POST CITY Habitats for the 21st Century

Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2015 Festival for Art, Technology, and Society

September 3 – 7, 2015 Ars Electronica, Linz

Editors: Gerfried Stocker, Christine Schöpf, Hannes Leopoldseder

Editing: Jutta Schmiederer

Translations: German – English, all texts (unless otherwise indicated): Mel Greenwald

Copyediting: Catherine M. Lewis, Jutta Schmiederer, Ingrid Fischer Schreiber

Graphic design and production: Gerhard Kirchschläger

Typeface: Klavika

Printed by: Gutenberg Werbering GmbH, Linz

Paper: Claro Bulk 150 g/m2, 300 g/m2

© 2015 Ars Electronica © 2015 for the reproduced works by the artists, or their legal successors

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klimaneutral klimaneutral klimaneutral printed climate- printed climate- printed climate- klimaneutralgedruckt klimaneutralgedruckt klimaneutralgedruckt printed climate-neutrally printed climate-neutrally printed climate-neutrally klimaneutral klimaneutral klimaneutral printed climatneutrallye- printed climatneutrallye- printed climatneutrallye- gedruckt gedruckt gedruckt neutrally neutrally neutrally klimaneutralgedruckt klimaneutralDiegedruckt CO2-Emissionen klimaneutralDiegedruckt CO2-Emissionen Die CO2-Emissionenprinted climate- printed climate-CO2 emissions of thisprinted climate-CO2 emissions of this CO2 emissions of this neutrally neutrally product have been com-neutrally product have been com- product have been com- gedruckt Diegedruckt CO2-Emissionen dieses Produkts wurdenDiegedruckt CO2-Emissionen dieses Produkts wurdenDie CO2-Emissionen dieses Produkts wurden CO2 emissions of this CO2 emissions of this CO2 emissions of this CO2 emissions of this pensatedCO2 emissions with emission of this pensatedCO2 emissions with emission of this pensated with emission Die CO2-Emissionendieses Produkts wurden durchDie CO2-Emissionen CO2-Emissions-dieses Produkts wurden durchDie CO2-Emissionen CO2-Emissions-dieses Produkts wurden durch CO2-Emissions- product have been com- product have been com- product have been com- product have been com- reductionproduct havecertificates. been com- reductionproduct havecertificates. been com- reduction certificates. Die CO2-Emissionen dieses Produkts wurdendurchDie CO2-Emissionen CO2-Emissions- zertifikatedieses Produkts ausgeglichen. wurdendurchDie CO2-Emissionen CO2-Emissions- zertifikatedieses Produkts ausgeglichen. wurdendurch CO2-Emissions- zertifikateCO2 ausgeglichen. emissions of this pensatedCO2 emissions with emission of this pensatedCO2 emissions with emission of this pensated with emission pensated with emission pensated with emission pensated with emission dieses Produkts wurden durch CO2-Emissions-dieses Produkts wurden durch CO2-Emissions-dieses Produkts wurden durch CO2-Emissions- product have been com- reductionproduct havecertificates. been com- reductionproduct havecertificates. been com- reduction certificates. zertifikate ausgeglichen. Zertifikatsnummer: zertifikate ausgeglichen. Zertifikatsnummer: zertifikate ausgeglichen. Zertifikatsnummer: Certificate Number: Certificate Number: Certificate Number: zertifikate ausgeglichen. zertifikate ausgeglichen. zertifikate ausgeglichen. pensated with emission reduction certificates.pensated with emission reduction certificates.pensated with emission reduction certificates. durch CO2-Emissions- durch CO2-Emissions- durch CO2-Emissions- Certificate Number: 123-12345-1234-1234Certificate Number: 123-12345-1234-1234Certificate Number: 123-12345-1234-1234 Zertifikatsnummer: 123-12345-1234-1234Zertifikatsnummer: 123-12345-1234-1234Zertifikatsnummer: 123-12345-1234-1234reduction certificates. reduction certificates. reduction certificates. zertifikate ausgeglichen. zertifikate ausgeglichen. zertifikate ausgeglichen. Certificate Number: www.climatepartner.comCertificate Number: www.climatepartner.comCertificate Number: www.climatepartner.com Zertifikatsnummer:123-12345-1234-1234 www.climatepartner.comZertifikatsnummer:123-12345-1234-1234 www.climatepartner.comZertifikatsnummer:123-12345-1234-1234 www.climatepartner.com 123-12345-1234-1234 123-12345-1234-1234 123-12345-1234-1234 123-12345-1234-1234 123-12345-1234-1234 123-12345-1234-1234 Zertifikatsnummer: 123-12345-1234-1234www.climatepartner.comZertifikatsnummer: 123-12345-1234-1234www.climatepartner.comZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com Certificate Number: www.climatepartner.comCertificate Number: www.climatepartner.comCertificate Number: www.climatepartner.com www.climatepartner.com www.climatepartner.com www.climatepartner.com 123-12345-1234-1234 www.climatepartner.com123-12345-1234-1234 www.climatepartner.com123-12345-1234-1234 www.climatepartner.com 123-12345-1234-1234 123-12345-1234-1234 123-12345-1234-1234 www.climatepartner.com www.climatepartner.com www.climatepartner.com www.climatepartner.com www.climatepartner.com www.climatepartner.com Die CO2-Emissionen dieses Produkts wurden CO2 emissions of this product have been compensated with emission Die CO2-Emissionen diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. CO2 emissions of this product have CO2 emissions of this product have reduction certificates. Die CO2-Emissionenklimaneutraldurch dieses CO2-Emissionszertifikate Produkts wurden ausgeglichen. printedbeen climatcompensatede- with emission Zertifikatsnummer: 123-12345-1234-1234 CO2 emissions of this productbeen compensatedhave with emission Die CO2-Emissionenklimaneutral diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. printed climate-neutrallyreduction certificates. Certificate Number: 123-12345-1234-1234 gedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com printedbeen climatcompensatede- with emissionreduction certificates. klimaneutraldurch CO2-Emissionszertifikate ausgeglichen. neutrally www.climatepartner.com Zertifikatsnummer:www.climatepartner.com 123-12345-1234-1234 Certificate Number: 123-12345-1234-1234 gedruckt printed climate-neutrallyreduction certificates. Certificate Number: 123-12345-1234-1234 klimaneutralgedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com www.climatepartner.com neutrally www.climatepartner.com gedruckt www.climatepartner.com Certificate Number: 123-12345-1234-1234 www.climatepartner.com CO2 emissions of this product have Die CO2-Emissionen dieses Produkts wurden CO2 emissions of this productbeen compensatedhave with emission Die CO2-Emissionen diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. CO2 emissionsprinted of thisbeen product climatcompensated havee- with emissionreduction certificates. Die CO2-Emissionenklimaneutraldurch dieses CO2-Emissionszertifikate Produkts wurden ausgeglichen. Zertifikatsnummer: 123-12345-1234-1234 CO2 emissions of this productbeen compensatedhave reduction with emission certificates. Die CO2-Emissionen diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. printed climate-neutrally Certificate Number: 123-12345-1234-1234 klimaneutralgedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com printedbeen climatcompensatede- with emissionreduction certificates. klimaneutraldurch CO2-Emissionszertifikate ausgeglichen. neutrally Certificate Number: 123-12345-1234-1234www.climatepartner.com gedrucktZertifikatsnummer: www.climatepartner.com 123-12345-1234-1234 printed climate-neutrallyreduction certificates. Certificate Number:www.climatepartner.com 123-12345-1234-1234 klimaneutralgedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com neutrally Certificate Number: 123-12345-1234-1234www.climatepartner.com gedruckt www.climatepartner.com www.climatepartner.com CO2 emissions of this product have Die CO2-Emissionen dieses Produkts wurden CO2 emissions of this productbeen compensatedhave with emission Die CO2-Emissionen diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. CO2 emissionsprinted of thisbeen product climatcompensated havee- with emissionreduction certificates. Die CO2-Emissionenklimaneutraldurch dieses CO2-Emissionszertifikate Produkts wurden ausgeglichen. Zertifikatsnummer: 123-12345-1234-1234 CO2 emissions of this productbeen compensatedhave reduction with emission certificates. Die CO2-Emissionen diesesdurch Produkts CO2-Emissionszertifikate wurden ausgeglichen. printed climate-neutrally Certificate Number: 123-12345-1234-1234 klimaneutralgedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com printedbeen climatcompensatede- with emissionreduction certificates. klimaneutraldurch CO2-Emissionszertifikate ausgeglichen. neutrally Certificate Number: 123-12345-1234-1234www.climatepartner.com gedrucktZertifikatsnummer: www.climatepartner.com 123-12345-1234-1234 printed climate-neutrallyreduction certificates. Certificate Number:www.climatepartner.com 123-12345-1234-1234 klimaneutralgedrucktZertifikatsnummer: 123-12345-1234-1234www.climatepartner.com neutrally Certificate Number: 123-12345-1234-1234www.climatepartner.com gedruckt www.climatepartner.com www.climatepartner.com Ars Electronica 2015 Directors Ars Electronica: Gerfried Stocker, Christine Schöpf Ars Electronica Linz GmbH Ars Electronica Management Services Festival for Art, Technology and Society Head of Festival: Martin Honzik Elisabeth Kapeller, Markus Jandl, Robert Bauernhansl, Bettina Technical Head: Karl Julian Schmidinger Managing Directors Danninger, Barbara Diesenreither, Isabella Ematinger, Michaela Gerfried Stocker, Diethard Schwarzmair Organization Finance & Organization: Veronika Liebl Frech, Bettina Gahleitner, Gerhard Grafinger, Gerold Hofstadler, Andrea Huemer, Heinrich Klambauer, Stephan Kobler, Dominic Ars Electronica Linz GmbH Production Team: Katharina Bienert, Sigrid Blauensteiner, Ars Electronica Center Andreas Bauer, Christoph Kremer, Renata Aigner, Katharina Lengauer, Zulfija Magomedova, Peter J. Nitzschmann, Julia Managing Directors Florina Costamoling, Roman Dachsberger, Katharina Edlmair, Aichinger, Viktoria Aistleitner, Reinhard Bengesser, Dietmar Rabeder, Manuela Seethaler, Christopher Sonnleitner, David Gerfried Stocker, Diethard Schwarzmair Hannes Franks, Marion Friedl, Rosi Grillmair, Alexander Bok, Sarah Breinbauer, Blanka Denkmaier, Johannes Egler, Starzengruber, Eva Tsackmaktsian, Michaela Wimplinger, Susi Ars-Electronica-Straße 1, 4040 Linz, Austria Hinterlassnig, Georg Holzmann, Andrea Kohut, Sofie Erika Eiter, Julia Felberbauer, Melinda File, Andrea Fröhlich, Windischbauer, Sebastian Zach Tel: +4373272720 Kronberger, Theresa Lackner, Kristina Maurer, Hans Christian Christoph Froschauer, Mitra Gazvini-Zateh, Christian Gerber, Fax: +4373272722 Merten, Manuela Naveau, Emiko Ogawa, Hideaki Ogawa, Ars Electronica Solutions Elisabeth Gerhard-Mayrhofer, Tamara Geyerhofer, Nicole [email protected] Elvis Pavic, Felix Pöchhacker, Christina Radner, Tina Reinthaler, Michael Badics, Andreas Pramböck, Ina Badics, Lukas Bischof, Susanne Rosenlechner, Jutta Schmiederer, Mike Sarsteiner, Grüneis, Ulrike Gschwandtner, Harald Haas, Gerid Maria Cecile Bucher, Stefan Dorn, Stefan Fuchs, My Trinh Gardiner, Hager, Birgit Hartinger, Florian Heiml, Martin Hieslmair, Co-organizers Florian Sedmak, Tobias Tahler, Anna Titovets, Jochen Tuch, Yvonne Hauser, Barbara Hinterleitner, Christoph Hofbauer, Joschi Viteka, Susi Windischbauer, Nina Wenhart, Michaela Thomas Hillinger, Sri Rahayu Hofstadler, Gerold Hofstadler, Petros Kataras, Fadil Kujundzic, Thomas Lengauer, Pascal ORF Oberösterreich Wimplinger, Viktoria Wöß, Johanna Zauner, Jochen Zeirzer, Philip Huemer, Thomas Jannke, Erika Jungreithmayr, Maresch, Johanna Mathauer, Kathrin Agnes Meyer, Harald Director: Kurt Rammerstorfer Patrick Zorn Elisabeth Kattner, Herwig Kerschner, Viktoria Klepp, Eva Moser, Patrick Müller, Ali Nikrang, Benjamin Olsen, Dietmar Klimesova, Martin Kneidinger, Michael Koller, Thomas Peter, Poorya Piroozan, Stephan Pointner, Gerald Priewasser- LIVA – Veranstaltungsgesellschaft m.b.H. Co-curators Kollmann, Andreas Leeb, Daniel Lehner, Sabine Leidlmair, Höller, Gabriele Purdue, Roland Reiter, Andrea Rovescalli, Directors: Hans-Joachim Frey, Wolfgang Lehner Ars Electronica Animation Festival: Christine Schöpf, Juliane Leitner, Anna Katharina Link, Ulrike Mair, Reingard Stefan Rozporka, Gerald Sixt, Markus Wipplinger, Claus Jürgen Hagler OK Offenes Kulturhaus im OÖ Kulturquartier Medicus, Kathrin Meyer, Clemens Mock, Horst Morocutti, Zweythurm Directors: Martin Sturm, Gabriele Daghofer Big Concert Night: Dennis Russell Davies, Heribert Schröder Claudia Moser, Marc Mühlberger, Daniel Murina, Heinrich Campus Exhibition: Jean-Luc Soret, Chu-Yin Chen Niederhuber, Michaela Obermayer, Benjamin Perndl, Partners Connected Intelligence Atelier: Derrick de Kerckhove, Svetlana Petrovic, Katharina Pilar, Armin Pils, Anna Kunstuniversität Linz – Universität für künstlerische OK Offenes Kulturhaus im OÖ Kulturquartier Maria Pia Rossignaud Polewiak, Ulrike Rieseneder, Andreas Roth, Michael und industrielle Gestaltung Spaceship Earth: Robert Meisner OK CyberArts Team Lentos Kunstmuseum Linz Rottmann, Petra Saubolle-Hofmann, Alina Sauter, Birgitt Expanded Animation: Jürgen Hagler, Wilhelm Alexander Directors: Martin Sturm, Gabriele Daghofer Mariendom Linz Schäffer, Johann Schauer, Barbara Schmidt, Nina Interface Cultures Exhibition: Christa Sommerer, Laurent Public Relations: Maria Falkinger Österreichische Post AG Schönberger, Thomas Schwarz, Markus Schwarzmair, Mignonneau, Martin Kaltenbrunner, Michaela Ortner, Marlene Stefan Schwarzmair, Elio Seidl, Manfred Seifriedsberger, Technical Manager: Rainer Jessl Akademie der bildenden Künste Wien Brandstätter, Reinhard Gupfinger Margarethe Stöttner-Breuer, Johannes Strasser, Lioubov Curator: Genoveva Rückert Backlab Collective Knowledge Capital Curatorial Team Studener, Johannes Stürzlinger, Istvan Szabo, Bhoomesh Exhibition Manager: Martina Rauschmayer Bugnplay - Multimedianetzwerk Music Monday: Werner Jauk Tak, Kerstin Tak-Wakolbinger, Michaela Maria Tanzer, Production Manager: Aron Rynda C3 - Multimedianetzwerk Naked Veriti: Javier Galán Michael Thaler, Linda Vankova, Thomas Viehböck, Florian Technical Head: Andreas Kurz Campus Genius Award Post City Nightline: Salon 2000 Voggeneder, Karin Wabro, Damian Benno Wachlhofer, Central Linz Production Team: Jarno Bachheimer, Stefan Brandmayr, Attila Manuel Walch, Florian Wanninger, Michael Wlaschitz CPN Centre for the Promotion of Science Ferenczi, Alfred Fürholzer, Martin Haselsteiner, Kraxberger CERN Prix Ars Electronica 2015 Ars Electronica Futurelab David, Bernhard Kitzmüller, Daniel Mandel, Andreas Steindl, Connected Intelligence Atelier Horst Hörtner, Christopher Lindinger, Roland Haring, Roland André Tschinder, Tom Vens, Hans-Jörg Weidinger, Gerhard Deutscher Multimediapreis – Multimedianetzwerk Co-organizers Aigner, Florian Berger, Bernhard Böhm, Chris Bruckmayr, Wörnhörer, Simon Wilhelm DIG gallery ORF Oberösterreich Barbara Erlinger, Maria Eschböck, Peter Freudling, Matthew Team: Verena Atteneder, Erika Baldinger, Katharina Baldinger- Empowerment Informatics Director: Kurt Rammerstorfer Gardiner, Martin Gösweiner, Peter Holzkorn, Andreas Hackl, Renate Berger, Julia Brunner, Michael Dalpiaz, Walter European Space Agency Jalsovec, Anna Lucia Kuthan, Magdalena Leitner, Martina Eckerstorfer, Tamara Eder, Max Fabian, Werner Friesenecker, European Southern Observatory LIVA – Veranstaltungsgesellschaft m.b.H. Mara, Michael Mayr, Kristefan Minski, Stefan Mittlböck- Michaela Fröhlich, Andrea Gintner, Josef Gruber, Manuela Etopia Directors: Hans-Joachim Frey, Wolfgang Lehner Jungwirth-Fohringer, Martin Mörth, Otto Naderer, Nicolas FAB Verein zur Förderung von Arbeit und Beschäftigung Gruber, Stephan Hadwiger, Dominik Harrer, Sabine Haunschmid, OK Offenes Kulturhaus im OÖ Kulturquartier Naveau, Kathrin Obernhumer, Hideaki Ogawa, Veronika Evi Heininger, Robert Herbst, Susi Heuschober, Maximilian GV Art Pauser, Marius Pfeffer, Michael Platz, Erwin Reitböck, ifva Directors: Martin Sturm, Gabriele Daghofer Höglinger, Fritz Holzinger, Christoph Kaltenböck, Sabrina Jonathan Rutherford, Clemens Francis Scharfen, Claudia Kamenar, Simon Lachner, Barbara Mair, Judith Maule, Franz Ingenieure ohne Grenzen Austria Idea: Hannes Leopoldseder Schnugg, Marianne Ternek Minichberger, Walter Mühlböck, Wolfgang Nagl, Josef Interface Cultures Conception: Christine Schöpf, Gerfried Stocker Internationales Teletext Art Festival ITAF Pfarrhofer, Franz Pfifferling, Wilhelm Pichler, Angelika Pöschl, Coordination: Martin Honzik, Emiko Ogawa Ars Electronica Festival International Students Creative Award Franz Quirchtmayr, Michaela Reisenberger, Gerda Sailer, Markus Technical Management: Karl Julian Schmidinger Martin Honzik, Karl Julian Schmidinger, Katharina Bienert, Internet Yami-Ichi and Body Paint Florina Costamoling, Stephanie Danner, Hannes F. 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Université 8.0 Le pari numérique

Université 8.0 Laboratoire d’Excel- Investissements Initiative d’Excellence en for- Le pari numérique lence Arts-H2H d’Avenir mations innovantes, CreaTIC der Standard Wired CONTENTS

