flamini

Design Awards

I held several positions in the design industry over the years. Working both: as an UX/UI consultant and as an employee. Positions range from individual contributor, to freelance designer, creative technologist, founder and CEO of two startups, to Design Director and VP of Product Design. Some of the recognitions below are shared with each project respective team.

• People's Choice Award - CreativePool Annual 2018 - Category: Applications
  Issued by CreativePool · May 2018
• Creativepool Top 25 User Experience Designer and Digital Strategist.
  Issued by Creativepool · Jun 2017
• Ranked as Top 25 professional in three separate categories: Digital Strategist, Product Designer, and User Experience Designer
  Issued by Creativepool, the creative industry network. 2018
• Best Science and Technology Information Solution 2014
  Issued by SIIA CODiE™ Awards · Jan 2014
  i3 Analytics - TEMIS Luxid Navigator
• International Business Awards for “Best New Product or Service of the Year” 2014
  ThunderHead ONE Engagement Hub - Stevie ® 2014 - International Business Awards for “Best New Product or Service of the Year” in the cloud category.
  
• "Best Semantic Technology Solution" 2013
  Issued by SIIA CODiE™ Awards · Jan 2013
  i3 Analytics - TEMIS Luxid Navigator - Biopharma Edition
• 2012 LISA Best Mobile App
  Issued by LISA · Jan 2012
  Sandata Santrax Point of Care
• "Innovation in Learning and Talent Management" - Learning Leaders Award for Product Innovation
  Issued by Bersin & Associates · Jan 2011
  Trivantis Lectora® Inspire e-Learning authoring software
• Rockefeller Foundation New Media Fellowship Nomination
  Issued by Rockefeller Foundation · Jan 2009
• MasterMind Award in film / video / new media
  Issued by The Pitch · Mar 2006
• TransForce Digital Imaging - 'Best of Show' at NetWorld + Interop 2001
  Issued by NetWorld + Interop · Jan 2001
  PictureIQ TransForce digital imaging processing and editing application.
• CNET Best of Show Award At PC Expo
  Issued by PC Expo · Jun 2000
  Iomega FotoShow Image Center application.
• movado.com - h5 web design award
  Issued by high five awards · Jan 1998

Recognitions

Press & Books

My work on interfaces, video art and data-based narratives has been published by the Labyrinth Research Initiative on Interactive Narrative at the USC Annenberg Center for Communication, and reviewed in several publications such as Arte e Critica; Digimag; RES magazine; Future Cinema, the cinematic imagery after film - MIT Press 2003; New Digital Cinema: Reinventing the Moving Image - Short Cuts, Film Studies series, by Holly Willis for Wallflower Press; Reescrituras fílmicas: nuevos territorios de la adaptación by José Antonio Pérez Bowie for Universidad de Salamanca 2012; and Expanding Practices in Audiovisual Narrative by Chris Hales for Cambridge Scholars Publishing 2014, among others.

