Alla Carta 21 Nirvana

The main character of the videogame Nirvana, the sci-fi film directed by Salvatores in ’97, gets in contact with a virus that provides him a form of consciousness, which brings him to wishing to be dead so as not to live in that digital world, made of fiction. It was 1997 and that was purely a hypothetical vision of what, in the near future, living in a digital world would have meant.

Solo speaks about the difference between the real world and that of the videogame, the digital one, which he defines as fake. But the present is more nuanced than how it could have been imagined: it’s really hard to separate the two of them, distinguishing a real world from a digital one, reality from fiction. Gaining a small glimmer of conscience, Solo rebels against its fictitious existence, but nowadays the daily interactions with the digital sphere are inseparable from the idea of contemporary life itself.

It is said that nothing which has not been documented really exists and that bringing home a digital proof is part of every experience. Sunsets, concerts, relationships, everything meticulously preserved into our infallible memory unit.
Is technology a strategy to disembody ourselves? The new issue of Alla Carta begins from here: we can affirm that social medias, internet, civil aviation, astronautics, the telegraph, railways, the invention of the wheel are expressions of an ancient urge to emancipate from ourselves, to get out of our body, escaping the constraints of space and time.


14 in stock

  • Pages: 304
  • Dimension: 225 x 310 mm
  • Edition: fw22
  • ISSN: 2280-9309