Simon Klose Gerfried Stocker TU WIEN and Inter-American Hannes Langeder 135 TPB AFK: The Pirate Bay Away From Keyboard 16 POST CITY—Habitats for the 21st Century Development Bank (IDB) 105 Fahrradi Farfalla FFX 18 POST CITY—A City within the City 64 Urban Design Laboratory 136 Future Innovators Summit 2015 Hiroo Iwata CityIF 106 Big Robot Mk1 Derrick de Kerckhove POST CITY 66 Urbanization as Disaster 138 Connected Intelligence in the Post City: HABITATS FOR THE 21ST CENTURY University of Art and Design Linz + Kuka The Internet as a Social Limbic System [tp3] architects and Eddea 107 Robots in Architecture Geeta Mehta Arquitectura y Urbanismo Maria Pia Rossignaud 24 Building Future Resilience with Social Capital 67 Citythinking—WHY IS MORE FESTO AG 144 Multiplying Mind by Mind 108 eMotionSpheres Connected Intelligence Atelier Kristien Ring 68 1,001 Models of Habitat for the 21st Century 28 Self Made City—Qualities for Future Urban Living Rintaro Shimohama, Naoki Nishimura, Markus Riebe Shinya Wakaoka CONNECTING CITIES Friedrich Schwarz 70 Form/Code/Maps: Air Corridors 110 Noramoji Project 31 Urban Ecology—How the City’s Ecosystem Works Dietmar Offenhuber Jess Ching-wa Lau IDPW 150 Civic Technologies: Tools or Therapy? Addie Wagenknecht 71 The Fading Piece 111 Internet Yami-Ichi 36 Silk Road Veronika Pauser, Claudia Schnugg, Susa Popp Andreas J. Hirsch The Trinity Session—Stephen Hobbs 154 Connecting Cities—Artists and Researchers Carlo Ratti 72 Re-Reading the City and Marcus Neustetter Empowering Citizens since 2012 38 Towards a New Conception of Working Spaces Views of the Post-Urban Condition 112 Renaming the City nita. Madeleine O’Dea Norbert Artner Ars Electronica Futurelab 156 blindage. 40 Polymath’s Paradise—Ou Ning Reimagines Rural China Thomas Macho, Ingrid Fischer-Schreiber 116 Focus 74 Hallstatt Revisited Ursula Feuersinger Ou Ning University of Tsukuba + Ars Electronica Futurelab 157 Deep City 42 The Bishan Project—Restarting the 117 Post City Kits from the University of Tsukuba Rural Reconstruction Movement THE FUTURE CATALYST PROGRAM Dietmar Offenhuber MIRAI Project Department 158 Urban Entropy Alexander Mankowsky TOYOTA MOTOR CORPORATION X Future Catalysts HABITAT 21 80 Futures Studies & Ideation 118 KURUMA-IKU Lab Florian Born, Christoph Fraundorfer Autonomous Cars: The Introduction of 159 ESEL-Complain Michael Badics Automation into Society FIELD 48 Habitat 21 120 Quasar Tamer Aslan, Onur Sönmez Solutions-related Projects in Urban Space Martina Mara & Christopher Lindinger 160 Flame 86 Talking to the RoboCar Katia Cánepa Vega Ars Electronica Solutions, The Grameen 121 Beauty Technology Mark Shepard, Julian Oliver, Moritz Stefaner Creative Lab, Engineers without Borders Austria Jürgen Weissinger 161 False Positive 48 After the Disaster—Crisis as an Opportunity 92 Time Travel into the Future Hannah Perner-Wilson, Andrew Quitmeyer 122 A Wearable Studio Practice Second Council of Europe Multi-Stakeholder Platform L. M. Hüller, H. Seebacher, K. Kleinschmidt, POST CITY KIT Exchange on Culture and Digitization R. Pocksteiner Dorota Sadovská 162 Smart Creativity, Smart Democracy 50 Post Refugee City Future Catalysts 123 Vivid Dresses Hakuhodo x Ars Electronica 164 KNOWLEDGE CAPITAL Curated by Lois Lammerhuber 96 Post City Kit Initiative Shiho Fukuhara, Georg Tremmel The Emergence of Osaka in Action 52 What Does Peace Look Like? 124 Biopresence Shunji Yamanaka, fuRo—Future Ianina Prudenko Robotics Technology Center Katrina Spade ART & SCIENCE 56 Mythogenesis 98 Halluc IIx 125 Urban Death Project Gerfried Stocker 172 The Challenge of Art and Science Ian Banerjee fuRo—Future Robotics Technology Center Búi Bjarmar Aðalsteinsson 58 Educational Urbanism 99 ILY-A 126 The FlyFactory 173 European Digital Art and Science Network Rise of the Learning Intensive City 174 Scientific Partner Institutions takram design engineering, fuRo—Future XXLab 175 European Cultural Partners Habidatum & Mathrioshka Robotics Technology Center 127 SOYA C(O)U(L)TURE 177 Residencies 59 Semantic Landscapes 100 ON THE FLY Maja Smrekar 183 Art and Science Program at Ars Electronica 2015 Katja Schechtner, Dietmar Offenhuber Otto Bock Healthcare 128 K-9_topology 60 sensing place / placing sense 3 101 Genium—Bionic Prosthetic System Soichiro Mihara Victoria Vesna improvising infrastructure 184 Art & Science: Relationships & Emergence formquadrat 129 bell The Grameen Creative Lab 102 D-Dalus: A New Way of Traveling Salvatore Iaconesi, Oriana Persico Jurij Krpan 61 Social Business 185 Art & Science: The relationship that is not Johammer 130 Ubiquitous Infoscapes existing but yet it’s functioning BIO AUSTRIA 103 J1 Electric Motorcycle Laura Poitras 62 Farmers’ Market of the Future Art and Science Exhibition Part I Peter Moosgaard 134 CITIZENFOUR 186 HYBRID ART 104 Cargo Cult Segway Art and Science Exhibition Part II NOPER + SAINT MACHINE alien productions Arotin & Serghei 188 Elements of Art and Science 216 Feed Me 261 metamusic 331 WHITE POINT María Ignacia Edwards 218 So similar, so different, so European voestalpine Klangwolke 2015 Lukas Maximilian Huller, Hannes Seebacher, 188 Mobile Instrument Lawine Torrèn Kilian Kleinschmidt, Robert Pocksteiner Robert Pravda 262 HOCHWALD – Dance of the Trees in Donaupark 332 Post Refugee City Semiconductor 219 Monoid a.k.a. My New Speaker 189 A particular kind of conversation The Mobile O1 Atelier in2white Kokrra.tv 334 Mont Blanc largest panoramic image Ann-Katrin Krenz, Michael Burk 220 Momentum 264 Living as holistic organic interaction 190 Kepler’s Dream Werner Jauk Red Bull Media House Şirin Bahar Demirel 335 Action Pack Formquadrat 221 Living With Leviathan 266 Post-city-sounds 190 D-Dalus: A New Way of Traveling Werner Jauk University of Applied Sciences’ Hagenberg Paris 8 University 336 Game Changer Suite Cédric Brandilly 222 Campus Exhibition 271 iHome 191 Architectural SonarWorks Paris 8 University 337 ITAF 2015 u19 – CREATE YOUR WORLD IAAC—Institute for Advanced Architecture University of Art and Design Linz, Interface Cultures 338 Ars Electronica Futurelab of Catalonia 234 Post-Post 272 Future Festival of the Next Generation 2015 191 Minibuilders 339 Future Prospects for Linz and the World Stadtwerkstatt 274 Projects Laurent Mignonneau and Christa Sommerer 240 STWST48: Crashing the information in 48 hours AUDI AG + Ars Electronica Futurelab 192 Portrait on the Fly 282 Reality Levels —VIRTUREAL 342 Audi Virtual Engineering Terminal Ars Electronica Yasuaki Kakehi 242 Art Curating in the Digital Age 283 The CREATE YOUR WORLD Tour SAP + Ars Electronica Futurelab 193 Transmart miniascape 344 Innovative Media Art Strategies Rosi Grillmair ARS ELECTRONICA ANIMATION in Corporate Space Jonathan Keep 243 exhy: a curation service 193 Seed Bed Jürgen Hagler 346 Creative Catalysts 284 Expanded Animation – Deviations and Anomalies Nick Ervinck EVENTS & CONCERTS University of Tsukuba + Ars Electronica Futurelab at the Intersection of Art and Technology 347 Ars Electronica Futurelab Academy “LabX” 194 VIUNAP and selected works Anatol Bogendorfer, Peter Androsch (Hörstadt) 286 Ars Electronica Animation Festival 2015 Post City Kits from the University of Tsukuba Brian Harms 246 Diaspora Machine 196 Suspended Depositions Matthew Gardiner Anarchy Dance Theatre X Ultra Combos ARS ELECTRONICA 348 ORI*—On the Aesthetics of Folding and Technology Dana Zelig 248 Second Body 196 Traces 297 Ars Electronica Center—Museum of the Future Hyungjoong Kim The Big Concert Night 2015 349 Jangdan Julian Melchiorri 250 Music on the Move 298 Ars Electronica Center—New Educational Formats 350 Ars Electronica Solutions 197 Silk Leaf 251 Orchestra pieces by Bruckner Orchester Linz / 306 Ars Electronica Center—Exhibitions Dennis Russell Davies 352 Primetals Technologies—METEC 2015 FIELD 314 Ars Electronica Center—Deep Space 8K 197 Quasar Wolfgang Dorninger 353 STYRIA—Styriaversum 320 The Universe Within 253 Post City—An Aural Fiction 354 BASF’s Sesquicentennial Celebration exonemo In the Virtual Anatomy Theater of the Future 198 Body Paint Peter Karrer 355 Spy Museum BerlinEvent & Show Design 253 Selbsttonfilm, Example of “Un chien andalou” Joe Capra (aka Scientifantastic) ZEISS 322 Rio 10K 356 SAP—Inspiration Pavilion Beijing 199 ZEISS VR ONE Maki Namekawa, Cori O’lan Michael König 357 Vienna Airport—From Austria to the World: Paris Academy of Fine Arts Vienna 254 Pianographique—a performance of 324 Sun 358 Ars Electronica Solutions Projects, Talks & Lectures 200 VIENNA 3000, Can you see the superfuture? selected piano etudes from Philip Glass Karl Ritter, Wolfgang C. Kuthan, Thomas Schwarz 360 Ars Electronica Export Art and Science Exhibition Part III 325 Urfixed Light Animation 204 Spaceship Earth Herwig Bachmann 361 ITU Telecom World 2014 255 Soundfalls 326 CyArk 362 Café Europa – The Austrian Week EXHIBITIONS & PROJECTS Curated by Sergey Kasich Centre for Digital Documentation 256 Russian Sound Art Showcase 363 Project Beehive Felix Luque & Iñigo Bilbao, Nestor Lizalde, and Visualisation LLP Atonal Architectonics: Postroenie 364 Ars Electronica Creative Cloud and Pablo Valbuena 327 The Scottish Ten 210 The NAKED VERITI Project Chris Bruckmayr & Dobrivoje Milijanovic BBC and ScanLab Projects Ars Electronica in the Knowledge Capital Summer Sessions Network / aka raum.null 328 Rome’s Invisible City 366 INTERPLAY 259 The Sixth Wave of Mass Extinction V2_Institute for the Unstable Media University of Art and Design Linz 367 Captives by Quayola 213 Summer Sessions Robert Lippok and Wolfgang Fuchs 329 Cooperative Aesthetic 368 Ars Electronica Animation Festival Pop-up Exhibition and Event feat. Johannes 260 Listening Post 330 Colours Bars Langkamp, Roel Roscam Abbing, Mate Pacsika, Carina Hesper 370 Biographies

Gerfried Stocker POST CITY POST CITY Habitats for the 21st Century

Much of what constitutes our cities today has been kind has had to manage in every epoch. The build- among the big unknowns are how they will be inte- The Industrial Revolution brought with it repub- handed down to us from the Industrial Age. But ings we are erecting now and the traffic arteries we grated into our lives and our living spaces, and how lics and democracies. What political models will what about designing cities for the times to come? are laying out constitute the cityscape of the 21st they will communicate with us and we with them. be the outgrowth of the Digital Revolution? Which How will cities of the future have to be configured century, and also determine coming generations’ Now, the focus is mostly on the technical aspects of governance systems can satisfactorily facilitate when there are more robots than people working quality of life. How we now implement architectural convenient, carefree mobility-on-demand, but what the capacity of digitally networked citizens to get in factories, everything is intelligently interlinked, measures to configure the public sphere, participa- will probably be making the most powerful impact involved effectively and thus maximize the social autos drive autonomously and drones deliver the tory models to bring about transparency and inte- on cities is the mobility of human beings who have capital of the future? mail? And what does it mean for future megacities— gration and, above all, to whom we actively entrust no other choice but to make a move. The primary above all, those on seacoasts—when climate change or passively cede the responsibility to do so—these destinations of the 21st century’s mass migrations Future Resilience—Refuge and Resistance really does shift into high gear? The rethinking of are decisive determinants of which opportunities are metropolises, and national borders can’t hold The city was always a place of refuge, of safety. urban living spaces has already begun—all over the and which conflicts and crises the 21st century will these people back. The “peace of the city” in the Middle Ages was an world, people are coming up with exciting ideas for bring. essential element that went into making cities an new architectures and forms of social organization So what will it look like, this city capable of deal- Future Work—Work and Joblessness economic success. The architectural and adminis- st that are able to keep up with the changes the next ing with what the 21st century dishes out? In other in the 21 Century trative manifestations of this security had man- few decades will bring. words, what will our habitats look like after we’ve Will the city of tomorrow be able to provide work ifold effects on the appearance of cities and the Dovetailing art, technology and society in the inim- gone through the Digital Revolution, when the for people? What will be their occupations after the coexistence of their inhabitants. Cyber-crime, total itable way Ars Electronica has done ever since 1979, global shift of political and economic power has big economic crisis? Will we simply have to accept surveillance, climate change—what do the cities of experts from all over the world will be convening taken hold, and climate change really gets down that there is no afterwards because the crisis isn’t tomorrow have to protect us from? What must they at an extraordinary think tank in Linz in Septem- to business? POST CITY is the urban sphere after- a temporary illness but rather chronic suffering due defend themselves against? And which means are ber. And they’ll do so at an extraordinary place. Set wards—the city in the wake of all those changes to the incapacity to adapt to these new realities? Or available? And since cities will inevitably be the first amidst the railroad yard of Linz’s main train station, that will perhaps constitute the greatest and most maybe, just maybe, we will rise from the ashes like a places where these challenges and problems rear a 100,000 m2 facility that used to be the postal ser- momentous upheaval in recent centuries. This is a phoenix as the creative, innovative driving forces of their ugly heads, they’re also where the solutions vice’s letter and parcel distribution center will serve development that some call a looming crisis and a future with a humanistic sense of proportion. One are to be sought. as the festival venue and a publically accessible lab others see as the dawn of a better day. thing is sure—the much-vaunted re-industrializa- Upon considering these questions, it quickly for the city of the future. Ars Electronica 2015 is focusing on four thematic tion of Europe will provide more work for robots and becomes clear that answering them calls for clusters in order to consider, from both local and automatons than for laborers. The city as a place for wide-ranging cooperation among people in all social The city, it would appear, is humankind’s global perspectives, how developments—those science and R&D, as an educational campus, will strata and walks of life. After all, the challenges are most successful survival strategy, and still already in progress and prognosticated shifts—will play a decisive role in bringing forth the competence greater than the capabilities of individual groups of our greatest social experiment. The Digital be changing how our cities look and function: and cultural techniques we need to counteract social experts. New skills that cut across the boundaries of Revolution has imparted a new dimension to Future Mobility—The city as transportation hub; polarization and segregation. discrete fields, new job descriptions and new edu- this experiment. Future Work—The city as workplace & marketplace; cational models are desperately needed. Around 1900, 165 million people—approximately Future Citizens—The city as community; and Future Citizens—Open Society or Global It has already been a quarter of a century since 10% of the world population—lived in cities. In 2015, Future Resilience—The city as stronghold. Domination by the Internet? the development of the WWW triggered the inter- the number of city dwellers is 3.4 billion, 54% of Cities are characterized by their capacity to fos- net’s evolution from strictly technical computer Earth’s inhabitants (and it’s already up to two- Future Mobility—Mobility of People, ter social integration, by their infrastructure and infrastructure to a network of human beings, to a thirds in Europe), and they use 80% of all energy Things and Data networks, by their scientific facilities and cultural socio-cultural Plural Universe with a current popu- resources. And their numbers are steadily rising— The self-driving car is simply a logical consequence institutions, and, above all, by the diverse array lation of over 2.6 billion. The epithet Digital City has human beings spurred by hope to survive, to find a of the Digital Revolution. From the mainframe dino- of competence, knowledge and initiative of their been superseded by Smart City, but the question better way of life, and to live a lifestyle of their own saurs to the PCs and mobile devices to ubiquitous inhabitants. How do we go about organizing societal of how to fabricate the digital equivalent of a city choosing. According to the UN, 200,000 people a computing—the huge scale of omnipresent devices coexistence after the birth pangs of Digital Soci- remains unanswered. day relocate from rural areas to urban centers. and things interlinked in networks will create a real- ety with its new economies, with its reordering of Perhaps we have to call into question our previous But cities haven’t only been places that promised ity in which motorists behind the wheel will be about private and public spheres, with all the collateral conception of a city as a geographic conglomeration security and prosperity; they are also symbols of as exotic as horse and buggies in midtown traffic damage and lifestyle diseases that we still have no of resources, and consider the internet itself as the freedom and progress. And they have always been today. Engineers already have a pretty good idea of high-tech means to prevent? megacity of the future. flashpoints of all the social conflicts that human- how such robotic cars and trucks will function; still http://www.aec.at/postcity

16 17 POST CITY POST CITY A City within the City

Last year’s Ars Electronica was a festival in the city. staging encounters with several other focal-point From its landscaped roof to the sprawling civil by a shuttle bus and transported up the main entry The 2015 conclave is about the city—the way cities topics at an interesting array of venues. Accordingly, defense bunkers in the basement, this huge build- ramp right into the middle of the exhibitions arrayed of tomorrow will look, how we’d like them to be, this year’s festival divides up, geographically and ing complex with its unique ambience set amidst throughout the Upper Level of Post City. From there, and what we can do to make that happen. But, like thematically, into three sectors. the tracks and infrastructure of a major railroad they can explore the enormous halls by bicycle or every year, in addition to the festival theme we’re hub will itself be one of the featured attractions via electro-scooter, and experience the amazing on exhibit—a city within the city. Directly in front stuff on display for their edification and enjoyment

INFO-DESK TICKETING PRESS PRESS-CENTER S STRASSENBAHN LINIE 1, 2, 3 of the train station, festivalgoers will be picked up throughout the premises.

1 POSTCITY 2 ABC BUFFET 3 MARIEN DOM 4 CENTRAL LINZ 5 OK IM OÖ KULTURQUARTIER 6 MOBILES Ö1 ATELIER 7 KUNSTUNIVERSITÄT LINZ 8 LENTOS KUNSTMUSEUM LINZ 9 BRUCKNERHAUS 10 STADTWERKSTATT 11 ARS ELECTRONICA CENTER

OBERE DONAULÄNDE

W RÖMERBERGTUNNEL DONAU

N S

S SANDGASSE HOPFENGASSE BAUMBACH- Rudolfstraße

O

STIFTERSTRASSE KELLERGASSE ALTSTADT 11 10 STOCKHOF 3 7 NIBELUNGENBRÜCKE STRASSE STRASSE PROMENADE S WALDEGGSTRASSE STRASSE 6 HERREN Hauptplatz SPITTELWIESE UNTERE DONAULÄNDE A7 WALDEGGSTRASSE HERREN STRASSE BISCHOF HAUPTPLATZ 2, 3 RUDIGERSTRASSE LINIE 1, DONAU STRASSE S

Taubenmarkt GRABEN

PRESS 4 BETHLEHEM 8 1 2 5 LANDSTRASSE HARRACHSTRASSE STRASSE VOLKSGARTENSTRASSE S KÄRNTNERSTRASSE Mozartkreuzung 2, 3 9 S LINIE 1, MOZARTSTRASSE S Hauptbahnhof S Bürgerstraße DAMETZSTRASSE Goethekreuzung BÜRGERSTR GOETHEST A7

POST CITY DOWNTOWN ALONG THE DANUBE IN DER POSTCITY IN DER INNENSTADT AN DER DONAU Die PostCity ist das Festivalzentrum. Hier sind alle Konferenzen, Summits, Von den CyberArts über die Prix-Foren bis zu den Animationen – zwischen Im Dreieck von Ars Electronica Center, Kunstuniversität und PostSymposien City und is Ausstellungen the Festival zum Festivalthema hub—the und CREATE location YOUR WORLD, TheOK OK im OÖ Center, Kulturquartier, Central CENTRAL und cinema, dem Marien Dom and dreht the sich so New gut wie InBrucknerhaus the triangle lautet das Mottoformed Digital Art by and the Science. Ars Hier finden Sie of all conferences,das Zukunftsfestival summits, für die nächste Generation, the symposia verortet. Cathedral (Mariendom)alles um den Prix are Ars Electronica. hosting events Electronicadie Ausstellung Raumschi– Center, Erde Linz und die diesjährigeArt University, Campusschau. & exhibitions dealing with the Festival connected with the Prix Ars Electronica, and the Brucknerhaus, the focus is on theme, and CREATE YOUR WORLD–The including the CyberArts exhibition, Prix Digital Art and Science. Here, you’ll find Future Festival of the Next Generation. Forums, and the Animation Festival. the Spaceship Earth exhibition and this year’s Campus show.

Our encounter with Art and Science will take place And then there’s Post City. The spectacular setting The former mail sorting facility, multi-story spiral serve as a space for the public to congregate and on both banks of the Danube: at the Ars Electronica for dealings with this year’s festival theme is a packet chutes, and conveyor belt systems will be socialize. The spacious office suites and storerooms Center and in the Campus exhibition on Linz’s main 100,000-m2 former postal logistics facility at Linz’s reactivated for performances and art projects. The are being converted into galleries and exhibition square, Hauptplatz. Downtown, the accent is on main train station. This will be the venue of sympo- transportation infrastructure and loading docks will halls. the Prix Ars Electronica. Prizewinning works will be sia and theme exhibitions, as well as the festival’s showcased by the Cyberarts exhibition in the OK main concert hall. Center for Contemporary Art, and the Animation Festival in the former Central cinema.