• Expanding Practices in Audiovisual Narrative
  Chris Hales - Cambridge Scholars Publishing, 2014
• Reescrituras fílmicas: nuevos territorios de la adaptación
  José Antonio Pérez Bowie - Editiones Universidad De Salamanca, 2012
• Teoría y práctica de la adaptación fílmica
  Editorial Computense, 2012
• The Return to Cognitivism. Andrea Flamini: The image as a system and an inquiry, not a resolution.
  Piero Pala - Italian Experimental Cinema. Complus, 2008
• Paradossi della Visione at Studio Matteo Boetti
  Giulia Ferracci - Arte e Critica, Giugno-Agosto 2008: 97
• New Media: Andrea Flamini
  Leftridge, Brandon - The Pitch. March 26, 2006
• Virtual Art and Philosophy
  Ming-Fen Huang. Professor, Xiamen University, China. -  Aesthetics Mag, 2006
• New Digital Cinema: Reinventing the Moving Image
  Holly Willis. Short Cuts, Film Studies series. Wallflower Press, 2006
• Video Art, “Korsakow, Il Post Cinema E' Arrivato”
  Ponzini, Monica - Digimag, 2005
• Hipermídias
  Paula Perissinoto, Ricardo Barreto - FILE, 2005
• Cyberarts
  Springer, 2005
• Videodrome
  Harper, Jason - The Pitch. Nov 4, 2004: 26
• Temporal Resuscitations, from the Inside
  Watson, April - REVIEW Magazine. December 2004: 50-51
• Select and Combine: The Rise of Database Narratives
  Anderson, Steve - RES Magazine. January/February 2004: 52-53
• Future Cinema, the cinematic imagery after film
  Barry, Nora. (Shaw, Jeffrey, Peter Weibel editors) - ZKM, Karlsruhe, Germany: MIT Press, 2003
• ID: Magazine of International Design
  Volume 50, Issues 5-8, 2003
• MasterMind
  Leftridge, Brandon. The Pitch. March 30, 2006: 2
• Flamini at Beth Allison
  Ishmael, Amelia. REVIEW Magazine, March 2005: 48.
• CYNETart_04areale
  Kupsch, Bochmann, et. al. Trans-Media-Akademie Hellerau, Dresden, Germany, 2004
• FILE
  Barreto, Ricardo, Paula Perissinotto. Sao Paulo, Brazil: Primeira edicao, 2004
• Impromptus exhibit packs and emotional wallop
  Trafton, Robin. The Kansas City Star. December 9, 2004, Preview 34
• Temporal Resuscitations, from the Inside
  Watson, April. REVIEW Magazine. December 2004: 50-51
• Andrea Flamini: Impromptus
  Bembnister, Theresa. The Kansas City Star. November 4, 2004, PREVIEW 23
• Aura of Nostalgia
  Thorson, Alice. The Kansas City Star. November 11, 2004
• Cinemania[c] 2003
  CD-ROM. Pula, Croatia: mmc Luka / HDLU Istre, 2003
• Cinemania[c] 2002
  CD-ROM. Pula, Croatia: mmc Luka / HDLU Istre, 2002
• Movado
  L., Karen. New Vision magazine (Asia Pacific). January 1999: 58-60
• Interfaces
  Stephen Knapp - Rockport Publishers, 1997

Citations

• "...Vera rivelazione della rassegna video è Andrea Flamini che con i Notebooks sottrae le immagini al fluire del tempo per collocarle in una dimensione intrappolata tra la visione fisica e mentale."
  Giulia Ferracci. "Paradossi della Visione" Studio Matteo Boetti. ARTE E CRITICA. Giugno-Agosto 2008: 97


• "...[Flamini] visual language becomes a minimal syntax based on patterns, harmonic nuances, and dissonances. The visualization focuses on the limits of an image and its narrative space, on an idealization of an image."
  Piero Pala. "The Return to Congnitivism. Andrea Flamini: The image as a system and an inquiry, not a resolution." Italian Experimental Cinema. Complus 2008


• "...the artist has more recently become known for an array of projects within the realm of database or computational cinema, in which he creates the possibility for generative narratives based on random sequences of sounds and images..."
  Holly Willis. New Digital Cinema: Reinventing the Moving Image. Short Cuts, Film Studies series. Wallflower Press 2006


• "...Flamini has created an impressive body of work in recent years, ranging from multi-channel and site-specific installations to Net artworks easily downloaded by modem. The brilliance of Flamini's work is its ability to evoke a mood or a state of consciousness within which narrative elements seem to gain coherence while resisting conventional narrative logics of cause and effect."
  Anderson, Steve. "Select and Combine: The Rise of Database Narratives". RES Magazine. January/February 2004: 52-53


• "...Un'evoluzione della narrativa, questa, che si sta sviluppando sul versante prettamente videofilmico (basti pensare al progetto Soft Cinema di Lev Manovich, al “computational cinema” di Andrea Flamini o alla produzione videoartistica legata a un'interattività sempre più articolata, come quella di Ennio Bertrand) e che si intreccia, oltre che alla comunicazione tipica di Internet, ai videogame e ai mondi virtuali come Second Life. Il post-cinema è pronto. E noi?"
  Ponzini, Monica. Video Art, “Korsakow, Il Post Cinema E' Arrivato”. Digimag. 2005


• "...Not only we have the biological and physiological significance of the presence, but there is also the sociological sense. The latter as a concentrated expression of identity. Virtual explorations of identity become an important part of the core art. For example, Seattle-based artist, Flamini, has created a screen saver "Kafka" (Kafka, 2003), that shows pictures of two facial fading. This two faces gradually blend in a random starting point, forming a never-ending so-called 'identity change.'..." [translated from the original]
  Ming-Fen Huang. Professor, Xiamen University, China. "Virtual Sex, Art and Philosophy". Aesthetics. March 21, 2006


