Mariam Natroshvili and Detu Jincharadze is an immersive artwork about a premonition of the end. Through large-scale video installation and VR experience, the viewer is led into a realm of magical realism within the Anthropocene Epoch. For Natroshvili and Jincharadze, artists born a few years before the collapse of the Soviet Union, the feeling of the end has always been integral to their experience of everyday life and has existed as a cornerstone of their collective memory. Living within the volatile environment of the Global South means to exist with the constant anticipation of various kinds of endings. This end does not necessarily mean disappearance; it can also embrace the beginning of something different in itself. However, the drama of how events unfold too often resembles a dystopian reality or a horrific fairytale where the metaphorical garden dries out, dies, is set ablaze, and is ultimately rendered empty. I Pity the Garden1 takes the viewer into an immersive environment modeled by the mythopoetic forms of the artist’s narrative. It’s an observation on the signs marking the end: a horizon on fire, an abandoned city, a barking dog chained to a wall made of words, a vacant office cracking, a place where supermarket shelves are taken over by a horde of insects. The central scene of the VR experience is a garden of extinct plants - The Ghosts Garden. This ecological crisis, in real life and represented here in VR, is one of the signs of the end. This virtual garden unites plants that have become extinct as a result of human intervention. The work presents non-linear storytelling of the Anthropocene era garden. The VR Experience is interactive, while the self-generating visual sequence of the video projection is not predefined - the quaked earth has detached from objective reality, it is shaken by human deeds, a puzzle composed of images of real places and fragmented environments. The setting is similar to an abandoned video game where no human is visible. Only traces, irreversible mistakes, and wounds in the earth can be seen. It is a poetic work that employs the technological age’s language of the new surrealism to speak about the end and the beginning.

#Laure Prouvost—Deep See Blue Surrounding You

For her project for the French Pavilion, Laure Prouvost has imagined a liquid and tentacular environment, questioning who we are, where we come from and where we are going. Tinged with utopia and surrealism, the project discloses an escapist journey, both tangible and imaginary, towards an ideal elsewhere. The exhibition takes the form of an invitation to melt into the different unveiled and shared realities intermingling here, and challenges the representation of a fluid and globalized world, made of exchanges, connectivity, and discrepancies. In the continuation of her artistic practice, which intertwines representations of desire, oneirism, and a fantasized description of nature, Laure Prouvost focuses on language, word play, and translation. The attention given to her environment and to the natural and human elements that surround her calls to mind the immersive quality of her films, installations, objects, drawings, and tapestries. The contexts of Venice—a floating city built on water and by water, a city of facade and backstage—and of the Biennale, through the notion of representation, both appear as sources of inspiration. The cornerstone of Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre is a fictional film. It takes the form of an initiatory journey filmed over the course of a road trip on horseback through France—from the Parisian suburbs to the northern region, from the Palais Idéal du Facteur Cheval to the Mediterranean Sea—and, finally, to Venice. A sculptural installation, taking as a metaphorical point the trajectory of the octopus goes beyond the film, transcending out of the realms of the Pavilion and beyond. It uses typical processes of the artist’s practice such as leftover objects from the film, resin, clay, glass, plants or water vapor, and features performances interacting with the architecture and the objects. Lâchons les chevaux Et avec vous on tombera des nues.

#I Love Venice

Venice attracts 30 million tourists each year and this number is even expected to rise as massive tourism is predicted in the next years from China and India. Everybody wants to see this city of dreams, a fairytale space built on water. As Venice becomes the first city to become a theme park, its inhabitants are fleeing the town. Venice is too expensive to live in, stores predominantly cater to tourists, property is sold to rich foreigners and rents continue to skyrocket. Demographers predict that by 2030 there will not be a single full-time Venetian resident left.

#Thuy-Han Nguyen-Chi–The Open Boat

Echoing Édouard Glissant’s “The Open Boat”—where the boat is an abyss, a womb, a matrix—the hybrid sculpture acts as a vehicle, teleporting the viewer.

#Jon Rafman

“As you look at the screen, it is possible to believe you are gazing into eternity,”

“Still Life (Betamale)” (2013) video. “You see the things that were inside you. This is the womb, the original site of the imagination. You do not move your eyes from the screen, you have become invisible.”

#Hito Steyerl—I Will Survive

#Hito Steyerl–How Not To Be Seen: A Fucking Didactic Educationa

#Total Refusal–How To Disappear

An anti-war movie in the true sense of the word, How to Disappear searches for possibilities of peace in the most unlikely place of an online war game. It’s a tribute to disobedience and desertion - in both digital and physical-real warfare.

#Total Refusal—Operation Jane Walk

A city tour through the architecture of an online shooter game.

#Forensic Architecture

Forensic Architecture (FA) is a research agency, based at Goldsmiths, University of London, investigating human rights violations including violence committed by states, police forces, militaries, and corporations. FA works in partnership with institutions across civil society, from grassroots activists, to legal teams, to international NGOs and media organisations, to carry out investigations with and on behalf of communities and individuals affected by conflict, police brutality, border regimes and environmental violence. Our investigations employ cutting-edge techniques in spatial and architectural analysis, open source investigation, digital modelling, and immersive technologies, as well as documentary research, situated interviews, and academic collaboration. Findings from our investigations have been presented in national and international courtrooms, parliamentary inquiries, and exhibitions at some of the world’s leading cultural institutions and in international media, as well as in citizen’s tribunals and community assemblies.

#Federica Di Pietrantonio—every night i try to find the light but sometimes it’s too cold

#Devine Tête—Version Nice

Speculative Game & Performance; 2019

With its idyllic pebble beaches and the famous »Promenade des Anglais«, the Riviera city of Nice is one of the most popular holiday destinations among wealthy tourists. However, the picturesque city has been undergoing a structural transformation for some years now: it has become a dystopian crime-fighting laboratory due to the widespread use of CCTV cameras and facial recognition tech- nologies. The aim of the mayor of Nice, Christian Estrosi, who has been in power since 2008, is to im- prove »safety and calm on the streets« and thus to promote the city as an exemplary and avantgarde model for a »Safe City« in France. As part of the »Safe City« agreement, the first facial recognition test was carried out in 2019 during the famous »Carnaval de Fleurs«.

Today, the country’s fifth largest city in terms of population is de facto the »most watched city in France«. More than 2,600 cameras have been installed on the street - one for every 128 inhabitants, thus an increase of 1111% since 2007.

Based on Adam Harvey’s style tips against facial recognition technologies, the speculative game »Devine Tête - Version Nice« was designed as a fictional, special edition to the game series »DevineTête Grands Classiques«, »Nomade (Jeu de Voyage)« and »Mimes (Jeu de Société)« already market- ed by Megableu.

The players attach a card with the name of a famous person to each other’s foreheads and have to guess who they are at the moment. For this special edition, an extra image of the area between the nose, eyes and forehead of each famous person has been printed on the back of the cards, which is an essential feature for OpenCV’s face recognition algorithm. By covering one’s own nose-eye- forehead area with that of a celebrity, the game becomes a wearable against the facial recognition technologies introduced in Nice. This creates infinite alternative identities, subversive-activist hybrid beings.