18 19 POST CITY

Future Mobility, Habitat 21, Post City Kit, Future WORLD, and a 1,000-m2 prototype of a Kids’ R&D Day-by-Day Overview Fashion, Future Food, hundreds of architectural Park are the major neighborhoods that make up the models, an internet flea market, u19–CREATE YOUR festival village on Post City’s 1st Upper Level. Thursday is Opening Day at the festival. Exhibi- Sunday is Citizen Day at Post City. The centerpiece: tions kick off across the board. The program of citizen involvement projects designed to get locals symposia and lectures in Post City gets a bright- to rethink Linz and to discover and develop new per- and-early start. The AE Animation Festival lights spectives. And Part 3 of the theme symposium deals

East Avenue up the screen in the Central, the former cinema on with the role of public spaces—both real and virtual FUTURE MOBILITY DISTRICT HABITAT 21 DISTRICT CONFERENCE Landstraße. u19 – CREATE YOUR WORLD, the fes- ones—and their outgrowths that pose challenges to SQUARE

FIS FIS FIS tival-within-a-festival for young people, opens its city planners and architects. CENTRAL PARK Bella Vista doors in Post City, where the opening event will be Sunday’s highlight is Big Concert Night: electronic PRESS held Thursday evening. and digital music, audiovisual performances and u19 – CREATE GRAND PLAZA KNOWLEDGE YOUR WORLD S DISTRICT installations throughout Post City and a big orches- Busstop Friday is Symposium Day, and mobility—its many UNIVERSITY D. tra on the Rail Hall stage. Exhibition Street facets and modes—will be the first order of business: Osaka Shortcut Osaka Corridor a spectacular R&D prototype of a self-driving car; Monday is Music Day and a don’t-miss opportunity FASHION DISTRICT SPIRAL FALLS high-tech prostheses; the mobility of data; and the for all those interested in digital music and sound Plaza BACK mobility of millions of people leaving the land for art to partake of up-close-and-personal encounters OFFICE life in the big city. with artists and musicians on the festival lineup. CHILDREN SCIENCE LAB The afternoon theme is the Smart City. Festivalgoers will critically scrutinize the current hot topic of all INFO-DESK TICKETING + ARTISTDESK PRESS PRESS-CENTER

S STRASSENBAHN LINIE 1, 2, 3 S POSTCITY-SHUTTLE futuristic urban scenarios. The evening highlight is the awards ceremony hon-

LINZ oring this year’s Prix Ars Electronica winners. The HAUPTBAHNHOF S S POST CITY after-party will be a concert nightline in Post City. OG.1 HAUPTEINGANG Saturday is Market Day at Ars Electronica. Two KÄRNTNERSTRASSE A7 markets will open for business in Post City. The big symposium hall will host a Yami-Ichi, an internet WALDEGGSTRASSE flea market for transacting ideas and wishes having to do with the internet, and thus way beyond big corporations’ inventories of the usual gadgets. And an organic farmers’ market is an effort by urban Where lines of boxcars used to pick up and deliver raise-it-yourselfers to erect a bridge to digital mod- packages and letters, right on the platforms situ- ernism and thus nurture people’s consideration of ated amongst the tracks and conveyor belts, the our food supply’s future. Train Hall is now being relaunched as a Concert Hall A marketplace of the best-and-brightest projects is to host the Festival’s performances and sound art the Prix Forum in the OK Center for Contemporary installations designed especially to take maximum Art. Those singled out for recognition in the various advantage, both acoustically and visually, of this categories will discuss their work. venue’s spatial dimensions. A program will be The Sky lounge atop the Ars Electronica Center will staged here every evening—audio-visual installa- host the 2nd Council of Europe Platform for Exchange tions customized to this setting; musical pieces for on Culture and Digitization, at which a group of orchestra and piano; industrial noise. Council of Europe experts will join festivalgoers to discuss Policy Guidelines for the Digital Society. Calling all fans of the Linzer Klangwolke! This year’s cloud of sound is the third lollapalooza to be pro- Underground shelters for thousands of civilians an appropriate setting for art & documentation duced by Hubert Lepka/Lawine Torrèn (of 2005 and Photos: p. 18 AEC: Stefan Eibelwimmer (Festival Map), Martin Hieslmair were built into this building complex that went into projects having to do with the huge refugee city in 2010 fame). Those seeking a rather more out-of- p. 19 AEC: Robertba, Florian Voggeneder service in 1993. Now, these basement spaces—that, Zaatari, Jordan, and thus take a highly topical look the-ordinary way to call it a day should definitely p. 20 AEC: Stefan Eibelwimmer (Festival Map), Martin Hieslmair thankfully, were never put to use—will constitute at urban habitats of the future. consider attending OK Night.

20 21 POST CITY Habitats for the 21st Century POST CITY

Geeta Mehta Building Future Resilience with Social Capital

Future historians may scoff at the last four decades deter us from understanding that social capital is therapy, enhancing interpersonal connections and P2P learning. Some of the SoCC projects currently as the time when the world’s highest paid finan- one of their most important assets of communities. instilling a sense of larger meaning or purpose. in operation are described below. cial and corporate leaders used shareholder value SoCC Managers are trained by Asia Initiatives to to justify running roughshod over the sustainabil- Social Capital Credits (SoCCs) hold SoCCratic dialogues with communities to SoCCs in Kumasi, Ghana ity of the planet and the wellbeing of its inhabi- My academic, professional, and non-profit work develop SoCC Earning and SoCC Redeeming menus. The SoCC System was first piloted in 2013 in Kumasi, tants. A system that allows Earth’s non-renewable over the past twenty-five years in twelve countries In communities where governments are unable to the second largest city of Ghana, in partnership with resources to be plundered, and denies nearly half in Asia, Africa, North and South America has been provide these services, SoCCs can be earned for Columbia University’s Earth Institute and Women of the world’s population the dignity of reasonable about designing to build social capital. Everywhere waste management, micro infrastructure building, Strong International. In order to participate in the shelter, livelihood, and health, is not smart. It is my teams and I have worked, we found that the paving or maintaining streets, improving neighbor- SoCCs program, women vendors in the Bantama time for us to recognize and nurture natural capital social capital of communities was being ignored hood safety, getting children vaccinated, tutoring, Market were required to get health checks offered as well as social capital as important aspects of our under the current and emerging financial systems etc. Earned SoCCs can then be redeemed for prod- free at a local clinic, which simultaneously helped wealth. This article deals with social capital, and a that seek to measure everything in terms of money. ucts and services such as telephone talk time, skill many women identify treatable diseases and methodology to use market mechanisms to nurture Most of the solutions to problems on the ground building courses, home improvements, healthcare, improve their health. At the Kumasi site, the most and leverage it for common good and happiness. being considered were top down, and communities school scholarships and so on. SoCCs is particularly popular items on the SoCCs Earnings Menu include often had marginal inputs in the programs. This is relevant for unemployed youth and senior citizens maintaining a savings account, keeping the market What is Social Capital? when I developed the concept of SoCCs (Social Cap- who have much to contribute but are hampered and the produce clean, and using long-term family Social capital consists of the networks amongst ital Credits), based upon my work with the two non- if money is the only medium of exchange. SoCCs planning methods. Redeeming Menu items include people and the resultant propensity of people to profit organizations I have co-founded: URBZ —User enable services and products to be generated within getting business skills training and access to the undertake actions for the broader good of their Generated Cities (www.urbz.net), and Asia Initia- a community, using SoCCs as a medium of barter. small loans scheme. Currently, many of the 130 community and beyond. It implies that people take tives (www.asiainitiatives.org). SoCCs is a system for Just as carbon credits encourage and reward envi- members have used the small loans to expand their ownership and responsibility for their communities fostering grassroots development by incentivizing ronmental responsibility using market mechanisms, businesses. Impressively, no borrower has defaulted and the global commons, rather than simply being communities to leverage their own social capital. It SoCCs encourage social responsibility using market in payments to date. Based upon the success of the consumers who demand that their problems are is a community currency for social good that com- mechanisms and help price community values into SoCC program, the local partner Women’s Health solved and their desires met by the government, bines the best practices of carbon credits and loyalty the economy at a premium to values of consum- for Wealth has also expanded the SoCC program with minimum obligations on their part. Being a programs. SoCCs is currently being used in eight pilot erism. In an effort to expand SoCCs, SoCCmarket. to Adwumakaase-Kese and Krobo in the Afigya consumer instead of a citizen leads to dissatisfac- sites in India, Ghana, Kenya and Costa Rica. org, an online platform that enables trades has Kwabre and Kwabre east districts respectively. The tion, as no government has the resources to ful- SoCCs leads to an increase in the overall wellbeing been created. It also helps communities to learn two communities are using the program to address fill increasing citizen demands. Developing social of the community while also nurturing its social about initiatives other communities are taking to insanitary conditions, teenage pregnancy and nutri- capital counters this trend. Community festivals, capital. SoCCs acts as a catalyst for development improve their homes and neighborhoods, fostering tion issues in their communities. carnivals, theaters, songs and public art through without the sole reliance on money, and multiplies history have been clear illustrations of community the impact of every development dollar. SoCCs gives creativity and social capital. These are not just one- back power and freedom of choice to communities, time events; they bring the community together in a helping them become the main stakeholders in their manner that also enables it to solve difficult prob- success. The SoCCs system entails working with indi- lems together when they arise. Social capital is what vidual communities to customize SoCCs Earning and makes certain areas of a city come alive with entre- SoCCs Redeeming menus to their specific needs and preneurship and ideas, makes a group of houses capabilities. As shown in the diagram, SoCCs Earning become a lively neighborhood, or makes certain menus may include items such as waste manage- streets abuzz with economic activity and ‘street life’. ment, providing childcare or senior care, planting Social capital has not received as much attention as trees, or becoming custodians of the natural envi- it should have, mainly because the elements of civic ronment. SoCCs Redemption menus may include trust, happiness, and community good inherent in items such as telephone talk time, skill training it are hard to measure and are context-dependent. classes, home repairs, childcare or senior care. The The fact that social capital grows over a long period philosophical basis of SoCCs is the Theory of Positive of time further complicates things, but should not Psychology, in which SoCCs acts as a form of social

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visitors and researchers. URBZ’s experimental SoCCs in Curridabat, Costa Rica urban research and activism has provided empiri- The SoCCs project in La Europa neighborhood in cal evidence that self-upgrading settlements like Curridabat is sponsored by the local Mayor’s office. Dharavi are socially and economically superior to People are earning SoCCs for joining neighborhood any top down redevelopment schemes that govern- watch groups to enhance safety, for maintaining the ments or developer have built so far. If given secure public spaces, and for tutoring children. SoCCs are tenure and basic infrastructure, places like Dharavi redeemed for Internet service and telephone talk can develop themselves by improving their homes time. The program will later be expanded to include and neighborhoods through strong community net- home improvements. SoCCs can help cash-strapped

Sytse de Maat Geeta Mehta works. Asia Initiatives and URBZ are also incubating governments enlist people as partners instead of Dhravi, Mumbai Bantama Market, Kumasi SoCCpreneurs in Dharavi, who start for-profit busi- consumers in the provision of essential services. nesses with a commitment that a percentage of their profits go back into Dharavi through the SoCC Conclusion SoCCs in Mumbai, India Redemption menus. As evident from our SoCC pilots described above, How one can build or destroy social capital in a city there is an increasingly urgent need to create work- is well illustrated in the case of Dharavi, Mumbai. SoCCs for Restoring a River in Madurai, India able alternatives to the top down “planner knows Often referred to as the largest slum in Asia, Dharavi In partnership with a local NGO, the Dhan Founda- all” Modernist model, as well as the neo-liberal is in fact a craft village of approximately 700,000 tion and a New York based NGO, Earth Celebrations, “greed is good” model that has destroyed many people who live in 80 distinct “nagars” or neighbor- we are using SoCCs at our Madurai site to incen- significant communities and urban fabrics in the hoods. The communities have been incrementally tivize riverside communities to become custodians past three decades. Most governments today do not developed and crowd-sourced through generations of the highly polluted Vaigai River, restoring the have the resources or deep local knowledge about of residents that have upgraded their shelters and people—nature symbiosis that had existed in Mad- informal or other lower income communities, so businesses according to their needs and means, urai for nearly 2,000 years. Communities earn SoCCs resource and solution mobilization from within the

while contributing nearly a billion dollars per year to Geeta Mehta for ensuring that there is no dumping of garbage, communities is not only possible, but also more Mumbai’s economy. Some enterprises manufacture Celebration underway in a Dharavi street sewage, or industrial pollutants into the river, and desirable. The role of the governments, architects, leather and fashion goods for well-known stores for building and managing riverside public spaces. and planners, then is to be facilitators and consul- in Paris and New York, while there is also a plant SoCCs are redeemable for telephone talk time, skill tants to the communities. This approach acknowl- where sutures for Johnson and Johnson are manu- training classes, water harvesting installations, and edges the fact that the local people are the ‘experts’ factured. However, the authorities now deem most school fees. The SoCC process involves SoCCratic in their communities, and can be powerful agents residents of Dharavi as illegal occupants of this pub- stakeholder meetings, educational workshops, and of development rather then helpless recipients of lic land, which the government is now very keen to a public social action art project. government benevolence when and if it comes. bulldoze and redevelop for higher income housing The only thing certain about the future is that we and offices. However, recent government projects SoCCs in Kisumu, Kenya cannot yet visualize it. Climate change, volatile and to re-house slum dwellers in poorly designed tall The SoCCs program was started in 2015 in the often irresponsible financial markets and politics, buildings in Mumbai have proved to be disastrous Manyatta informal settlement in Kisumu, Kenya’s and unsustainable life styles are coming together

for the livelihoods and social capital of poor com- Beldina Opiyo third largest city, in partnership with Women Strong to create challenges that are going to require much munities. According to UN-Habitat’s Quick Guide SoCCs project for street cleaning in International and the local partner Alice Visionary innovation, holistic technologies, and resilience in for Policy Makers: Housing the poor in Asian Cities, Manyatta neighborhood Foundation. Members of the Group Savings and our lives, our cities and our regions. These are qual- the argument for the highest and best use of land Loan program started the SoCCs program to meet ities that no government, no matter how wealthy often has political and business support due to the the urgent need of keeping their neighborhood clean, and well-run, can manage without participation liquid profits available, but pales when you consider URBZ launched dharavi.org in 2008, the first ever and their children, especially daughters, safe as they from the people. Resilience depends not only upon that moving poorer populations farther from the city website developed with and for the people of Dhar- walk to and from school. The program will later be financial capital, but also upon social capital, a form center develops distance between the rich and the avi, which changed the perception of Dharavi from expanded to meet nutritional, health, educational, of capital that springs from the understanding of poor that eventually results in social distance and that of a place of despair to a place of vibrant hope. and business development needs for the members, global interdependence among people. For this loss of civic trust, urban security, and a lower quality In its first year, it had 100,000 visits, 250 registered most of whom are petty traders dealing in fish or reason, understanding and developing systems to of life for the rich and poor alike. users, and hundreds of comments by residents, food processing. leverage the social capital are of critical importance.

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Kristien Ring Self Made City Qualities for Future Urban Living

The housing markets of our major cities are deter- Common spaces such as rooftop terraces, or party mined today mainly by profit-driven developments. rooms, children’s playrooms and guest rooms, or New alternatives, however, have been tested that even a sauna can create better living situations offer the increase of choice and reduction of costs and bring people together. Every collective project at the same time—projects that are also helping in Berlin has a shared garden, often even open to to foster neighborhoods and to enable afford- the public, and a high percentage share built com- Ritterstrasse 50: The architectural and design concept accommodated an able, adaptable, customized living solutions. The mon spaces. The connections created between the intensive participatory process, which can serve as a transferable model. self-determined design of space, be it in the form green and surrounding urban space is a resource for The project explores spatial translation of private and common needs and of co-housing, co-working or other project forms, the city from which the entire neighborhood prof- has a high potential for fostering urban interaction and spatial variety. has produced an architectural quality and diversity its—helping people to have a sense of identity and Architects: Ifau und Jesko Fezer + HEIDE VON BECKERATH, Berlin in recent years that is exemplary. inviting neighbors to take on responsibility for the The most significant and innovative built exam- place they live. For example, a shared rooftop ter- ples, particularly in Berlin, have been initiated by race with a guest apartment or a public pocket park, architects for a specific group of clients who were created on private land and cared for by the owners, all looking to live in the buildings personally. On or the projects Anklammer Str. 52, Berlin, by Roedig. the surface, we see practical solutions where sin- Schop Architects, and Schönholzer Str. 10A, Berlin, gle-family homes are stacked and combined to by Zanderroth Architects. optimize the use of an urban site. But the closer Long-term affordability helps to create stable neigh- we look, the more we can observe how the intense borhoods. In collective projects, the future users collaboration between the architects and the group decide what to invest in and where money can be of clients has packed these projects with special best saved, redefining the price-quality relationship. features and spaces that foster interaction. In this Alternative models for financing and ownership way, new processes in architectural production are have offered a new level of long-term affordability leading to better and more sustainable solutions, within a non-profit ideology, such as in the co-op and collective is being re-defined. association Spreefeld, presented in this publication. Sustainable development involves not only A land-grant or a leasehold contract guarantees the high-quality, resource saving, and flexible design, long-term use of land in return for rent, but also but must also add to urban vitality by considering ensures that what is built and established there social issues of inclusion and community as well meets certain criteria and ideologies—for example, as hybrid uses that fuel urban interaction. It is the low-rent policy and socially oriented program- through active engagement and participation that ming of the Ex-Rotaprint and Holzmarkt eG projects. future users develop a vested interest in the build- Quality of life can be improved by having choice in ing, house-community and neighborhood that goes planning. By enabling personalized solutions, and beyond their own personal needs and surroundings— spaces that can be adapted to suit changing needs active users being the key in determining the suc- over time, people with special needs can find a cess of sustainable concepts. place in the city—for families, multi-generation liv- So, what can we achieve collectively? Somewhere ing, barrier-free standards or ecological ways of life. between pragmatism and idealism, collectives are For example, architect Florian Koehl worked closely Andrea Kroth Spreefeld: A built manifesto that strategically uses new solutions to achieve complex goals through collaborative forging future-oriented solutions: together with the Strelitzer Str. 53 group through- processes—a new collective and model for the mixed-city Green, open and community-shared spaces have out, orchestrating the design in shared authorship. Program, Project, Process: Die Zusammenarbeiter, Gesellschaft von Architekten mbH proven to become vital parts of good neighborhoods. Fold-out balconies were created because the city Architecture: carpaneto, fatkoehl, BAR architekten, Berlin