• "With elegant sophistication and underlying drama, Andrea Flamini taps into the world of short-wave radio transmission with a Morse code translation of passages from Shakespeare's Macbeth. The work is a hybrid, addressing classical technology and prose jettisoned into a suggestive contemporary context of spatial communication, condensed language, distress and romance. Communication, language, distress, poetics and the compression and measurement of time are among the various themes addressed in this work. Didactic sensibilities are balanced with romance, drama, and hints of playful irreverence."
  McGuire, Oz. Curator. Conditions of Sound. February, 2005


• "...looping footage of dreamworld scenery over a white-noise soundtrack that would make David Lynch cream his surrealist jeans."
  Harper, Jason. "Videodrome". The Pitch. November 4, 2004: 26


• "Flamini quickly transports the viewer into a dizzying spin [...] Neither work is intimidating or personally confrontational, but their simplicity, fractured pace and elusive objective hold the viewer long enough to absorb the unsettling emotional impact of the work."
  Trafton, Robin. "Impromptus exhibit packs and emotional wallop." The Kansas City Star. December 9, 2004, Preview 34


• " ...A beautiful example of this kind of interactive film is [Andrea Flamini's] Waterdream, which is divided into several sequential episodes. The viewer interacts by choosing hidden paths embedded in the film..."
  Barry, Nora. (Shaw, Jeffrey, Peter Weibel editors) Future Cinema, the cinematic imagery after film. ZKM, Karlsruhe, Germany: MIT Press 2003


• "...the stark visual imagery and dark theatrics may seem nearly insurmountable, but it doesn't take long to notice a line of cohesion. [...] Flamini's masterful technique transfers the anxiety from the screen to the audience."
  Leftridge, Brandon. "MasterMind Award, Andrea Flamini". The Pitch. March 26, 2006


• "...the sheer haunting beauty of [Flamini] multimedia offering is strong enough to touch their intuition."
  Malewski, Nick. "Blind Files. Flamini puts layers upon layers". The Kansas City Star. May 2009: 29


• "...Flamini's dislocations are intriguingly multifaceted. At the more obvious level, he invites an experience that conjoins the Boley's present physical reality and its past mediated representation/reinvention. We are neither here or there, but unquestionably conscious of both."
  Watson, April. "Temporal Resuscitations, from the Inside". REVIEW Magazine. December 2004: 50-51

Bibliography

Exhibitions, screenings & events

[SOL=SOLO   CAT=CATALOG   SCR=SCREENING]

2015

• Arbitrary Data / Bridge #4 - Crater-Lab, Barcelona, Spain.   CAT / SCR
• Closet Music - Music for imaginary performance, Proud Archivist Gallery, London. Janet Oates composer/curator.
• FUTURE PERFECT, Rialto, Rome. Piero Pala + Sarra Brill curators.

2013

• Room 100 (NYPL) – MoMA Studio: Sound in Space SoundMap. Museum of Modern Art New York, curated by Spencer Kiser.
• Blue Sky Prevailing – The SoundArt Show, curated by Claire Kearns (www.bcbradio.co.uk - radio broadcast - UK)
• Macbeth Morse annotations. Closet Music - Music for imaginary performance, London, UK. Publishing project, curated by Janet Oates.

2012

• "Art's Birthday" – KUNSTRADIO (broadcast.)
• Residents Group Show – The Studios Inc., Kansas City, MO, USA.

2011

• "I AM NOT A POET" – TotalKunst Gallery, Edinburgh, UK. Curated by David Berridge and Mirja Koponen.
• "Resound" – The Old Grist Mill, Penryn, UK. Curated by Patrick Simons.
• Residents Group Show – The Studios Inc., Kansas City, MO, USA.
• "The Way Things Work" – Athens Institute for Contemporary Art, Athens, GA, USA. Curated by Didi Dunphy.  CAT
• "The Dining Room Project" – Paragraph Gallery, Kansas City, MO, USA. Curated by Kate Hackman and Marcus Cain.  CAT
• "An Exchange with Sol LeWitt" – Cabinet / MASS MoCA, NY and MA, USA. Curated by Regine Basha.

2010

• "FIT" – Review Studios, Kansas City, MO, USA.
• "SoundGate" – Listening post - Kunsten Museum Of Modern Art, Aalborg, Denmark. Curated by Lars Lundehaven Hansen.