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Friedrich Schwarz Urban Ecology How the City’s Ecosystem Works planning commission prohibited real ones, inspiring tives have succeeded in developing projects that Cities are places essentially characterized by human ecosystems though, only a minimal animal mass many other collectives to try new ideas. generate a high quality of life, added value for the beings—without them, the phenomenon “city” lives off this plant mass. One of the main reasons Hybrid typologies contribute to sustainable urban- community and provide long-term affordability. wouldn’t exist. Cities differ from the open spaces for this is that the leaves that fall from street-side ity with a functional mix that supports interaction The role of the architect is expanding from designer of the countryside, obviously—on one hand, heavier trees don’t naturally decompose in the soil; they’re with the surrounding urban community. Whereas to that of an initiator, a developer, a moderator of traffic, more noise, greater architectural density, raked up and carted away. So it’s no wonder that in investors normally deal in either housing or com- engagement processes and project manager. It is a sealing of the soil surface, less nature; on the other the census of so-called consumers—the ecologists’ mercial real estate, collective projects are based on great challenge to organize a project in a way that hand, jobs, good infrastructure, better consumer term for living creatures who live off live foodstuffs— and developed out of existing needs. Groups who ensures real involvement of the future residents services, cultural offerings. Good points; bad points. the slightly over a million inhabitants of Brussels create their own niches and oases are helping to on many levels and, at the same time, develops a But what essentially sets cities apart from their out- make up the largest proportion of biomass: 59,000 make mixed urban quarters possible. For example, harmoniously built architectural solution. The pro- lying areas? tons. They’re joined by dogs (1,000 tons) and cats August Str. 51, Berlin, by Gruentuch-Ernst Archi- cesses are different in every group and need to be (750 tons). This biomass depends on a high intake tects, or FRIZZ23 by Deadline Architects. adjusted for each specific project. Nevertheless, The Trend towards Urbanization of energy in the form of fuel and foodstuffs from Collective projects are leading the way in ecology by many architects have gathered experience and have The global trend towards urbanization is one of the beyond the city limits. Despite the unnatural facts realizing ecological living ideologies and construc- developed exemplary strategies in which important most striking of the last century. The number of and circumstances on the ground, the city is also the tion standards such as high-rise timber construction parameters and processes are defined. city dwellers increased tenfold during the 40 years site of soil life that’s usually underestimated but is or passive houses. The willingness to experiment The success of our cities in the future will hinge up to 1990! Today, half of humankind lives in cit- critical for material cycles. The population of earth- and invest in new technologies is expressed by the upon how we utilize further development to ies and the rate is accelerating. One of the most worms alone is conservatively estimated at one mil- users and owners themselves, who are best able to improve urbanity—with an adequate amount of vehement critics of excessive urban development is lion per hectare (= 1 ton). The biomass of Brussels balance their merits and vices. For example, several suitable, affordable housing and planning that Richard Rogers, a prominent British architect who earthworms is estimated at 8,000 tons, which puts different types of multi-story wooden construction meets our growing ecological challenges. Collectives was involved in the planning of Solar City in Linz. them in second place behind human beings. solutions are now certified in Germany—the clients can help to meet this challenge. But, in order to do As an advocate of sustainable urban planning, he In comparison to natural or semi-natural ecosys- for these projects are collective groups—such as the so, whether ownership-based or associations, they warns of the dangerous influence that modern meg- tems, the urban ecosystem differs above all with Christburger Str. 13, Berlin project by Kaden Archi- need to be considered more highly as a strategy— acities can exert on our environment. A city with a respect to the large external inputs of additional tects, or the Linienstr. 23, Berlin project by BCO within the architectural profession as well as on viable future should take into account social needs energy in the form of fossil fuels and petro- Architects. a political level. Most often, the largest challenge as well as environmental considerations. It should leum-based materials. That leads to a correspond- Future-oriented architectural solutions find new for groups is buying a site. Specifically, in getting feature public transit systems that protect life on ingly high output of so-called waste products: heat ways to create quality living spaces whilst improv- the needed loan together quickly enough to beat the streets, and energy systems that reduce our emissions that warm the urban climate, garbage ing the urban fabric and open spaces at the same other investors to the table. By designating public dependency on finite natural resources. and sewage that have to be disposed of. And the time. Often, culturally and architecturally valuable land for development in the form of a leasehold or a technical infrastructure for these inflows and out- buildings that would otherwise be unattractive for land-trust, social, cultural and urban planning goals How do the City and the Countryside differ? flows is correspondingly elaborate. To satisfy the investors have been re-activated and converted by of the city can be realized in private initiative and For starters, let’s take a quantitative look at city average daily per capita demand for clean water collectives who can utilize existing resources with within long-term self-administration. Goals such life. For this purpose, ecologists have coined the of 130 liters (including industrial and commercial specific, creative solutions (as self-users). And as social mix, mixed use, ecological standards or term biomass, defined as the weight of all plants users), Linz AG pipes in approximately 53,000 m³ of finally, through experiments, alternative solutions non-profit constraints can all be regulated within and animals in a particular area at a particular time. water per day and delivers it to customers. The total are tested and models for the future are developed. land-lease policies. England, Finland and many This mass can be specified as fresh weight or dry length of all water pipes within the city limits is 594 For example, in the Hegemonietempel by Heberle. other countries are reestablishing policy in order to weight. If, in addition, you compute the amount of km. At 551 km, the sewer network is almost exactly Mayer Architects in Berlin, only a “core” space is facilitate collective building. It is time that our cities biomass that’s produced (grows) over the course as long as all city streets put together. air-conditioned; the project makes us reconsider are determined by the people who live there—and of a year, then what you get is an ecologically and, how much space we use, and need to continually that profit takes a back seat to high-quality solu- often, economically meaningful indicator of an eco- The Urban Climate heat or cool. tions that contribute positively to the surrounding system’s productivity. The climate too differs significantly from the sur- By going from consumers to pioneers, many collec- urban communities. Corresponding computations were made for the rounding region. The main causes of an urban cli- City of Brussels. According to them, its biomass mate’s formation are the profound modifications (including 66,000 trees lining the streets) amounts produced by the local heat balance (thermal econ- to 1.5 million tons (fresh weight). In contrast to omy). The city can be seen as a so-called heat island

30 31 POST CITY

as the result of waste heat emitted by factories and characteristic communities that precisely reflect buildings, the greenhouse effect, and the height- the particular facts and circumstances with respect ened warming capacity of huge masses of concrete. to land use and architecture. What’s most interesting about city-dwelling fauna The City isn’t so devoid of Nature after all is the phenomenon of urbanization (whereby birds Although cities increasingly resemble modern have been the subjects of the most intensive metropolises all over the world, every city is unique research). This can manifest itself in the following nevertheless. Accordingly, there are major differ- ways: ences from city to city with respect to the quantity • The city becomes a particular species’ optimal bio- and diversity of its flora and fauna. But all inner cit- tope, above all with respect to nutrition. Therefore, ies are where nature is most radically suppressed. Be the species breeds exclusively or with great regu- that as it may, an inventory conducted in downtown larity in the city, and typical cityscape elements West Berlin counted 380 higher plant species per (niches in walls, traffic lights, steeples) serve as square kilometer—though this is partially attribut- brood spaces. able to bombing during World War II (Sukopp, 1990). • There occurs an expansion of the so-called eco- In West Berlin neighborhoods with lower building logical amplitude—i.e. the species becomes more density and up to 55% green spaces, more plant flexible with regard to its habitat demands. species occur than in suburbs where the city segues • The urban populations are relatively stable; they into the countryside. This is due to the particularly reproduce, and minimal exchange with their sur- high diversity of land use there: nurseries & garden roundings takes place. centers, landscaped homes, allotment gardens and • Among some species, gamete development begins parks mean tremendous variety. earlier and individuals exhibit longer life expec- Special flora and fauna have gotten established tancy. on the inner city periphery where landfills, waste • Behavior modification can even occur—e.g. black- disposal sites, water treatment plants and fields birds that sing and breed in winter. irrigated with sewage take in and process the city’s • The city can be the setting for the formation of refuse. Out on the edge of town, plant diversity new symbiotic communities that don’t occur else- declines but the animal species diversity here is often where—e.g. jackdaw-kestrel symbiosis. higher than in the countryside where land is used exclusively for agriculture and forestry. It’s strange Urban Nature: What’s the Point? but true: more species of birds are sometimes found All this nature amidst the cityscape raises a justi- in city gardens than in their counterparts in the love- fiable question: Why do we even need this? There liest, most idyllic village. This is simply due to the are two diametrically opposed points of view on fact that cities are the nexus of a broad spectrum of this issue. On one hand, there’s the frequently biotopes: Parks rich in trees as woods and meadows; maintained position that nature with its flora and gardens as bushy scrubland; towers and walls as rock fauna is all well and good, but cities are for people! cliffs; plus, various bodies of water. Nature belongs out in the wide-open spaces. On The flora and fauna that have made the city their the other hand, there are the feelings of many city home react to various environmental conditions. dwellers—people who relate to animals and plants Today we know that a city’s inventory of species and protest vociferously when trees are cut down or can have undergone substantial modification, and green spaces are rezoned for construction. For them, might not have done so in ways that would have urban nature plays an essential role in wellbeing and been expected—by importing exotic species, culti- daily rest and relaxation. vating them in nurseries and propagating them in Nature in the city introduces variety to a mostly parks. The other city dwellers too—wild plants and paved and constructed environment, brings change animals that have moved into town as humankind’s to the monotony of asphalt, concrete, metal and

AEC, Martin Hieslmair AEC, entourage—display significant differences. What glass, of cotoneaster ground cover, blue spruce trees Vegetation on the roof of the Post City festival venue have emerged are special urban flora and fauna, and expanses of lawn. Diversified urban nature

32 33 POST CITY

Sukopp and Wittig (1993): “One of the most urgent Literature: tasks that conserving nature in the city entails is Ambach, J. (1999). Verbreitung der Ameisenarten in den unterschiedlichen Lebensraumtypen von Linz. seeing to it that these organisms are maintained as ÖKO.L 21/4, 21–32. the basis for city dwellers’ immediate contact with Kutzenberger, H. (2000). “Zirpzirp“, es lebt – Artenschutz- the natural elements of their environment.” programm Heuschrecken Linz. ÖKO.L 22/4, 3–13 Hermann Seiberth: “Urban biotopes are also import- Laister, G. (1994). Bestand, Gefährdung und Ökologie der Libellenfauna der Großstadt Linz. Naturk. Naturkundliches ant as settings for encounters with pixies and fair- Jahrbuch der Stadt Linz, 9–305. ies, giants and dwarves, elemental spirits, gnomes, Lenglachner, F. & Schanda, F. (2001). Biotopkartierung undines and salamanders, with the Frog Prince and Stadt Linz, Teilbereich VOEST-Gelände 2000. Unpublished Mother Goose. In the wake of life’s rationalization, study commissioned by Magistrat Linz, Naturkundliche Station, Linz, 27 pages. humankind’s image of nature changed. Nature Mitter, H. (1997). Untersuchungen der Linzer Käferfauna. became an available, lifeless, inanimate object. The ÖKO.L 19/4, 3-8. starry sky is outshone by storefronts’ neon lighting; Moser, J. (1999). Die Reptilien der Linzer Augebiete. ÖKO.L 21/3, 16-22. Archiv Naturkundliche Station Little Red Riding Hood can no longer go astray in a Reiter, G. & Jerabek, M. (2002). Kleinsäuger in der Stadt View of Linz from Freinberg: Cities are manmade The highest concentrations of species in cities are well-laid-out city park, but it doesn’t even matter Linz. Unpublished study commissioned by Magistrat Linz, ecosystems that display considerable differences found in city-countryside transition zones. ‘cause Granny’s in the old-age home safe from the Naturkundliche Station, Linz. based on ecological framework conditions (climate, wolf anyway. The encounter with natural elements, Reiter, G. (in preparation). Fledermausfauna von Linz. water, air, soil) in comparison to the surrounding Unpublished study commissioned by Magistrat Linz, countryside. with spontaneous vegetation on meadows full of Naturkundliche Station. flowers, in gardens, parks and debris-strewn lots Rogers, R. (1997). Cities for a Small Planet. London. enriches and vivifies the senses: smells, sounds, • Every species has its special function in the natural can help rebuild bridges to remembrance of what’s Schanda, F. & Lenglachner, F. (1990). Biotopkartierung and tastes, the change of seasons. “Nature” can equilibrium. Ecosystems with high biodiversity are been forgotten.” Traun-Donau-Auen Linz 1987. ÖKO.L 12/4, 3-20. Schwarz, F. & Sokoloff, S. (2002). Naturkundlicher Wan- still be experienced, and a person’s immediate envi- usually also stable systems since they can react derführer durch die Stadt Linz. 1. Teil: Von Mauerblümchen, ronment has a distinctive character. In addition to flexibly to changes. Nature Conservation in the City Schluchtwäldern und Grillenwiesen. ÖKO.L 24/1, 3–10. architecture suited to human beings and city plan- • Maintenance of the genetic reservoir is important Coexistence at close quarters of human beings and Schwarz, M. (2000). Linz, eine wespenreiche Stadt. ÖKO.L 22/3, 3–20. ning that has the human touch and puts people’s for evolutionary adaptation and the emergence of nature is not necessarily an incompatible arrange- Sokoloff, S. & Schwarz, F. (2002). Naturkundlicher Wan- needs atop the priority list, nature in the city makes new varieties. The special facts and circumstances ment, even if nature, due to its tight confinement, derführer durch die Stadt Linz. 2. Teil: Begegnungen mit a major contribution to endowing identity and a to which urban pioneers among the plant and ani- is more in jeopardy downtown than in spacious nat- Bibern, Eisvögeln und Fledermäusen im „Linzer Urwald“. sense of wellbeing to everyday life in residential mal kingdoms are subjected are precisely what are ural landscapes. Thus, in urban settings, our plant ÖKO.L 24/2, 20–27. Sokoloff, S. & Schwarz, F. (2002). Naturkundlicher Wan- neighborhoods. Among other plusses, this assures conducive to the origination of genetically distinct and animal neighbors are particularly dependent derführer durch die Stadt Linz. 3. Teil: Edelkastanien, that people can feel at home, that a sense of secu- types. on our help. Obstwiesen und Trockenrasen auf dem „Linzer Hausberg“. rity emerges. And where people feel well and iden- • Nature in the city is also important in conjunction Needless to say, we can’t plan our cities primarily ÖKO.L 24/3, 3-10. tify with the physical setting of their life is where with maintaining cultural-historical diversity. Old to accommodate the needs of frogs, dragonflies Sokoloff, S. & Schwarz, F. (2002). Naturkundlicher Wander- führer durch die Stadt Linz. 4. Teil: Unverhofft kommt oft! a sense of responsibility for the common good and parks, village centers, millstreams and cultivated and warblers. But it’s a rewarding task—not only Seltsamkeiten im Linzer Industriegebiet. ÖKO.L 24/4, 3–8. willingness to act in ways that are environmentally landscapes attest to historical development and for urban planners and parks department officials, Sukopp, H. (Hrsg.) (1990). Stadtökologie: das Beispiel friendly and socially just can emerge. endow neighborhoods with a distinct identity. but for private citizens too—to give some thought Berlin. Berlin: Reimer. Sukopp, H. & Wittig, R. (Eds.). (1993). Stadtökologie. In addition to maintaining natural diversity for its • Urban nature also has aesthetic functions. The to how to conserve the nature that exists within Stuttgart: Fischer. own sake—and thus as a matter of ethics—there diversity of colors, forms, sounds, and scents are the city and to nurture as much natural diversity Weissmair, W., Rubenser, H., Brader, M. & Schauberger, R. also exists, from the human perspective, a series very important for allowing people daily contact there as possible. There’s a wealth of possibilities. (2002). Linzer Brutvogelatlas. Naturkundliches Jahrbuch of “egotistical” reasons to nurture nature in general with nature and thus refreshment right in their Biotopes in gardens provide a habitat for many dif- der Stadt Linz, 46–47. Weissmair, W. (2001). Scherenritter in Linz. Aktuelle and urban nature in particular: own backyard. Especially for children, the elderly ferent creatures. A little pond, a sunny rock pile, a Verbreitung, Schutz und Management der Flusskrebse. • The presence or absence of a particular plant or and people with impaired mobility, nature makes stack of dead wood in a shady corner of the yard, ÖKO.L 23/4, 3–11. animal species is an indicator of certain natural an essential contribution to their wellbeing in their nesting boxes, a meadow that’s mowed only twice Weissmair, W. (2001): Feuerkröten, „Schlammgeher“ und conditions such as soil nutrient balance, air pol- residential environment. a year—give free rein to your imagination! andere Lurche in den Augebieten im Süden von Linz. ÖKO.L 21/2, 3–10. lution and changes in the water supply. Taking an Two prominent advocates of urban ecology have The aim of all these endeavors should be to maintain Zechmeister, H., Tribsch, A. (2002): ”Ohne Moos nix los!“ inventory on a regular basis documents how the provided cogent responses to the question “Urban the city’s livability for all its inhabitants—humans, Die Moosflora von Linz. ÖKO.L 24/1, 24–32. environment is changing and whether certain mea- Nature: What’s the point?” animals and plants. Only in this way can we do what sures were successful. Seiberth told us to: “rebuild bridges to remembrance of what’s been forgotten.”

34 35 Addie Wagenknecht POST CITY Silk Road

Like many people of my generation of heavy net ture has become a habit of our everyday routine. so long has dissolved into a family, an address, and can be used to make things as much as they can users, I have an origin story. We chronically check our phones. We are addicted some state of normality. The deep web, however, be used to break things down. Authorship is gone Growing up, I was a sorta-artist kid, never really to the refresh button. We trust companies more reflects the nature of my other long-lost loves: this with the deepness. good at sports—which is to say, not good enough to than the individual. We have invested in machines dark uncertainty and some escape, for which I fell Silk Road was a bazaar for those who could find make varsity in a town where football and running our ultimate desires and secrets. We have become a those years ago, now rebooted. it. It looked a little like eBay in the late 1990s, was religion. I was clever and capable, but not, in my culture that is confessional, where our cellular pro- It reminds me of the internet of my youth—the lost only instead of a short URL, it had a long, cryptic mind, sufficiently acknowledged. I was both bitter viders know more about us than our families. To Wild West. The deep web offers anything you ever address that could only be accessed through Tor—a and sensitive, both friendless and a serial monog- look at the world, we look at our screens. We look wanted and more, at your fingertips. Its endless decentralized network of servers that encrypt and amist. I became hooked on the web somewhere at screens more than we look at what is around us. possibilities felt just as anonymous as my early days relay traffic in order to obfuscate a user’s online between German class and Pre-Calculus; as my Every Google maps search is an artifact of the priv- and late nights online in the 1990s. So much adven- activity. Silk Road represented a desire to connect then-boyfriend discovered endless porn, I discov- ilege of the overhead view and a comment on the ture and discovery. The dark felt safe and familiar while, simultaneously, being isolated—untracked ered War and Peace, IRC channels with anonymous monopolies used to produce it: In Google We Trust. again. I found it, it found me—and perhaps we’d and anonymous, without cookies or caches or even people I called friends, and BB forums. Perhaps I’d reached some sort of transcendent state fall together. names. Like all relationships, we formed our his- Before long, the web became my everyday lunch fueled by coffee and lack of sleep, but when I first Michael Fischer once called hacking an “endlessly tory on trust and secrets. It illustrated how many date. We fell in love more with each passing day. discovered the deep web, I felt the excitement of repeatable collusion of freedom and determinism— of us can live a blurred existence between online My appetite for discovery was dwarfed only by my discovering the web of those Netscape days all over the warp and woof of fixed rules and free play.” The and offline. We want it all, and so we can have it all. desire for new experience: any experience, all expe- again. It was the first time since the early days of deep web, in a contemporary culture—which thanks The Silk Road functioned like an enemy of the state: riences, so desperately did I want to ditch my lonely the net, I felt the transformation of public to pri- to Chelsea Manning and Snowden we have learned although it was seized and taken down by the FBI, life. The web brought me total freedom. Somewhere vate. I no longer had to navigate and perform as is so heavily controlled—embodies this dichotomy of it was quickly replaced by a hundred other market- in the early 1990s, my lifelong love affair with the myself on a daily basis though credit card charges freedom and constraint. It was as though it exists places. At some point in its short life, the space web began. I transformed into this new space. and e-mails. The mundane slogging of the details only to turn against itself. Its existence seems occupied by the Silk Road began to embody a gen- Online, I could be anyone, and I could find anything. of the “real” world dissolved. I was safe in a web of impossible in such a conservative, dried-up world. I eration that has become and is becoming a large, It is 2015 and I’m constantly experiencing insomnia. VPN exit nodes. was absorbed by its freedom to exist. I was in love anonymous, singular identity. We do not take credit My friend told me my lack of jetlag is a sign that my As theorist Mark Hansen explains, the notion of with it, and, like everything I’ve loved, it was just a for an entire work; instead, we live with many, by git body is in some sort of state of constant survival- identity extends into different planes of reality matter of time until it destroyed itself. pulls and repositories. When you cannot put bound- ism. I installed redshift on every screen I look at. In as we experience “smart” technologies—or what As Marshall McLuhan once pointed out—authorship aries on something or trace its shadow, the move- the meantime, my tablet is constantly alerting me he calls “mixed reality”. This mixed reality is a must be attributed. The last time in history author- ment and motions become much more pronounced. to appointments, at retweets or Slack messages. I recent phenomenon, “what is singular about our ship was not valued was prior to the printing press. In quantum theory, it’s said that the world is simply open Slack, 15 times a day, for part work (open hard- histortechnical moment, is precisely the becom- It was that invention which did away with anonym- a potential, and that whatever happens is nothing ware summit), part community (Deeb Lab), I rely on ing-empirical, the manifestation of mixed reality ity and gave value to fame and property. Culture compared to what didn’t. According to some econo- email lists for the latest trending news (F.A.T. lab, as the transcendental technical, the condition of became consumed with what was ‘authentic’ and mists, capitalism thrives on destroying the past, on ListServ), and I use Twitter to maintain my careers the empirical as such”. Even though the “smart” so, in order to be authentic, it had to be attributed, deleting previous economic orders and the current pulse with collectors all over the world (bitforms). technologies and digital technologies may have not but with attribution we lost innocents and unre- value of existing products, in order to create new We are creating a world where the obsession for just yet completely transcended our physical space, stricted freedom. In my memory, the Internet of wealth and new systems. material goods and Twitter followers have left us the potential for deeply profound, real exchanges my teens was as innocent as I was. It was a free This is where we are now. Perhaps we’re no longer all within an environment of chronic habitual work. and experiences becomes naturalized and normal- and an unrestricted place. Just how one night in the the creators. As individuals, we’re simply signal fil- Where life is lived between LAX, CDG and forgetting ized within the network. I realized while exploring 1990s, from the middle of a small town in Oregon, ters. We receive signals, and filter them according which airport you are departing from and which one the deep web’s labyrinthine, intricate barriers and I TCP/IP’ed onto the web, in all my 14.4k glory, and to the taste of ourselves, manifesting a new culture. you are going to (yes, this has happened to me more unknowns it was not so far from the same rush I felt became a citizen of the world. And now, on the deep If the current version doesn’t make sense, it gets than once). We are placeless in the sense that we are getting lost in the markets in Istanbul or Goa. I fell web, almost 20 years later, I discovered that curious debugged and reversioned to something smarter, homeless. We are homeless in the sense that we do in love with the unknown and being unknown just place again. It was wild, yet contained within itself, cleaner and more parsable. This is the beauty of not identify with a geopolitically defined space but the same. Perhaps because the most interesting paths erased and untraced. While systems create what we lost—and what will replace it. We succeed rather with the network. I am a citizen of the net. thing to happen in my life these days is the arrival parameters for control, at the same time they create more with every take-down and take-up. The future The hyper-real disenchantment with physical cul- of the FedEx truck. The nomadic gypsy life I lived for methods of how that control can be defied. Tools we hold cannot be stopped. Not without stopping us.

36 37 POST CITY

Carlo Ratti Towards a New Conception of Working Spaces

The modernist city of Le Corbusier—the one outlined mobility. Moving from room to room, we can connect als favor common areas to share services and ideas. year-round pleasant climate and the native court- by the Athens Charter—was divided into siloed areas to different screens or keyboards, appropriating dif- We are currently working with TAG, a concept born yard architecture to create spaces to work in the for working, living and leisure. Today, the digital ferent interfaces in the workplace. All of this is part in Italy that is popping up all over the world. TAG, open air. Because of our site’s location next to the revolution allows for the creation of new types of of what was predicted by Mark Weiser, a visionary short for Talent Garden, is an international network Parque Morelos—and its beautiful historical fabric mixed spaces, offering new possibilities for the computer scientist working at Xerox Park: “First that provides spaces for co-working, young startups built around outdoor courtyards—it’s possible to hybridization of working spaces. were mainframes, each shared by lots of people. and freelancers who work on innovation. It is not imagine people working in a new way, in indoor-out- Now we are in the personal computing era, person only about shared offices. It is a laboratory of ideas: door working environments, liberated by increased Here in Boston, in the basement of MIT, there are and machine staring uneasily at each other across a place to establish new partnerships and become mobility and new technologies. still some “mainframe” computers, dating back to the desktop. Next comes ubiquitous computing, part of professional networks. Today’s visionaries predict a utopian era where work the Sixties and Seventies of the previous century. or the age of calm technology, when technology Rejecting isolation doesn’t necessarily mean being time is reconciled with leisure time, where country What strikes us about these dinosaurs of the infor- recedes into the background of our lives.” tied to a specific place. Both “space” and “time” and cities are connected. But this is nothing new; it mation age today is not so much their computing Technology “in the background” opens up unprec- are becoming more flexible, and can be spent in is not so different, for instance, from Élisée Reclus’ power—often less than what each of us carries in our edented possibilities for architects and designers: several places with places for work being diffused dream at the end of the 19th century. He supported pocket thanks to smartphones—but the fact that it allows us to put the needs of the human ahead across the whole city. Since the American coffee the virtues of democratic urbanism and the inter- they forced us to work in inhuman conditions. Forty of the machine. And this is revolutionizing both chain Starbucks started to provide wireless Inter- est he took in cities makes him, in fact, an active years ago, in fact, operating a computer required a the design of workplaces and their social dynam- net connections, many of its rooms have been con- town-geographer, although more from the politi- large room, usually in a dark and sealed atmosphere, ics. Offices are becoming more flexible, with fewer verted into neighborhood work hangouts. From the cal “polis” angle than the “urbs” angle. In one of and many hours to handle punch cards. The charac- areas for individual work and more informal areas perspective of urban dynamics, this becomes very his seminal works he wrote: “Man must have the teristics of the work environment were dictated by for interaction. Francis Duffy, one of the pioneers of interesting, as it allows a better use of public spaces double advantage of access to the delights of the the needs of the machine. “new office” design, once told me: “When I started through the superposition of different activities: the town, with its solidarity of thought and interest, By the beginning of the new millennium, the com- practicing, a few decades ago, the common areas areas that were once used only in limited periods of its opportunities of study and the pursuit of art, puter had been reduced to a desktop tower, com- in office buildings rarely exceeded 10 percent of the the day (such as the lunch interval), now become and, with this, the liberty that lives in the liberty plete with keyboard and a monitor. Users enjoyed a total. Today we are at over 50 percent”, a config- active all day. of nature and finds scope in the range of her ample more pleasant computer-based work environment, uration that promotes interaction and exchange We can even use outdoor spaces as “offices”. For the horizon.” We will soon see if our future will be so though they remained tied to a fixed location. Work- of ideas within an organization as well as making city of Guadalajara in Mexico we have been work- generous—but in the meantime, we can rejoice in ing space had become slightly more human. Finally, better use of buildings. Today, the dynamics of ing on the masterplan for a large redevelopment working in better spaces, no longer chained to the today we work on tablets or laptops, and the net- co-working are becoming ever more fluid: rather project of an urban area based on the concept of cold and dark MIT basements. work of wireless connectivity allows for far greater than working from home, self-employed profession- the outdoor office—benefiting from Guadalajara’s

38 39 Madeleine O’Dea POST CITY

Polymath’s Paradise Suixi and the rising city of Shenzhen; in doing so, he tle in Anhui inspired Ou to take a closer look. The Ou Ning Reimagines Rural China thought more about how problems in the cities were area is also famous for its rural village architecture, connected to the decline of the countryside, and which has all but disappeared elsewhere in China. When I ask Ou Ning how he would answer that It’s not an idea one might expect from someone how the husklike villages might be just as important This is the architecture of what were once thriving perennial dinner party question, What do you do?, who started his career as the quintessential urban- to consider as the teeming, overcrowded cities. trade centers that grew in the Tang Dynasty and he laughs. It’s not easy for one of China’s true poly- ite. Fresh out of university, Ou worked as a concert Looking to rural life for inspiration and spiritual prospered for more than a thousand years. On the maths, but he gives it a try. “I’m a cultural worker,” promoter, and in 1999 he grabbed public attention strength has deep cultural roots in China, but over granite-paved streets of towns like Xidi (a World he offers modestly, before teasing out the twists with New Sound of Beijing, his study of underground the past hundred years some intellectuals have also Heritage site), Hongcun, and nearby Bishan, where and turns of a career that has taken him from under- music in the city. The book was a marriage of gritty felt a duty to serve the countryside in return, finding Han has settled, are houses and public halls with ground poet to concert promoter to star designer reportage and freewheeling design, and a chance for ways to support and reinvigorate rural culture in carved stone façades and elaborately ornamented to documentary film-maker to curator to biennial the self-taught designer/writer to play with a riot of the face of industrialization. In this group could be wooden interiors built with techniques that have director to think-tank animator to literary editor visual ideas to express the energy of the capital’s counted the educator Y.C. James Yen (1890–1990)— survived the vicissitudes of the past 60 years. Sens- and, finally, to where he finds himself presently, exploding music scene. The chutzpah of New Sound who promoted mass literacy campaigns in Chi- ing that places like this could endure not just as plotting how to revivify his country’s rural life, of Beijing attracted the attention of the acclaimed na’s countryside in the 1920s and ’30s and set up tourist sites but as places to make a new start, Ou which has been denuded by 30 years of runaway artist Fang Lijun, who needed a designer for the first the first peasants’ newspaper—and even, in some bought a home in Bishan in 2010. economic reform. serious book on his own work. Ou got the gig—and senses, Mao Zedong. Ou sketches out his vision. A town like Bishan Ou was born in 1969 in Suixi, a small fishing village through it got to know the curator Hou Hanru. Ou believes the notion of rural reconstruction has shouldn’t depend on tourism or weekending urban- on the western tip of Guangdong Province, to a poor At the time, Hou was working on a theme for the become critical and is helping to coalesce a move- ites. He wants the villagers to thrive by using the family who normally would never have been able 2003 Venice Biennale: an exploration of urban ment of thinkers and artists who are responding to skills they have always possessed. He pictures local to send their son to university. But when he was spaces as “zones of urgency” created out of “urgent displacements resulting from the last 30 years of carpenters busy at home rather than on distant con- 10 years old, China’s government made a decision demands rather than planning.” Ou, a Guangdong development. “If we can create more job opportu- struction sites, and women weaving traditional fab- that would transform his family, his village, their native who had watched the Pearl River Delta be nities in the countryside, people who are in a bad rics in the village rather than being lost to factories home province of Guangdong, and the country as a swallowed by industrial sprawl, knew what this situation in the city can come back,” Ou posits. He in the cities. whole. For the first time in the history of the Peo- story was about. He teamed up with video maker reflects on the situation of his sister: “She can’t Over the last couple of years, Ou has built up a data- ple’s Republic of China, the door was opened to for- and rising art star Cao Fei, to make San Yuan Li, an find herself in the city,” he says simply. “I want to base of all the traditional local skills—food produc- eign investment, initially through a series of special experimental documentary film about a village situ- do something to help balance the countryside and tion, fabric making, interior decoration, architecture, economic zones. The first of these, a coastal hamlet ated on the fast-advancing frontier of urbanization. urban life, to help people whether they live in the and carpentry—and the people who still possess called Shenzhen, would play a special role in the Ou As the city engulfs it, the traditional farmland of country or in the city. That’s why I want to do some- them. His idea is to create an economic base for family’s fortune. Situated just over the border from San Yuan Li village is eaten away until all that’s left thing for the rural reconstruction movement.” these villages by helping them make products Hong Kong, Shenzhen’s economy exploded once its are the farmers’ homes. Trapped within the city with Anhui province is situated in China’s rural heartland that urban people will want to buy. That’s where new status was established, and the government no land to sustain them, the villagers find them- and is now one of the country’s greatest sources of his friends come in. Ou has spent the last 20 years was soon dispatching recruitment trucks deep into selves renting out rooms to displaced farmers from urban labor. Women flock to the cities to work as working with artists, writers, designers, and archi- the countryside in search of labor for the city’s bur- other parts of China who are coming to the city to maids or factory workers, while the province’s men tects; now he has a vision of city-based designers geoning factories. One day a truck rolled into Ou’s work. Cao and Ou captured this strange world of lost are the muscle on construction sites all over China. working with rural carpenters to create furniture village, and his sister decided to take the chance souls on video in stark black and white, revealing a Anhui had become a byword for poverty over the last that fuses urban style with real craftsmanship, and and jump aboard. It would be her factory wages that teeming community existing within, but still apart century, but today it is buoyed by remittances—and handwoven fabrics that will strike a chord with fash- would ultimately pay for Ou to attend university. from, its host. tourism. ion houses looking for something new. His sister still lives in Shenzhen, but, she is no It was around this time that Ou first came across Huangshan (“Yellow Mountain”) is a place fabled for With a lot of help from friends like Han and Zuo, urbanite and has never felt at home there. But Rem Koolhaas’s 2002 book The Great Leap Forward. its natural beauty, its jagged granite peaks wreathed as well as a slightly bemused local government, Ou there is nothing for her back home. Like thousands “Koolhaas,” says Ou, “could find the power and in clouds. Monks built temples on its slopes in the threw the first Bishan Harvestival, which featured of other villages across the country, Suixi has long energy behind the city. He was not only interested in 13th century; in the 16th century, the region inspired music, dance, a mini documentary festival, aca- been hollowed out from years of development. architecture but in politics and economics, too—his a school of landscape painting, of mountaintops, demic panels on rural reconstruction with local and Meanwhile, the cities are submerged under waves method was totally new to me.” Soon Ou was “read- pines, and clouds, defining elements of Chinese art. Taiwanese intellectual heavyweights in attendance, of workers seeking a better life. Thirty years ago, ing more about urbanism, about urban geography Poets, too, have eulogized Huangshan, from Li and, most importantly, the chance for outside 70 percent of China’s population lived on the land; and how the process of urbanization in Asia was Bai in the Tang Dynasty onward. It has retained its designers and artists to interact with local trades- less than 50 percent do so today. Ou believes there producing conflict.” In 2009 he curated the Hong allure: Contemporary poets gather here to party on people and artisans. is an urgent need to rebalance the country and the Kong & Shenzhen Bi-City Biennale of Urbanism the peaks, and some have chosen to settle nearby. city, to find a way to reconstruct the countryside so and Architecture. In one section, he explored the One of those poets is Han Yu. Text published by courtesy of the author. it can draw people home again. contrasting histories of his declining hometown of Her move—and that of the writer Zuo Jing—to set- First published in Modern Painters, June 2012

40 41 Ou Ning POST CITY The Bishan Project Restarting the Rural Reconstruction Movement

political and social realities, and even today, more and survey local society. Based on this foundation, than a century later, China’s leaders continue to we started planning for the first Bishan Harvestival seek improvements along these lines. During the in cooperation with the villagers. Festival activities Republican Era, the chaos and power struggles of centered on the presentation of village history, pro- warlordism gave rise to frequent changes in political tection and revitalization of housing, design of tra- power, as well as the proliferation of countless ide- ditional crafts, staging of traditional regional opera ologies and social movements. Quests for industri- and music performances, production and screening alization and urbanization repeatedly washed over of documentaries about the villages, and conduct- the country, but agrarianism was too deeply rooted ing forums where rural reconstruction workers who in society, and the vast population of uneducated, advocate different schools of thought and practice closely-knit residents was unable to adapt to these in various areas can share their experiences. For changes touted as modernization. And even today, our second festival held in 2012, the Yixian County despite the rhetoric of a rising China, chronic back- government entrusted us with the planning of the wardness plagues the nation. seventh Yixian International Photo Festival, which At first China’s leaders introduced communist included participants from Asia, Europe and North political solutions from Europe, and more recently America and focused on themes of environmental neoliberal economic ones from the United States, protection, community-supported agriculture, rural but both have resulted in endless problems. These economic cooperatives and community colleges. modes of political administration and economic Another practitioner of rural reconstruction, Wen development have merely established a stage for Tiejun, uses the School of Agricultural Economics party struggles or benefited society’s upper strata, and Rural Development as his knowledge base. His but never enabled the poor and working classes to approach differs from Bishan’s emphasis on art and guide history. Nonetheless, developing the strength culture as entry points into village life, in that he and knowledge of the people is still an important directly applies political and economic strategies to talking point in today’s China. After the turn of the develop community organizing, operate community new millennium, pressure on rural areas, agricul- colleges, further agricultural technology training, tural industries and farmers to industrialize and help farmers establish economic cooperatives, and During World War I, the leader of China’s mass laogong zhoubao (China Workers’ Weekly). Moved urbanize has steadily increased, prompting some promote Community Supported Agriculture. Fund- education and rural reconstruction movements Y. by Yen’s teaching and assistance, one member of intellectuals to rethink the direction of China’s raising for the Bishan project relies solely on large- C. James Yen (1893–1900) was a student at Yale Uni- the labor corps sent Yen the wages he received for development. Returning to the mass education scale art events, such as my decision to incorpo- versity majoring in political science and economics. three years of service in Europe, which amounted to and rural reconstruction movements of the Repub- rate my work as curator for the International Design In 1917, the Beiyang government (a series of mili- 365 French Francs. From this experience, Yen real- lican Era for ideas, they have launched new recon- Exhibition at the Chengdu Biennale into the Bishan tary regimes that ruled from Beijing from 1912 to ized the potential for learning among the common struction campaigns in various parts of the country Project in order to share the budget. Furthermore, 1928) joined the Entente Powers of World War I, people, and was inspired to return to China and start that make use of the political, economic and cul- our networks and working experiences lie mostly declaring war on Germany and the Austro-Hungar- the mass education and rural reconstruction move- tural resources of rural areas, and in doing so, have in the art world, and because Bishan is located in ian Empire, and nearly 200,000 Chinese laborers ments that ultimately gave shape to his lifelong rejected globalization and excessive urbanization in the Huizhou region, celebrated for its rich cultural entered the battlefields of Europe. After graduat- dedication to developing the strength and knowl- favor of local issues. heritage and humanities, we have chosen to use ing from Yale in 1918, Yen volunteered his services edge of the people. The Bishan Project is one such project resulting from artistic production as our primary starting point for in France to members of the Chinese Labor Corps, After enduring the slaughter of two world wars and the history outlined above. In 2011, Zuo Jing and reconstruction practice. mostly writing letters for illiterate workers want- the hardships posed by the Cold War, the countries I chose Bishan Village in Anhui Province’s Yixian Art production in the Bishan Project is rooted in rural ing to communicate with their families back home. of Europe sought to make real a European Union. County as the site for Bishan Commune, which is our culture, and has arisen from reflection on local art It was here on the battlefields of Europe that Yen Notions of mass education and rural reconstruc- experiment in rural reconstruction and living. In the institutions and practices. Art in China today is an first had the idea of teaching laborers how to read tion forged in the conflagration of Europe’s battle- first year we invited artists, architects, designers, extremely lively and flourishing field of endeavor, and write, and also where he established the first fields swept mainland China during its Republican musician, film directors, writers and student vol- yet has been increasingly stifled by the public ever Chinese-language labor publication zhonghua Era, but were not enough to dislodge entrenched unteers from around China to visit the Bishan area authorities and commercialism. Institutional mech-

42 43 POST CITY

anisms such as biennales, galleries, auctions and The Bishan Project is not just art programming, how- was based on mutual sustenance. Before so-called ally criticized and transformed leading to chronic art expositions, which are outgrowths of European ever. We started out from wanting to address those modernization, China’s countryside provided the disorder. Since the end of the Cold War, China has and North American museum systems, while vast imbalances between cities and the countryside that cities with children who would grow into the next actively embraced globalization and, guided by GDP in their global reach, have already been reduced to have manifested grim realities such as the deterio- generation of elites, and form associations in the and the urbanization movement, has reallocated urban and national brands for the purpose of mar- ration of agricultural industries, rural villages, and cities with others from the same hometowns. Long- human resources even more intensely than under keting, or even carnivalesque forums for commercial farm laborer empowerment, and are the direct result ing for their hometowns, these city dwellers would the Cultural Revolution. The majority of rural land trading and financial investment. Art production of excessive urbanization. The project relies on the often send money back to the countryside, and resources have been reallocated to urban commer- has been relegated to the assembly line to meet accumulated experience of the rural reconstruction thus supported rural areas with the construction of cial development, which has resulted in continual the needs of supply and demand, while the power of movement led by Chinese intellectuals since the ancestral temples and schools, or aid for the poor reduction of acreage under tillage. Agricultural busi- creativity and social critique are further diluted on a Republican Era, as well as the cultural practices of and orphans. Today, however, along with the popu- nesses move closer to bankruptcy on a daily basis daily basis. Art production and circulation are con- various rural regions in Asia. Adopting the intel- larity of individualism, feelings for rural hometowns and the population is increasingly reliant on imports centrated in urban areas associated with economic lectual resources of China’s traditional agricultural have faded, and been replaced with the concept of for food and energy, which has in turn reduced the development and high population densities, leading industry and rural philosophies, as well as leftist or discarding the old, leading to grave consequences. country’s ability to resist global disasters. to production values that by no means favor border even anarchist ideas, Bishan aims to combat the Those from the countryside who move to cities for Traditional rural society in China has always had the regions or rural areas and ultimately the injustice encroachments of globalization and neoliberalism, work or school are proud to have gotten away and ability to resist outside forces based on its economic of regional imbalance. Cities possess a surfeit of and by using art and culture as our first point of do not send money back home, and the urban-rural self-sufficiency and political autonomy. Re-evalua- cultural resources and opportunities while cultural entry, we ultimately hope to influence politics and relationship has become antagonistic. tion here is not intended as a reactionary call for a famine ravages border regions and rural areas, which economics with our work in rural areas. Our interests Reasons for these problems also lie in deeper lev- return to the past, as all countries today are com- is a pattern duplicated on a macro scale by the glo- lie in exploring the economics of rural life, estab- els of social institutions. Historically, contempo- pelled to form some relationship with globalization. balized political economy. lishing relationships between the city and coun- rary land use and the household registry systems The “small states with few residents” that Laozi Before and after starting the Bishan Project, we tryside based on mutual sustenance, promoting in China have always seen the relationship between claimed were ideally suited to good governance researched rural experiments by artists and intel- labor practices based on mutual aid and exchange, the city and country as binary-based, but misun- cannot possibly exist in today’s world, much less lectuals in different parts of Asia, including Rirkrit establishing a social structure based on horizontal derstandings between the two cultures are also in a country as vast as China with its overflowing Tiravanija and Kamin Lertchaiprasert’s Land Project power, adopting consensus-based decision mak- a significant factor. As the pioneering researcher population. Revisiting rural society means pre- in Chiang Mai, Thailand; the Echigo-Tsumari Art Tri- ing, applying direct action, reviving the tradition of and professor of sociology and anthropology Fei serving those features which still hold advantages ennale held in the mountain villages of Niigata Pre- autonomy in China’s rural areas, and transforming Xiaotong (1910–2005) has said, traditional Chinese under new historical conditions, and to pursue with fecture, Japan; and Indian author Arundhati Roy’s Utopian ideals into Realpolitik. society in both the countryside and city was unified open minds new paths that emphasize the unique opposition to the Narmada dam project and support Most people in China imagine Europe and the United based on the notion of one’s native soil. Fei goes offerings of China that are different from those pur- for Maoist farmers. Focusing on collisions between States as successful representatives of a certain on to claim, with respect to familial relationships, sued by other Asian countries or by Europe and the globalization and local politics, economies, culture kind of modernity, which has led to countless waves social organization followed a “differential mode of United States thus far. The Bishan Project, as an or traditional lifestyles, these practices explore of wild-eyed advocates over the last 100 years. But association,” and with respect to politics, started experiment conducted in a rural area of China, has alternative art systems and culture-based strategies unfortunately westernization has left China in the at the top with politically centralized power and purposely chosen this kind of path, and hopes to to promote social movements and the revitalization awkward position of being neither here nor there. moved down to power at the county level. From the retain a broad vision and open mind, yet a practice of overlooked agricultural regions of Asia where rice An obvious example would be the lure of individ- county level down, social organization and stabil- focused on local regions. is grown for food. We have sought inspiration from ualism, which has undermined China’s traditional ity relied on the autonomy of landowners in small March 18, 2013, Beijing. Commissioned by the Europe (to like-minded artists and intellectuals such as these patriarchal society and threatened the once stable villages. Since the May Fourth Movement (1919), the power of) n project. The Chinese version was published when designing our Bishan programming. relationship between the city and countryside that this traditional social structure has been continu- in ARTCO Magazine, April issue, 2013, Taiwan.