2009

• "Paradossi della Visione", Cinema Azzurro, Ancona, Italy. Curated by Piero Pala.  CAT / SCR
• "Blind Files", Review Studios, Kansas City, MO, USA.   SOL
• "The Edge of Things", IPTV cable network in France (freebox 129) and Germany (Unitymedia/Kabel BW)(broadcast.)   SCR

2008

• Andrea Flamini, a retrospective. Italian Experimental Cinema, Piero Pala, curator. Nuovo Cinema Aquila, Rome, Italy.   CAT / SCR
• Review Corporate Collection, Review Studios, Kansas City, MO, USA
• "Letter from Cezanne", Kathy Dowell Gallery, Kansas City, MO, USA.   SOL
• "Here Come The Rolling Bones. Paradossi della Visione: Tra Etica e Tecniche", Piero Pala e Benedetta di Loreto curators. Studio Matteo Boetti, Rome, Italy
• "locate | navigate" Kate Hackman, curator. La Esquina, Kansas City, MO, USA

2007

• "Camera Obscura", Hong Kong Film Archive, Hong Kong, China. Ip Yuk-Yiu, curator.  CAT / SCR
• "The Clouded Eye" Society for Contemporary Photography, Kansas City, USA (curator, series)

2006

• PULSAR, Cinemateca Nacional, Caracas, Venezuela
• "The Clouded Eye" Society for Contemporary Photography, Kansas City, USA (curator, series)
• "shortmovieaboutnothing", Ongoing Festival, Theater im Depot in Stuttgart, Germany
• "FILE RIO", Centro Cultural Telemar, Rio de Janeiro, Brazil
• "Mondo Cannibale", 19th Stuttgart Filmwinter, Festival for Expanded Media. Filmhaus, Stuttgart, Germany.   CAT / SCR

2005

• Flamini, Aqua Art Fair Miami Beach, Miami Beach, FL, USA
• Rencontres Internationales Paris/Berlin, Cinema L' Entrepot, Paris, France.   CAT / SCR
• "FILE 2005", Galeria De Arte Do Sesi, San Paulo, Brazil.   CAT
• "L' Alternativa", Centre de Cultura Contemporania, Barcelona, Spain
• "Melodrama", Gallery 210, University of Missouri, St. Louis, MO, USA
• "Conditions of Sound", Boley Building, Kansas City, MO, USA

2004

• "CYNETart_04", Festspielhaus Hellerau, Dresden, Germany.   CAT / SCR
• "FILE 2004", Galeria De Arte Do Sesi, San Paulo, Brazil.   CAT / SCR
• "SeNef 2004", Seoul Net and Film Festival, Seoul, Korea
• "Impromptus", Beth Allison Gallery, Kansas City, MO, USA.   SOL
• "New/Two", Block Artspace, Kansas City, MO, USA
• "time:base:inside", Boley Building, Kansas City, MO, USA
• "MAF-04", Sinakarinwirot Gallery, Bangkok, Thailand
• "FUTURE CINEMA, The Cinematic Imaginary after Film", ICC, Tokyo, Japan.   CAT

2003

• "ArtFutura 2003", Museo Fundacion Cristobal Gabarron, Valladolid, Spain
• "Future Cinema", Museum of Contemporary Art Kiasma, Helsinki, Finland.   CAT
• "MAD'03", Encuentro de Arte Experimental, Madrid, Spain
• "FILE 2003", Festival Internacional de Linguagem Eletronica, San Paulo, Brazil.   CAT
• "Dreamwaves", The Labyrinth Project, Annenberg Center USC, Los Angeles, USA
• "New Directions in New Media", Minima, Philadelphia, USA
• "ex-space", Knitting Factory, New York, USA
• "Cinemania 2003", Museum of Contemporary Art, Zagreb, Croatia.   CAT (DVD)
• "digitaldiary", ULUPUH Gallery, Zagreb, Croatia
• "Electromediascope", Nelson-Atkins Museum of Art, Kansas City, USA
• "The Grammar of Future Cinema", Streaming Cinema 3.0, Philadelphia, USA
• "Machinista", Perm, Russia
• "CyberArts 2003" - Prix Ars Electronica Exhibition, Linz, Austria.   CAT (DVD+CD)
• "Re-Load", Istanbul Contemporary Art Museum, Istanbul, Turkey