44 45 HABITAT 21 HABITAT 21

Michael Badics Habitat 21 Solutions-related Projects in Urban Space

The development of habitats in the context of The analysis of specific examples such as Nepal urbanization is as diverse as the definitions of “hab- reveals the diversity of habitats and shows that itat” to be found in a dictionary. The urbanization each habitat is a unique space with distinctive fea- process of the 21st century—as well as natural and tures. This individual character of each habitat is Klaus Dieterstorfer Kathmandu, after the earthquake environmental conditions—is bringing about signif- reflected in the way the parameters are intercon- icant changes in how habitats come into existence nected. On the one hand, each habitat’s network of and evolve in different places. Consequently, human parameters differs, which means that the approach beings need to find new solutions to deal with this that works for one habitat may not work for another. dynamic process of habitat evolution. On the other hand, living spaces with a similar set of Habitat 21 exemplifies the variety of habitats on dif- parameters may share similar problems—and they ferent levels. It shows how strategies are employed may share the same kinds of solutions. Therefore, to cope with challenges caused by a framework of it is necessary to look at each habitat’s specific fea- cultural, religious, political, historical, and natural tures and dynamics, in order to find the best strat- parameters. In this context, social, economic and egies to solve existing problems. ecological sustainability of a habitat is one of the To sum up, it is important to understand the habitat central aims. Improving this sustainability also itself and its individual conditions and processes. leads to an improvement of living conditions in gen- And to have wide-ranging cooperations and net-

eral. Cities and their citizens need to be ready to works among people in all social strata and walks of Michael Badics face the ever-changing framework conditions and to life. Additionally Big Data, Open Data, and a differ- Kathmandu, after the earthquake Raghuchour village, after the earthquake deal with the challenges in a constructive, positive ent way of thinking paired with new innovative use way. Consequently, city planners (and citizens) look of technology will all play an important role to foster for new ways of approaching the problems related better understanding of cities as a living space—and to habitat development. to develop future perspectives.

Ars Electronica Solutions, The Grameen Creative Lab, Engineers without Borders Austria

After the Disaster Klaus Dieterstorfer Crisis as an opportunity Raghuchour village, after the earthquake Raghuchour village, after the earthquake

The earthquakes that shook Nepal in April and May than rural areas, which are difficult to access. The without Borders support the project, creating a con- ecologically sustainable. This approach leverages 2015 have affected an estimated 8 million people prospect of higher living standards in the city there- cept to construct buildings more resistant to earth- technology to enable communities to operate with in Nepal—almost 1/3 of Nepal’s population—across fore incentivizes the rural population to flee to the quake damage with local materials and resources. minimal ecological impact while creating a richer 39 of the country’s 75 districts. Entire villages were cities.Ars Electronica Solutions and the Grameen The aim of the project is to reconstruct rural areas and more efficient way of life. flattened, while others were severely damaged. In Creative Lab initiated first steps to support the in a sustainable manner and to improve livelihood Text: Michael Badics, Klaus Dieterstorfer, Marie Masson the aftermath of the earthquake, aid and hopes for reconstruction of villages, starting with Katunje opportunities. Based on an ecovillage approach, the A cooperative project by Ars Electronica Solutions, The reconstruction are directed towards the city rather Benshi in the district Kavre Palanchowk. Engineers rebuilt villages are more socially, economically and Grameen Creative Lab, Engineers without Borders Austria

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Lukas Maximilian Hüller, Hannes Seebacher, Kilian Kleinschmidt, Robert Pöcksteiner Post Refugee City

Photographer Lukas Maximilian Hüller and artist he coined to refer to the impossibility of satisfying Hannes Seebacher jointly launched the Let the people’s need to preserve their dignity and iden- Children Play initiative. Let the Children Play is an tity with only a tent, water and bread. And this is effort to visualize ethnic values—in keeping with where an extraordinary form of cooperation comes the United Nations’ guidelines for the protection in: this seemingly unrealistic photography project and promotion of fundamental human rights and undertaken by artists Lukas M. Hüller and Hannes the rights of children. In cooperation with numer- Seebacher. Their initiative is an attempt to create ous artists worldwide, this initiative has produced a positive, iconographic symbol and get hundreds several projects having to do with games and play- of refugees—children, youngsters, and grown-ups— ing. The point of departure was Children’s Games, actively involved. This isn’t just “playing” with kids a 1560 painting by Pieter Bruegel the Elder, which in a refugee camp; this is art as necessity, a means Lukas M. Hüller updated by means of elaborately of acknowledging and maintaining the dignity of the staged photographic settings in various countries individual amidst extreme circumstances. This is an throughout the world. attempt to get inside the cage that, for many, is Let the Children Play at Zaatari Refugee Camp took precisely what enables them to survive. Snapshots this initiative to the next level. Here the aim was to in Time, a documentary by filmmaker Robert Pöck- observe people in extreme situations and to really steiner, goes inside the cage. Instead of encoun- Zaatari Twilights, refugee children projected onto Zaatari Camp, by Seebacher / Hüller, 2014 work together with them: The refugee camp as the tering refugees, he meets human beings. Mortally end of the line. As the crisis in Syria goes on with afraid, they fled from Syria, leaving behind all they no end in sight, a whole generation of children is had. Attorneys, physicians, gardeners, housewives, being scarred by violence and displacement and school kids, mechanics and nurses—they’re all in a beset by hopelessness. A desert that was devoid refugee camp now, seeking something to do while of human beings not so long ago is now the site of waiting for peace to return to their homeland. How Al Zaatari, the world’s third-largest refugee camp. they deal with their fate and pass the time each This small city in the middle of nowhere has a popu- day is recorded by Pöcksteiner and reported without lation of 100,000, of which 60,000 are children and commentary. young people. The mission of Kilian Kleinschmidt, Let the Children Play project, realized at Zaatari Refugee the former UN commissioner responsible for orga- Camp, Jordan, by Hüller / Seebacher, 2014 / produced by nization and coordination at Al Zaatari, is to set an playfoundation.org. Featured in Robert Pöcksteiner’s example: the Post Refugee City that addresses the documentary film project Snapshots in Time, Zaatari possible economic and logistic future of the ref- Camp. Project and photo compositions realized with the substantial support of Kilian Kleinschmidt, former camp ugee city and seeks an effective way to deal with manager Zaatari Refugee Camp. the consequences of modern mass migration. Klein- http://www.letthechildrenplay.info schmidt tirelessly preaches Beyond Survival, a term http://www.dontpanicproduction.com

Children of Zaatari, portraited by Lukas Maximilian Hüller, 2014

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What Does Peace Look Like? Curated by Lois Lammerhuber

HEAL by Davide Tremolada is above all a personal But The Alfred Fried Photography Award is much expression about war. In each image a wild animal more than just a photography competition. It is the is put into a war zone, in places affected by bom- only photography award worldwide that reaches out bardments and prolonged fighting. The presence to people, encouraging them to express through of the animal points to the potential for healing their images how they think of peace and to create these places. No animal can stand calmly in a place a visual answer to the question: “What Does Peace if it senses imminent and actual danger to its life. Look Like?” The annual award ceremony takes place The suffering that fades away is not forgotten but at the Austrian Parliament in Vienna and will also internalized and overcome, for people eventually to serve to commemorate the journalists killed on duty be at peace with others. and will include a keynote speech on peace—this HEAL is only one example of the works of the six year by Kailash Satyarthi, 2014 Nobel Peace Prize winners of The Alfred Fried Photography Award laureate. The “Peace Image of the Year” will be 2014—Pierre Adenis, Emil Gataullin, Heidi & Hans- released to the international media on September 21, Jürgen Koch, Max Kratzer, David Tremolada and 2015, the United Nations International Day of Peace. Ann-Christine Woehrl. The winners’ works and an The Alfred Fried Photography Award 2015 attracted edited version of the shortlist will be exhibited at a total of 14,115 photo entries from 121 countries on Post City. All these works plus a special jury edition all five continents. of 320 images will be shown on a 12-screen-instal- http://www.friedaward.com lation in the Ars Electronica Center lobby.

Organized by UNESCO, Austrian Parliament, The Austrian Parliamentary Reporting Association, International Press Institute, Photographische Gesellschaft and Edition Lammerhuber. Curated by Lois Lammerhuber. HEAL by Davide Tremolada is one of the 6 award winning works. HEAL, Davide Tremolada

52 53 HEAL, Davide Tremolada HEAL, Davide Tremolada

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Ianina Prudenko Mythogenesis

This project embodies my observations as a new the image size of the hero depends on the timing media researcher. Its purpose is a visual analysis of her/his appearance in a shot. Lev Manovich’s cul- of propaganda videos that have become a source tural analytics was an inspiration for the visualiza- of the mythogenesis process of the new Ukrainian tion of the analysis. Along with the graphs, there is hero. Critical analysis reveals various aspects of this the device in which museum visitors can view the process and points out inconsistencies regarding analysis source material. the objective processes. It will facilitate the devel- According to the general results it can be concluded opment of alternative hero images and fix a poly- that the mass media-created image of a modern narrative of heroics in the emerging cultural memory. ATO (anti-terrorist operation) zone hero is predom- Seven videos were selected for visual analysis. inantly male, mostly speaks Ukrainian, and is an Some of them were broadcast on TV, others are on exceptional soldier. The project was presented at the Internet. All videos are characterized by a high the National Art Museum of Ukraine during the degree of pathos created by archetypes of Ukrainian exhibition Heroes. An Inventory in Progress, curated culture, national symbols, exalted music, and even by Michael Fehr (Berlin) and the curatorial group Soviet poetry from WWII. Three parameters were of the NAMU. Discussion of Mythogenesis during selected for the mythogenesis analysis of the modern the opening in the museum gave rise to a heated Ukrainian hero: gender, language, and the compari- debate, which proved that the process of the myth’s son of soldiers and volunteers as heroes. The analy- deconstruction—even during its formation—is a very sis data are presented as visualization in the exhibi- painful process for the national community. tion space. There are 3 pairs of graphs (female/male, Visualization: Iryna Kostyshyna, Kateryna Mokriak, soldiers/volunteers, Russian/Ukrainian) on which Alina Iakimenko

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Ian Banerjee Habidatum & Mathrioshka Educational Urbanism Semantic Landscapes Rise of the Learning Intensive City Wiki Commons Banerjee Ian

Biblioteca España Educational Urbanism Tours in Medellin

From over 150 international references, collected for its remarkable transformation in the last ten between 2009 and 2015, the author infers the con- years. Beside “social urbanism”, which is the umbrella vergence of three globally emerging trends of social term it uses to define its overall planning philosophy, The city is not only the conglomerate of buildings practices: a) In the domain of educational planning it speaks of “pedagogical urbanism” interchangeably and roads, jobs and homes and people moving in he sees a growing trend towards an “urbanization” with “educational urbanism” to describe how it con- between—it is an interconnected environment con- of educational planning; b) in the domain of urban nects education, urban planning and civic engage- structed by the interactions of people with people planning he sees a trend towards “educationaliza- ment to set in motion a multi-dimensional process and with physical objects. It is also a set of images tion of urban planning” and c) in the domain of civic of social and urban transformation. evolving through space and time and navigating the engagement and the bottom-up making of cities The author’s research is based on the assumption communities in urban environment. Virtual city is (“tactical urbanism”) he sees a rapid diversification that the 21st century city will be shaped by Learning an extension of the “actual” one. Enforced by digital of collective learning of citizens. Researching these Intensive Societies of various kinds. The creation of technologies, this city of interactions, thoughts and trends has been an ongoing project of the author “ecologies of learning” as relational pools of local images is dramatically changing the urban way of since 2009. In 2010 he coined the term “educational knowledge (as “open source” and “topographies of life. But it still remains invisible, unexplored and urbanism” to draw attention to the emergence of a knowledge”) will a) create more “dispersed intelli- disregarded. What if we could unveil the invisible new paradigm of urban planning at the converging gence” among the sectors of society, b) enhance the virtual city? What if we could explore its relation ground between the above-mentioned domains. The capacity of individuals, organizations, communities with the “actual” one we got used to seeing and city Medellin in Colombia has explicitly started to use and cities to respond more adequately to their needs, dealing with? What if we could challenge our views Text: Alexei Novikov, Katya Serova (Habidatum) this term. Medellin has gained international acclaim and c) help citizens develop new forms of urbanism. on the city, both in its “actual” and in the virtual Vadim Smakhtin, Eduard Haiman (Mathrioshka) dimension? Habidatum presents a set of projects Habidatum develops analytical visualization tools for that approaches these questions in different fields, urban decision-making. Mathrioshka works in the fields regions and scales. Explore the mental geography of digital design and data visualization. of Moscow, the emotions of tourists and locals Project management and urban analysis: Habidatum Data analysis and visualization: Mathrioshka in Barcelona, and the connections of Miracle Mile Acknowledgements: Moscow Urban Forum; Barcelona (south Miami) with other urban areas via Twitter Urban Lab / Barkeno, Cooper, Robertson & Partners discussions!

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Katja Schechtner, Dietmar Offenhuber The Grameen Creative Lab sensing place / placing sense 3 Social Business improvising infrastructure

This year’s instance of the sensing place / placing sense series investigates the pockets of informality inside the formal urban systems that structure our daily lives. Not only in the megacities of the Global South, life is characterized by a constant struggle with infrastructure. The electricity grid, logistics and supply chains, transportation—every system that is GrameenDanoneFoods GrameenCreativeLab Yoghurt enriched with crucial nutrients centrally planned and managed from above always requires some level of improvisation and tinkering from below in order to make the system work for its users. These creative appropriations are, how- ever, never part of the official representations of infrastructure; they are marginalized and difficult to observe. As a result, there is a misbalance between what we know about formal structures and what we “I believe that we can create a world without poverty because it is not the poor that create poverty.” can only infer about informal practices. Nobel Laureate, Muhammad Yunus, Grameen Creative Lab In this hybrid between a workshop/panel/exhibition, we bring together people who deal with urban infor- Unlike traditional business, a social business oper- a new dimension for capitalism: a business model mality from different angles. The project Manila ates for the benefit of addressing social needs that that does not strive to maximize profits but rather Improstructure investigates and documents the enable societies to function more efficiently. Social to serve humanity’s most pressing needs. Social creative practices around the electricity grid and business provides a necessary framework for tack- business will not replace traditional business. It will the street lighting system of Manila, Philippines, ling social issues by combining business know-how coexist with it—and expand our idea of what it can in collaboration with the Urban Planning Institute with the desire to improve quality of life. Muham- mean to “do business”. We believe that social busi- of the Technical University Vienna and Julia Nebrija, mad Yunus has already shown the effectiveness ness is capitalism at its best: creating, innovating VivaManila. of this new type of business: his clear focus on and expanding. eradicating extreme poverty combined with his condition of economic sustainability has created The Grameen Creative Lab GmbH, numerous models with incredible growth potential. http://www.grameencreativelab.com With the idea of social business, he has introduced Executive Director: Hans Reitz

60 61 Konstantin Jagsch Jagsch Konstantin HABITAT 21

BIO AUSTRIA Farmers’ Market of the Future

Susi Windischbauer Susi Organic farmers are securing the future of healthy nutrition

The 2015 Ars Electronica Festival will scrutinize Saturday during Festival week, there’ll be a Farmers’ emerging developments in urban living and life in Market of the Future at which the wide array of the 21st century. We at BIO AUSTRIA, this country’s products produced by Upper Austrian organic farm- largest association of organic farmers, are focus- ers will be presented and offered for sale. At public ing on the future of nutrition and the production & discussions, panelists will talk about their experi- distribution of foodstuffs. The way we see it, the ences with trendsetting approaches like organic pro- answer is clear: Our food has to be organic! duction per se, agriculture in which solidarity is an How about a future in which chemical pesticides utmost principle, and food distribution via co-ops. Susi Windischbauer Susi and herbicides are no longer used? In which farmers In the Province of Upper Austria, there are already do without fertilizers fabricated from petroleum? In about 15 volunteer-staffed organic food co-ops that which we put a stop to the exploitation and degra- are pioneering new modes of local food and short dation of the soil? In which livestock are kept in food supply chains for rural and urban areas, and ways that are respectful and appropriate to their the Kochtopf statt Mistkübel (Into the pot, not into species? In which nutritious, nutrient-rich food- the garbage) initiative, where people can directly stuffs containing no chemical residues or additives experience wastecooking—how garbage is removed were abundantly available for all? from our throwaway society and turned into deli- Ars Electronica is making a loud-and-clear state- cious meals, turning consumerism on its head. ment with great future promise by endeavoring to Supported by BIO AUSTRIA Upper Austria serve organic food at this year’s festival. Plus, on BIO AUSTRIA, Koeppl BIO AUSTRIA

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TU WIEN and Inter-American Development Bank (IDB) Urban Design Laboratory Lisa Mittelberger Xalapa Mexico Emerging Topics Peter Scheibstock Egger Tamara Panama Lab, 2015 Valdivia proposal result Costanera Sebastian Sattlegger Sebastian Egger Tamara Valdivia Santiago Dominican Republic Chile, 2014

The Urban Design Laboratory (UDL) is an experimen- urban strategies, which are developed further by the tal design methodology combining people-centered UDL designers. A collaborative feedback process is planning, participatory planning tools, urban strate- shaping the proposals and pilot projects. The UDL Pluch Kerstin Campeche Mexico long-term urban vision gies and urban design. The UDL is calling for a shift— was successfully tested in over ten partner cities in away from rigid, conventional planning approaches Latin America and the Caribbean and is a constantly towards more complex and flexible ones, developing improving tool-kit. collaborative and multisectorial design solutions in the context of rapid urban growth in Latin America urbandesignlab.org and the Caribbean. The leading elements of UDL are www.facebook.com/UrbanDesignLaboratory the people and the information they have about a specific, complex and local situation. We as plan- Text: Roland Krebs ners moderate and design sustainable new neigh- Roland Krebs: Emerging and Sustainable Cities Initiative, borhoods, revive abandoned areas, extend cites Inter-American Development Bank, Washington, DC, USA, and design urban regeneration projects. In local and Institute for Urban Design, University of Technology Vienna, Austria workshops, local key actors and the community Andreas Hofer: Institute for Urban Design, University of

elaborate together planning visions, scenarios and Technology Vienna, Austria Krebs Roland Krebs Roland The Panama LAB—workshops in Panama City The Panama LAB—the community workshops

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CityIF [tp3] architects and Eddea Arquitectura y Urbanismo Urbanization as Disaster Citythinking—WHY IS MORE CHU Yan Beijing Ponding Map Distribution of Unusual Behaviors Mao Mingrui Eddea.+ Conacento SL Conacento Eddea.+

Urban disaster, born of rapid urbanization and resulting from the inter-reaction between the built Citythinking is an open organization to display, munication, information, we can generate more environment (buildings, roads) and grown environ- rethink and adapt territorial organizations, link- rich and creative proposals, to help to improve our ment (climate, ecology and society), is generating ing economy, society and environment. For us, the closest environment. This perspective will be linked new and mixed urban landscapes. This is exempli- city is a superposition of simultaneous events, a with the idea of Post City and will be visualized with fied in Beijing, which, despite the rain and water strained network that links these three areas. We a presentation of the creative process. deficiency, is frequently flooded due to the city’s work to create the conditions for a new dialog For the Ars Electronica Festival 2015, the Linz-based faulty, antiquated water infrastructure and micro- between them through a Holistic Development architect team [tp3] and the Seville Urbanism and climate change in the region, and in the evolution Strategy. Questions are formulated, spatial struc- Architecture consultancy, Eddea Arquitectura y of habitats due to the many urban migrant work- tures visualized, reconsidered and adapted. In the Urbanismo, deal with strategic development pro- ers, who survive by living in neighborhoods between era of the Post City, and in contrast to the mythical cesses of cities to present a creative approach for urban and rural areas and working unofficially. How “Less is More”, the excessive “More is not Enough”, the future urban development during the festival. can we “capture” and include them in passive/active or the latest Nordic “Big is more”, our motto “WHY The way through the exhibition contribution also participatory data mapping? On the bright side, will IS MORE” reflects a new attitude towards the huge reflects the representation of this strategic process it inspire the idea of future urban habitats? Two of contemporary challenges facing us. operation. What this strategic development process CityIF’s works call for debate. “WHY IS MORE” is the question that is linked is all about, we want to clarify in this post. Beijing Ponding Map CHENG Hu Text: YANG Lei directly to the theme of development processes. http://www.eddea.es Beijing Municipal Institute of City Planning & Design, Each adaptive change is accompanied by a categor- http://www.tp3.at CITYIF Urban Planning Cloud Platform ical “why”. In nature, development tends towards perfection in order to be more efficient. But nothing Original Idea: Citythinking by Eddea Concept Design and Production: Citythinking by Eddea is bigger, better or higher without a reason! and [tp3] architekten By questioning our territorial reality, decoding it Graphic Design: Citythinking by Eddea.+ Conacento SL through mapping different flows as energy, com- Organization, Translation: [tp3] architekten

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1,001 Models of Habitats for the 21st Century

Austria’s largest architectural exhibition, created ating smart cities that, instead of causing anxiety, by architects and urban planners: This year’s Ars can actually enhance our lives? What should habi- Electronica Festival showcases visible manifesta- tats for smart city citizens be like? tions of their inventiveness, visionary power and Ars Electronica is especially intent on localization— planning competence in the form of an amazingly relating these big issues to the specific facts and diverse array of architectural models. circumstances prevailing in Linz and Upper Austria, What will the cities of the future look like? Nat- and implementing a point of departure that is as Bezirksalten- und Pflegeheim Haid, 2014 Wettbewerb Landwirtschaftschule ASS Altmünster, 2006 urally, this will depend on the way architects and simple as it is effective: a gigantic model city set Gsottbauer architektur.werkstatt Architects Mayer+Seidl urban planners are designing them today. Whatever up in the huge halls of Post City. We want to cre- is built now will shape the cityscape for decades to ate a visible manifestation of architects’ visionary come, and decisively impact the next generation’s power, planning competence and inventiveness, quality of life. The infrastructure that we don’t one that features as many architectural models as implement now will be sorely missed tomorrow. possible—regardless of whether they were actually The city is a long-term project, and the “gravity of built or only proposed, from a DIY prefab house to a buildings” entails totally different lifetime cycles to futuristic high-rise, from houseboats to row houses, those of the disposable smartphone electronics. So from a kindergarten to a factory … how can we connect these two developments—cre- http://www.aec.at/postcity/1001modell/ AEC, Florina Costamoling AEC, Hospizhaus Tirol, Hall in Tirol, 2015 LINZ HUB, Neues Institut für Raum und Designstrategien, Linz, 2006 Gsottbauer architektur.werkstatt waax architects

grüne Mitte, Projekt der Familie, Linz, 2013 Neue Mittelschule, Schörfling am Attersee, 2012 EUROPAN 11, Stadtteil der Zukunft, Tabakfabrik Linz, 2011 AgrarBildungsZentrum Salzkammergut, Altmünster, 2007 Architects Gärtner+Neururer ZT GmbH Architects Christian Sumereder, Reinhold Wetschko [tp3] architekten, ZT. GmbH Henter I Rabengruber Fink Thurnher architects

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Jess Ching-wa Lau The Fading Piece

The Fading Piece is a duo stop-motion animation the length of the animation is determined solely by with sound. In this installation two side-by-side the diminishing pastel. The installation reveals the screens simultaneously project a diminishing pastel artist’s preoccupation with time, symbolized by the on the right, while the screen on the left reveals process of consumption of the pastel. the line-by-line development of the fading district http://cargocollective.com/jesslau/The-Fading- of Kwun Tong in Hong Kong. It is based on a photo Piece titled Kwun Tong Town Centre from Wikipedia, which Artistic advisers: Kaho Yu, Tamás Waliczky, Kinchoi Lam no longer looks the same due to an urban renewal Silver Award Winner and the Best Local Work of 20th ifva program. The role of the animator is restricted, as Media Art Category. www.ifva.com

Markus Riebe, Form/Code/Maps: Linz, Post 2, Kanal Q, 2015 Markus Riebe, Form/Code/Maps: New York, Kanal Q, 2015 3D Lenticular Image, 81 x 107 cm, unique print 3D Lenticular Image, 81 x 107 cm, unique print

Markus Riebe Form/Code/Maps: Air Corridors

The series Form/Code/Maps: Air Corridors consists image morphs according to the viewer’s position, of twenty 81x107 cm lenticular images from 2015, providing an ever-changing experience. Stereoscopic which allow you to experience areas such as land- depth-perception allows the image to ‘interact’ with scapes, forms, space, atmosphere all in comput- the user. The computer is used only as a tool on er-generated 3D images. (The three dimensional the sidelines, for example, when slicing the 3D lev- impression is produced using optical ton lenses. els for the lenticular images on the final product. This illusion can be seen without 3D glasses how- Essentially the computer provides the matrix for ever only in the original exhibition, as you can not the alignment of the models, the order of patterns reproduce this illusion on photographs or on screen.) and the islands of consciousness. Floating artifacts, Arial plans of cities provide a real frame for ori- remnants of code dissolve the established views entation from which floating, fluctuating shapes computer users have on city plans. Concentrating emerge. These creations are based on virtual wire- on the space above the plans removes the original frame models that serve as containers and pro- function of them for your orientation. In previously jection surfaces for graphical trails, drawings, and empty areas of land, structures and interferences textures. As semi-transparent texture maps they appear before your eyes, which help redefine what are coded by their positions in space. The conflict- is meant by “City”. The visual and spatial structures ing forces of virtuality and reality invite the viewer irritate in their effect. Questions are raised about to choose between the two worlds, while simul- one’s own position and general state of conscious-

taneously discovering that this is impossible. The ness using pictures of the city. Nil

70 71 Andreas J. Hirsch Re-Reading the City Views of the Post-Urban Condition

Reassuming the role of the photographer as a kind images of “the city after the city”. Photography is the same places. It uses strategies of psychogeogra- For Re-Reading the City photographer Andreas J. of post-flaneur, Andreas J. Hirsch casts personal applied here in its ambiguity as one of the most per- phy and situationist practices. Following pathways Hirsch reflects the cracks in the public image of a views on the city reflecting the post-urban condi- sonal and at the same time the most ubiquitous of and losing your way are both part of the concept, city, looks at the periphery of urban space in transi- tion as such. Using the photographic image as the media. Re-Reading the City follows hidden traces of as are unexpected encounters with the obvious as tion and at the lost dimensions of the center while raw material of memory as well as of vision leads the inner city behind the obvious city, the different rediscovered in emerging views. exploring and commenting on the Post City. to detecting shifts in the fractal body of collective cultural cities and their specific codes embedded in

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Norbert Artner in cooperation with Thomas Macho and Ingrid Fischer-Schreiber Hallstatt Revisited

Since 2012, Hallstatt hasn’t only been a town in residential units; in the meantime, the project has the Salzkammergut region of Austria. There’s been scaled back considerably due to a slump in the also a place of that name in the southern Chinese real estate market. Province of Guangdong, in the vicinity of Huizhou, a The Hallstatt Revisited project documents this pro- city of 4.5 million inhabitants in a logistically favor- cess of transcultural reflection and the practice of able location, a one-hour drive from Hong Kong, citation. It examines the question of what possi- Shenzhen and Guangzhou. The Chinese version is bilities of innovation are introduced by this form of called “Hallstatt See” 哈施塔特. imitation. It asks: What is the relationship between The word is that the wife of one of the men on the the model and the copy, the original and the quo- Board of Directors of China Minmetals Corporation, tation? It scrutinizes imagination and globalization, the state-owned company operating this project, is function and appearance, inclusion and exclusion, an Austria fan, and the replica was her idea. Hall- ideal and cliché. Its subject is not only the “original statt is a UNESCO World Cultural Heritage site; the copies” of the architecture, but also the “images air quality is fine, the landscape intact; it epitomizes in the picture” that can be perceived in the photo- respect for tradition—all factors meant to attract graphs taken in both Hallstatts. The boundaries the prosperous Chinese middle class and to set the become blurred so that the original as well dissolves. Hallstatt See project apart from other knock-offs of Ultimately, it gets hard to tell which Hallstatt actu- European towns in China. To produce it, Austrian ally inspired the other. Hallstatt was meticulously photographed—right The large-format photographs taken by Norbert down to the last detail. These photographs then Artner in the Chinese reproduction of Hallstatt don’t served as a “template” for a Peking architectural come across as—and this is the source of their great firm. Nevertheless, they only copied the core zone strength—satirical or supercilious cultural critique. of Hallstatt: the Marketplace including the Trinity They open up a new narrative that raises questions Column (mirror-inverted!), the quaint old homes rather than providing closed answers. These works packed together along the Badergraben, and the make it clear that the global cultures of the future Protestant Church. On the surrounding hills and will not emerge from conflict and competition, dis- beside a lake—a former reservoir—are villas and row putation over original versus copy, but rather from houses in what you might call Bavarian style. The a multiplicity of novel practices of participation, amazing thing is the comparatively high quality of interest and the experience of diversity. the craftsmanship that went into the copy. Hall- The photographs of Hallstatt and Hallstatt See were statt See was originally planned to contain 6,666 taken between 2010 and 2014.

Norbert Artner, Hallstatt (Upper Austria) and Hallstatt See (Boluo, China), 2010–2014

74 75 Norbert Artner, Hallstatt (Upper Austria) and Hallstatt See (Boluo, China), 2010–2014 Norbert Artner, Hallstatt (Upper Austria) and Hallstatt See (Boluo, China), 2010–2014

76 77 THE FUTURE CATALYST PROGRAM Alexander Mankowsky FUTURE MOBILITY

Futures Studies & Ideation a 10-year period, most of us will fail. If you have a are increasingly treated as the last remaining buffer Autonomous Cars: The Introduction of Automation into Society child, you will celebrate its 10th birthday, while strug- in this heated competition. gling with the feeling that 10 years have flown by. Considering the growing density in all attractive Working in the car industry, a short timespan of a places, it is obvious that sharing of public spaces5 single breath—inhale and exhale—takes round about must be re-invented. As a practical prerequisite of 7 years. 7 years is the average time to create and the needed remodeling, in August 2014, “California develop a new model, the next S Class for example. Has Officially Ditched Car-Centric ‘Level of Service’”, The whole lifecycle of a Mercedes-Benz car is cal- as the LA Streets Blog reported6. culated over 25 years. Aviation marches to an even Infrastructure and cities are neither scalable, nor slower beat: Boeing’s emblematic 747, known to the can they easily be updated or replaced by a ‘new public as “Jumbo Jet” or “Queen of the Skies”, has version’. The resulting inertia stands in stark con- been in operation in its basic form for more than 40 trast to the fluidity of Internet-based applications7. years. Her maiden flight was with long gone Pan Am! Re-using, re-modeling and re-purposing seem to be In 2013, we had our first Future Talk, a workshop the most promising way out. on Engineer’s Utopia with international media and Cybernetics several experts, in the 1960s’ Pan Am Lounge in Berlin. Brands can be immortal, after all. “One of the great future problems which we must face is that of the relation between man Collective Desires in Time and the machine. Render unto man the things The US Interstate Highway System was accom- which are man’s and unto the computer the plished in a 35-year period, starting in 1956 with things which are the computer’s.” the Federal Aid Highway Act. The initial plan goes God and Golem, Inc., Norbert Wiener 1964, p. 71–73 back to 1925. Robert Moses, the master builder of The root concept for automation is Cybernetics, ini- New York, was roughly four decades in charge to tiated by Norbert Wiener and broadly discussed in render NY into the model of a modern city, repli- the Macy conferences, 1941 to 1960. Cybernetics as Futures Studies are widely done as a process which The automobile has formed our civilization for a cated worldwide2. Investment in infrastructure was a driving force is far from dead, on the contrary, it ends up in scenarios about possible futures. There century. Now, transformative change through auto- orientated at the “Level of Service”; the more car has developed branches like the Internet, Machine are two quality gates for these scenarios. The peo- mation has targeted the automobile itself, which traffic, the better. Intelligence, Robotics, Smart City, IoT, the Sharing ple who assemble these futures should have expert will recursively touch every artifact and every habit The collective desire driving these massive develop- economy and on and on. Current AI concepts and status, and every scenario should be free of contra- shaped through the automobile in the 20th century. ments was about speed and order, rational, techno- automated cars have a 75-year history8. dictions. The finished reports then are most often My thesis is that the introduction of automated cars logical, and efficient—in short: to be modern3. Henry Cybernetics from the beginning had issues with the presented to politicians or executives with a more into the open wilderness of public streets will play Ford’s factory, River Rouge, democratizing the auto- differentiation between life and technology. The or less alarmist request to take action. These pro- out its potential only as a collaborative invention. mobile, was the icon of 20th century modernity. Le “Negative Feedback Loop” was seen as a constit- cedures originated before the Internet age, before So, what can we do about the future of the car, and Corbusier ventured out to visit Detroit in 1935. His uency of living beings and machinery alike, which Google democratized expertise for everybody. of our society? Ideal Cities were designed for fast automobiles4. leads straight to the concept of the replacement of Ideation on the other hand is often seen as a fol- Today, the collective desire for speed is long gone, humans with robots, or Ray Kurzweil-style intellec- 1. Learn: Driving Forces—Get a Sense of Time low-up of customer research: the researcher has there are no land speed records in the news, and the tual pranks such as mind transfer and transhuman- to observe people for unsatisfied needs, and then “The past is never dead. It’s not even past.” supersonic jets are moved into museum spaces. The ism. Transhumanism revives the soul-body meta- somebody has to come up with a service or product William Faulkner, Requiem for a Nun built infrastructure however has not vanished like phor where the mind is prisoner of the body, waiting to satisfy the unsatisfied. In effect, people in all The first step is to develop a sense of time, appropri- the desire; it is still there, most of the time overused for liberation. This concept is fed by cybernetic ideas their diversity are reduced into segments of needy ate to the driving forces of automation and mobil- and, in effect, a far cry from the speedy transpor- about the path to the creation of artificial life, only beings, lacking consumer goods to feel better. ity. Usually, as human beings, our sense of time is tation once imagined. Most important: the infra- hindered by insufficient computing power. Besides For Daimler, a company with a proven capability restricted to quite short segments. If we are losing structure cannot be adapted to the growing demand readily available proof of the inseparability of mind to innovate against the mainstream1, I will show the moment, we take a deep breath to slow down. anymore. There is simply not enough unused, free and body (try: fall in love and maintain a clear mind), a different approach. It is intended to be vital and A reason for this shortness might be the relation space. Additionally, it is not car traffic alone that neuroscience is about to prove a very tight connec- open, fitting to today’s way of fast, collaborative of time to activities: something lasts “a cigarette” must be accommodated: in ever growing urban tion between organic matter and mind9. innovation. It is a three-step process, simple and or “a cup of coffee”; the talk was boring, awful areas, pedestrians, residents, cyclists, public trans- In today’s discussion about autonomous cars, the flexible. I will use these steps to illuminate a path moments at the dentist—activities we can experi- portation, and businesses, are demanding their own conceptual confusion on artificial life brings up

into a desirable future. ence, repeat and remember. If you try to imagine Mercedes-Benz lanes, separate spaces or recreational areas. Streets misguided concerns about robots, as if they could decide at will on life and death.

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Sharing: The Collaborative Economy At the crossing of technological and social inno- respect. Therefore I like to get in contact not only Mark Lascelles Thornton, a British artist, created itself is losing its “cool”13. The Internet of Things is vation, a new driving force has established itself: with the scientific community, but also with cre- a very large painting using Rotring pens, called more about the Things, than the Internet. The Collaborative Economy. In our case, it is not ative people, artists, activist, and artist-inventors. Happiness Machine. His artwork showed a city: The only the car or the empty seat inside the car to be In short: the “naturally curious” crowd. Take for financial world, expressed through their iconic sta- 3. Make: Automation in the Shared Space shared, but also the public spaces once they are example the “Megatrend Connectivity”. The over- tus buildings, is sitting above a dungeon-like mall of Tomorrow freed from monofunctional use. The conceptual whelming majority of trend researchers will agree where people are busy buying stuff. Shockingly, in “Anyone who focuses solely on the technology idea, the “Shared Space”, stems from the 1980s to to “Connectivity” as a megatrend without thinking the middle of this mall is a fetus on display, lying has not yet grasped how autonomous driving will 1990s, made popular by Hans Monderman, a radical twice. A so-called “no brainer”. inside a large booth. Helpless on one hand, on the change our society”. Dutch traffic engineer. He proposed to translate the But then, look what artists are doing with the other hand a symbol of life and change, a symbol of Dieter Zetsche, CES, 2015 car-only street into a place where traffic, leisure and device that is most strongly identified with this the future. I discussed this image with many execu- In the face of ever denser living environments, it business coexist in harmony. In his time, he had as trend, Apple’s iPhone. The artist-inventor Dennis tives, designers and engineers in the company. “Do seems inevitable that the public space has to be means only goodwill and architectural remodeling at de Bel remodeled an iPhone as a device for a Smoke we like this kind of ‘Happiness’? Can happiness be shared for different use cases. Micro-Housing14 only hand. Technology-wise, there was nothing helpful Message Service. What does that mean? The per- produced with a machine approach?” works if public spaces, now used exclusively for in reach. In effect, the 1990s Shared Space concept fected connectivity of an iPhone was degraded to an Not one agreed, but everybody was motivated to transportation, can transform into useable space for failed as a mainstream movement. ancient way of communicating with smoke signals! explore ways how Daimler as a company could con- various activities. Willful action is the core of human Today, the Sharing, or Collaborative Economy is a The Megatrend Connectivity was dissolved into tribute to a very different “Happiness Machine”. creativity: Sharing concepts therefore should be as working concept. With the help of technology, it smoke. open and flexible as possible. Otherwise, a “Smart is possible to activate commons (like GPS and the City” will emerge as a dystopian nightmare of Internet) in combining underused resources (like pre-programmed choices. Automation has to fit in apartments, couches or cars) with people, acting the fabric of human interaction, enhancing human as consumers and entrepreneurs alike. Automated autonomy, not otherwise around. mobile devices are promising to enable people to For our latest research car, the 2015 “F015 Luxury share public spaces in an economically and flexible, in Motion”, we created an interactive environment creative way using scalable platform approaches. where the automated car was enabled to commu- 2. Explore: Contribution of the Avant-Garde, nicate its intentions to the outside. The idea to Artist-Inventors and Activists use the technology of automated cars to create a diverse, safe and joyful city life was born in a cre- “Art is always a search for understanding, and the ative workshop in Tokyo, 2011. Communicating with different levels and frequencies of that search the citizens was a key feature in our concept that we feel completely comfortable and natural to me.” 10 Mark Lascelles Thornton, Happiness Machine named internally “Car Giving Back”. In search of perpetual fluidity, Californian artist Doug Aitken, FT, June 27, 2015 In San Francisco 2015, I searched for parklets11 and found Heidi Quante, a linguistic artist and activist 12. Innovation today is heading in the collaborative We had an intense chat about the change in values direction. The rationale behind this movement lies regarding urban life. People were working on a dif- in the interdependence of technological and cultural ferent San Francisco, preferring rich street life over innovation, as in the potential of the always-grow- efficient traffic. Her topic then was to enable activ- ing diversity in the global, networked world. It can’t ism against climate change through a new language. be done by experts staying in their echo chamber Her “Bureau of Linguistic Reality” utilizes art and of conventional wisdom; we need specialists with language for action. expertise and entrepreneurial spirit, cross-fertilized Putting it together, it seems that artists and activ- by broad and diverse participation. Diversity has to ists today are in motion, back from the immaterial be invited on the basis of power parity and mutual digital, to the collaborative real world. The digital in Dennis de Bel, SMS—Smoke Message Service Car Giving Back Concept: automated cars serving as infrastructure, for business and fun