2002

• "Future Cinema", ZKM Museum, Karlsruhe, Germany.   CAT
• "Free Manifesta" Manifesta 4, Frankfurt, Germany. Organized by Sal Randolph,  CAT
• "Cinemania(c)", Luka Gallery, Pula, Croatia.   CAT (DVD)
• "Immedia 2002" - University of Michigan, Ann Arbor, MI, USA

2001

• "Waterdream", Streaming Cinema 1.0, Philadelphia, USA

2000

• "SeNef 2000" - Seoul Net Festival, Seoul, Korea

1999

• "FIFI '99" - Festival International du Film de l'Internet, Cannes, France

Exhibitions

Filmography & Soundworks

• 25297 Staged Instances. Single-channel, 14min 30sec, b/w, sound - 2019
• Interior with gun. Single-channel, 6min 40sec, color, sound - 2019
• Interior with bird. Single-channel, 8min 18sec, color, sound - 2019
• Bridge #4 /arbitrary data. Single-channel, 3min, b/w, sound - 2015
• Room 235 (view from). Two-channel video installation, color, sound, 2 min, loop - 2011
• Raw for theater (measure 1 of 3) /arbitrary data. Single-channel video, color, sound, 4min 33sec - 2011
• n4. Single-channel video, color, sound, 15min and 19sec - 2009
• The Edge of Things. Single-channel sound, color. 19min - 2008
• Measures of Distance. Single-channel, sound, color, 4min - 2008
• Notebook No.3. Single-channel sound, color. 6min, 56sec – 2007
• Notebook No.2. Single-channel sound, color. 4min, 05sec – 2007
• Notebook No.1. Single-channel sound, color. 7min, 01sec – 2007
• Letter From Cézanne. Single-channel sound, color. 7min, 30s – 2007
• Language Left Inside. Single-channel sound, color. 4min, 22sec – 2007
• At The Periphery. Single-channel sound, color. 3min, 16s – 2007
• ROMA (The Skin Tucked In Under It). Single-channel 5.1 sound, color. 16min, 40s. – 2007
• shortmovieaboutnothing (Melodrama No. 12) Single-channel, sound, color, 10min, 14s - loop - 2005/06
• The Spider and The Firefly (study for a melodrama). Single-channel sound, color. 32min, 13sec loop - 2005/06
• Impromptu No. 3 (Mad Lady). Two-channel video installation, 2.1 sound, b/w, 3min loop - 2004
• Impromptu No. 2 (Boxer) Single-channel video installation, 2.1 sound, b/w, 3min loop - 2003
• Impromptu No. 1 (Nocturne). Two-channel generative video installation - 2003
• Melodrama No. 8. Stills, video footage, sounds, database – Three-channel generative video installation - 2.1 sound, color, loo - 2003
• d.lynchREMIX1.0. Film footage, sounds, database. Software application, custom electronics. – Generative video installation, color - 2003
• Kafka. Found photographs, sounds, database – Two-channel generative video installation - 2.1 sound, color, loop - 2003
• Unless. Film/video footage, database, sounds. Wireless transmitter, handheld TVs, rear projection screen – Generative video installation / broadcasting event. - 2003
• Melodrama No. 2. Photographs, video footage, sounds, database - Interactive video, color - 2001
• Melodrama No. 1. Photographs, video stills, footage, sounds, database - Interactive video, color - 2001
• Untitled - 01. Photographs, sounds. Single-channel sound, color. 5min - 2001
• Waterdream. Photographs, video stills, footage, sounds - Interactive video, color. - 1998/99
• A Rite of Passage. Single-channel animation, 5 seconds, looped - 1997
• No Pain / No Gain. Single-channel animation, 2 seconds, looped - 1995
• Materiali Sonori. Text, sounds – Single-channel, b/w, PAL, 24mins 36secs - 1990
• Carmen. Single-channel color, PAL, 1min, loop - 1988

Sound Installations

• Stageworks (series). 1 to 7. Multi-channel sound installation. 31:48 sec - 2015/18
• Blue Sky Prevailing. Multi-channel sound installation. Version 1.2 for 26 voices / 4 channels, 18 minutes generative loops - 2012
• Room 100. Sound installation. 21:55 sec. loop - 2010
• Macbeth Morse. Sound installation. 7:55 sec. loop - 2005

Representation / Distribution

• EU & Asia Pacific: Piero Pala, Complus Events

  Filmography & Soundworks