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In 2014 we were able to test some of our concepts immediately recognize unfamiliar behavior and cre- 8 cf. Norbert Wiener’s cybernetic Moth from 1949, in a Future Talk about Robotic Interaction. We used ate meaning out of perception. Computers on the or Grey Walter’s various cybernetic tortoises. http://cyberneticzoo.com/cyberneticanimals/ gestures, postures, light and movement as media other side can’t go beyond pre-programmed and 1949-wieners-moth-wiener-wiesner-singleton/ to interact from human to machine and vice versa. stored interpretation of a situation15—meaning is 9 Jennifer M. Groh (2014) provides readable insight in The Ars Electronica Futurelab created a drone set-up beyond the robots’ reach. current brain research in her book Making Space: How with their Spaxels to experiment and demonstrate In experimental settings, humanoid robots were The Brain Knows Where Things Are. 10 Aitken’s Movie Station to Station hints at what will the different interaction models. tested behaving very similar to human beings. In happen to car-traveling once the driver is relieved from We choose drones, because they have a strong effect, almost perfectly imitating human behavior observing traffic: “When the ‘landscape is framed enough appearance through noise and physicality arouses unease and revulsion.16 Autonomous cars through a window... You will never get enough!” The car to be compared with a car, but they are more flexible are not humanoid, but since anthropomorphism is will become a reality-cinema for travelers. https://vimeo.com/116913918 and easier to modify and steer. For novices, they unavoidable when interpreting moving machinery 11 http://nacto.org/usdg/interim-design-strategies/ 17 can feel quite threatening. One experiment showed (moving dots on a PC screen are sufficient ), we parklets/ an exceptional mood change from experiencing the should take the emotional relation between human 12 http://invokingthepause.org/page75.html Automation scaled to self-moving booths for 13 In 2015, we presented our research car, the F015 Luxury automated drones as a threat, towards feeling safe micro-farming and other entrepreneurial activities. and mobile robot into account. An autonomous car, and having fun. denying behavioral communication, will be inter- in Motion. My task was to give speeches about the “Shared Space of Tomorrow”. I did—62 times in 10 days— In the experiment, a drone was flying a safe course preted anyway. The emotional and rational con- and asked the visiting journalists at the end if the towards a calling person, briefly waiting in the air at clusion of the observer will decide over success or digital is losing its cool: 80 % agreed. face level, then proceeding to a parking zone a few failure of the robotic design. 14 In 2012, then-mayor Michael Bloomberg temporarily meters beside. The drone was aware of the person Our approach, partially shown in the F015 research relaxed the city’s zoning rules to launch a competition, adAPT NYC, encouraging designs for one and two- and the whole environment through a sensor setting car, is to bridge the separated realms of human tal- person homes. The winner was My Micro NY by in the roof of the experimental arena. Awareness ents from robotic functionality through media. nArchitects, the city’s first micro-flat complex could be displayed by the drone, using light signals In the spirit of Norbert Wiener’s dictum: “Render currently being assembled at 335 East 27 th Street. combined with a nodding movement, or it could unto man the things which are man’s and unto the The building’s 55 prefabricated, modular units range from 23–34 sq. meters, and feature kitchens, fly without any added interaction. Results showed computer the things which are the computer’s”, we wheelchair-accessible bathrooms and small balconies. that the simple “Hello” blink and nodding was suf- think it is important to research what is not be auto- Despite hyperventilating media coverage—“Desperate ficient for the participating people to feel safe and mated. New Yorkers to live in glorified shoeboxes” was one in control. The experience of this communicative headline from the New York Post—there is already a act made people feel safe enough to play with the 1 When Béla Barényi developed the crumble zone for the waiting list. “How Americans think about resources must change, Car lights serve as dynamic traffic signals to enhance Mercedes-Benz cars in the mid 1950s, major manu- drones using hand gestures. and housing is one aspect of that,” Eric Bunge of safety and comfort. facturers avoided mentioning accidents, because they didn’t want to scare customers away. nArchitects says. He believes that the gratuitous floor 2 Today’s new megacities in China are built after the space of recent decades has been an aberration. Living For our Mercedes-Benz research car we applied and image of NYC, enhanced with high-speed trains, as a within fewer square meters in dense, walkable centers is his vision of a more eco-conscious future. “It’s developed interaction concepts relying on light sig- city planner from Shanghai told us, and many business districts have been modeled on Manhattan. not just a question of densifying cities but thinking nals and physical devices. For example, through pro- 3 “Modernity” as an undisputed goal got the first serious about optimizing the way we live in them,” he says. jecting a zebra crossing via laser light on the street cracks through the publication of Rachel Carson’s “Micro-units can be delightful to be in and to live in if surface, the car signals the pedestrian that he or she Silent Spring in 1962. well-designed.” Financial Times, June 19, 2015 can safely cross the street. 4 http://mitpress.mit.edu/sites/default/files/titles/ content/9780262015363_sch_0001.pdf http://www.ft.com/intl/cms/s/0/ Concepts of Sharing will need an interaction model 5 See Elinor Ostrom about the principles of sharing – 355ff9aa-1052-11e5-ad5a-00144feabdc0.html between mobile robots and humans as foundation. Commons https://en.wikipedia.org/wiki/Elinor_Ostrom 15 There will be a steadily growing set of “interpreted sit- Mobility can be seen as an interaction process, 6 http://la.streetsblog.org/2014/08/07/california- uations”, but machine learning differs fundamentally driven by continuous, non-verbal communication. has-officially-ditched-car-centric-level-of-service/ from human insight. 16 cf. The Uncanny Valley Hypothesis (see As Paul Watzlawick’s famous 1st axiom of commu- 7 The WWW shows a special inertia on its own: the sheer mass of content will make any radical innovation https://en.wikipedia.org/wiki/Uncanny_valley) nication says “One cannot not communicate—Every of HTML impossible. For example, in his book Who 17 cf. Reeves, B. and Nass, C. (1996). The Media Equation: behavior is a form of communication”. Human tal- owns the Future?, Jaron Lanier suggests Ted Nelson’s How People Treat Computers, Television, and New two-way linking, which would enable a different Inter- Media like Real People and Places. Cambridge: CUP. Spaxel drone is blinking and nodding “Hello” ents invested in this process are manifold, but social net economy. Obviously, to reprogram the WWW is to Martina Mara from the Ars Electronica Futurelab. perceptiveness stands out. Traffic participants will absolutely impracticable.

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Martina Mara & Christopher Lindinger what’s in store for us consumers is a completely new Now, this all sounds like technology from which form of mobility: autos in which there’s no longer a humankind could certainly benefit. After all, one of Talking to the RoboCar steering wheel because the computer knows its way the inherent advantages of this utopian concept of around without having to ask for directions from a fully autonomous vehicles is to give us back a luxury New Research Approaches to the Interaction between leather-padded user interface; cars that, due to their good we seem to be deprived of these days: Time. Human Beings and Mobility Machines in the City of the Future high level of system-immanent intelligence, should How about just relaxing in the back seat, solving a get much better mileage and hardly ever cause an Sudoku on your tablet, or teleconferencing on one of accident; cars that can drop us off at the pedestrian the interior displays while the robot-taxi drives you At least a few of us still remember “Knight Rider,” Now, 30 years later, the world’s leading carmakers mall and then proceed unaccompanied to a parking to your next appointment or on a chauffeur-driven a TV series that was a big favorite of viewers in and automotive technology vendors have long since lot out on the edge of town; cars that comprehend holiday? Or maybe just reclining your seat and the mid ’80s. Instead of riding an intrepid steed, gotten to work on the nonfictional equivalent of the that when a soccer ball rolls out into the street, an enjoying a little care-free shut-eye! Michael Knight, the title character played by David K.I.T.T. robot car. So when we talk today about the city excited little kid just might be in hot pursuit, and Hasselhoff, drove the ultimate futuristic car. K.I.T.T. of the future, then the self-driving automobile has that also pass this information along to the vehicles K.I.T.T. happens—and raises new questions was conceived as artificial intelligence on four to be one of the chief protagonists in our urban sce- behind it. And keep in mind: an individual automo- In addition to enactment of a legal framework and wheels, as a self-driving buddy Michael Knight could narios. Carmakers are currently predicting that fully bile will be only one of many nodes in the extensive implementation of suitable infrastructure, a factor summon via a wrist-worn device that resembled a autonomous vehicles will already be among our fel- communications network of robotic vehicles con- that should by no means be underestimated is that Smart Watch to bail him out of a jam. low motorists between 2025 and 2030. Accordingly, stantly sharing information with each other. these usage scenarios of completely autonomous

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mobility also presuppose a high degree of trust on instance, we want it to go park itself? And for that well as to develop concrete design & interaction effort with Mercedes-Benz was to enable a human the part of users. Of decisive importance here is matter, what sort of content do we even have to approaches that can serve as the basis for actively motorist, cyclist or pedestrian to tangibly feel the effective human-machine communication, which communicate to such a car, and, conversely, what configuring human-automobile communication in shared space that, someday soon, will be populated has to function error-free all the time. If human do we want it to tell us and when do we want to the future. The Ars Electronica Futurelab’s research by human beings and mobile robots. The point is users and their wishes and needs, as well as any hear it? Ultimately, this is a matter of developing team is, as always, characterized by its transdisci- to play out various interaction scenarios that could concerns they might have, are to occupy the focal a bilateral repertoire of signs, a human-auto par- plinary makeup and the capacity to combine artis- well be occurring in big-city traffic by 2030. As an point of these technological achievements, then, lance that’s so intuitive, clear and unequivocal that tic approaches with technological competence and initial approach to this assignment, the Ars Elec- aside from addressing purely technical issues, we any child can instantaneously ascertain whether an expertise in the social sciences. On this project, it’s tronica Futurelab created two interactive test envi- will have to deal with a lot of novel questions having approaching vehicle is a manually-driven model or working together with Mercedes-Benz’s divisions ronments that can be made available to the general to do with how we perceive mobility robots in urban an autonomous one, and whether that child has that have been assigned the task of developing public at events. public spaces, with the subjective experience of been recognized as a human being and can safely autonomous concept cars—among them, Future security and control on the part of human motorists, cross the street. Studies, Advanced UX Design and Research Commu- Settings in which to experience futuristic and with intuitive mutual understanding between nication. Since there currently exists no real-world mobility a human being and a robotic car. What effect will a Transdisciplinary research on something that proving ground for interaction among human beings For the first Shared Space experiment conceived driverless taxi have on the urban social fabric when doesn’t exist yet and robotic autos, it quickly became clear that the collaboratively with Mercedes-Benz, we deployed it’s not just a one-of-a-kind phenomenon but part These are the sorts of issues that are currently being investigation of issues these various divisions the Spaxels, a swarm of computer-controlled, LED- of a whole swarm of self-driving vehicles? How are confronted in the context of a transdisciplinary are facing calls for new experimental approaches. equipped quadcopters developed by the Ars Elec- pedestrians and cyclists going to handle sharing the project at the Futurelab, Ars Electronica’s in-house After all, aside from occasional tête-à-têtes with tronica Futurelab. Thanks to their ability to fly at up streets with these smart contrivances? Do we want R&D facility, where a lively exchange of views with vacuum cleaner & lawnmower robots, most people to 60 kilometers/hour at an altitude of about four to issue commands to tomorrow’s robot autos in a Mercedes-Benz has been going on since 2013. The still have no experience with how it even feels to be feet—and thus shoulder-high to a test subject—they verbal language, through the use of gestures, via aim of this collaboration is to make it possible to surrounded by autonomous machines. Thus, one of served as workable “avatars” of autonomous vehi- haptic interfaces or by some other means when, for actually experience robotic mobility scenarios, as the initial assignments in this collaborative research cles. In an 8x8-meter, camera- & sensor-studded

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interaction space, the Spaxels depicted various traf- the designated no-go area. This also served as a fic scenarios and communicated with the people in setting for the simulation of various crosswalk sit- its immediate surroundings via light signals or pre- uations in which the approaching robots not only defined maneuvers. The human interactors, in turn, indicated whether and where they had detected a could “talk” to the quadcopters by means of a haptic human pedestrian but also displayed their assess- interface called a “magic car key” or by physical ges- ment and intention in the form of zebra stripes pro- tures—for instance, summoning it with an upraised jected onto the street surface. arm or directing it in a particular direction to a park- ing place by pointing a finger. Even though commu- Basic vocabulary for communiqués between nication via gestures entails numerous challenges— human beings and mobile robots of which cultural differences and interpretational The two interactive test environments set up jointly problems in cases of a suboptimal camera angle are by the Ars Electronica Futurelab and Mercedes-Benz only two—very simple arm & finger motions such as manifest an innovative approach to answering ques- a vertical, outstretched palm meaning “STOP!” have tions having to do with human-auto communication proved to be an intuitive, viable form of communi- in the future. This effort has already yielded initial cation. In any case, it’s absolutely essential that the insights that are being applied in the interaction mobile robots speak in unmistakable terms when design of robotic cars such as the innovative Mer- they have something to say to us. Proactive com- cedes-Benz F 015. In comparison to virtual research munication by self-driving cars—early warnings of & simulation environments, the robotic experience states, processes and upcoming maneuvers issued space the Futurelab has come up with is particularly by the computer system—will constitute an essen- distinguished by its high degree of hands-on qual- tial precondition for pleasant human-machine coex- ity, and by the kinetic energy and tangible physical istence. In an interactive scene designed to simulate impact of the robots deployed in it. Nevertheless, a pedestrian crosswalk, visitors to the Spaxels test this represents only the initial stage of a necessarily environment were called upon to cross a quadcop- long-term confrontation with the many issues that ter’s intended flight path, whereupon the simulated fully autonomous mobility raises for the configu- vehicle reacted in a timely manner by issuing an ration of future human habitats. Accordingly, the LED signal acknowledging the person’s presence process of cooperation between the Ars Electronica and announcing its intention to brake. A second Futurelab and Mercedes-Benz will continue beyond test environment dubbed Shared Space Bots was the 2015 Ars Electronica Festival. High priority on set up with six specially developed terrestrial robots, the to-do list prior to the introduction of completely each of which could be augmented by projections autonomous vehicles is developing a standardized onto the ground. This made it possible, for exam- “basic vocabulary” which provides for bilateral ple, to display the otherwise invisible sensor field human-car communication that functions quickly and the route that the robot had just taken. Here, and securely. This isn’t meant to pave the way for an upward-pointed LED eye and an LED wreath autonomous mobility machines to replace human encircling the robot’s outer shell enabled it to issue beings, but rather to become user-friendly tools that current status reports. The point of this installa- deliver convenience in everyday life and on the job. tion was to let observers experience a metropolitan We are jointly striving to make an important con- mobility zone in which human beings and auton- tribution to enabling high-tech mobility in the city omous vehicles interact considerately, as well as of the future that puts the needs of city dwellers to explore concrete interaction concepts in quite in the focal point of planning initiatives. And this a practical way. Based on current ideas for future is completely in accord with the interdisciplinary urban settings, test participants could, for example, approach employed at Ars Electronica, which has position four reflective demarcation objects to stake always entailed considering emerging technologi- out a protected sector of the proving ground, which cal developments not as discrete phenomena but the robots automatically recognized as a Human rather in conjunction with their artistic and social

Zone and then continued on a route that bypassed potentials and challenges. Mercedes-Benz

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gressive formal vocabulary. The total integration already much more than just means of transpor- of the Space Flow silhouette is revolutionary. An tation, and in the future they’ll develop even more emphatic line runs from the grill over the roof to strongly in the direction of a mobile habitat. Since the rear end, integrating the classic components of the autonomous vehicle relieves the driver of duty hood, interior and trunk into a single unit,” is how in situations in which motoring isn’t much fun— head designer Wagener described the vehicle’s con- heavy traffic, for instance—it imparts a real qual- tours. The body is visibly tapered, and large areas of ity upgrade to time spent in the car. Passengers in the exterior shell are nothing less than taut. The F self-driving vehicles can take advantage of the free 015 dispenses with the classic B (center) pillar, and time gained thereby in a variety of ways—relaxing, the two doors on each side open out in opposite working, whatever. directions at up to 90° to thus provide spacious, An essential idea of this concept car is ongoing passenger-friendly entry and exit. exchange of information among the vehicle, the The extravagant exterior isn’t stylish for its own passengers and the environment. Serving this sake, though; it’s the expression of a radically new purpose are six displays installed throughout the automotive architecture. Within the vehicle, auton- interior—harmoniously in the dashboard as well as omous motoring frees up plenty of space that can on the rear & side walls. The interior thus becomes be utilized to excellent advantage. This manifests a digitized, active space in which passengers can itself especially in the four-seater’s interior, where use gestures or physically touch the high-definition a strict front & back row setup for driver and pas- displays to intuitively interact with the networked sengers is a thing of the past. Four swivel seats vehicle. Built-in sensors recognize passengers’ hand enable those on board to face one another just as motions. There are also conveniently located user they would in a lounge. A steering wheel is no longer interface surfaces that make appropriate options the focal point of the interior furnishings; instead, it available in any particular situation. Jürgen Weissinger emerges from the dashboard when its services are But that’s not all: the F 015 also features large-for- needed. If manual mode is desired, the driver can mat communications displays on the front and rear Time Travel into the Future swivel his seat forward to keep his eye on the road. of the exterior to exchange information with the Automobiles manufactured by Mercedes-Benz are outside world. For instance, this prototype vehicle

The Golden Gate Bridge, cable cars and Fisherman’s Whereas, in the case of many autonomously-driving Wharf—San Francisco’s sights are world-famous. test vehicles, the automotive revolution is happen- But an attraction of a very different sort was mak- ing far from the inquisitive eyes of spectators—a ing headlines there this spring. “SF goes crazy driver takes his hands off the steering wheel of a snapping pictures of driverless future car spotted conventional-looking car—the F 015’s futuristic look on city streets,” reported CBS Online. And the Ger- makes it clear that this is the shape of things to man magazine AutoBild wrote: “When Mercedes’ come. “With its eye-catching exterior, the F 015 F 015 cruises the streets of San Francisco these days, Luxury in Motion signals its pioneering character traffic comes to a standstill while the memory cards at first glance,” emphasized Gorden Wagener, Vice of pedestrians’ camera-equipped cell phones fill at President Design Daimler AG. high speed.” A visionary concept packed in a visionary design— Among the little cable cars climbing halfway to the the monocoque construction makes it look like stars, the new star is an autonomous vehicle, the a totally integrated unit. Even the proportions F 015 Luxury in Motion. Photo and video recordings (length/width/height: 5,220/2,018/1,524 millime- made by Mercedes-Benz in the Northern California ters) are extraordinary: The F 015 is as long as a metropolis document a road trip into the future. luxury sedan and as low-slung as a sports car. The Driving down Columbus Avenue or Market Street low front end, streamlined roof, flat windshield and in the heart of downtown, this concept car gave a deep-set stern endow the prototype vehicle with a photo-realistic preview of what urban mobility just dynamic silhouette. “The F 015 Luxury in Motion’s

might look like in the year 2030. spatial configuration bespeaks an extremely pro- Mercedes-Benz

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uses the color of these LED fields to signal which of the greatest innovations since the invention of mode it’s in: blue stands for autonomous, white the automobile.” means manual. When the F 015 detects a pedestrian Self-driving cars also open up completely new at the curb, the LED grille displays a wavelength to options for the configuration of urban infrastruc- confirm awareness of the pedestrian. ture. For example, city planners could institute As a considerate motorist, the F 015 even gives special security zones that are modeled on today’s pedestrians the right of way. For instance, if a downtown environmental zones and are off-lim- pedestrian indicates that he/she would like to cross its to vehicles other than self-driving cars. Streets the street, the F 015 stops and checks in all direc- could be made narrower and traffic signage reduced tions to make sure it’s possible without danger. If to thus free up valuable space in densely popu- so, the car uses a high-precision laser system to lated megacities. Relegating autonomous vehicles project a virtual crosswalk (so-called zebra stripes) to parking lots on the outskirts of town is another onto the street surface and also emits an audible way to regain coveted real estate. For the F 015, pro- message (“Please go ahead”) to let the pedestrian grammers developed a “Pick me up” app to instruct know it’s safe to cross. a self-driving car parked on the edge of town to turn The information that makes this possible is deliv- up at a specific place and time. ered by a 360° sensor configuration. “The stereo Are these just fantasies of a distant future? Vehi- cameras, radar and other sensors don’t miss much, cles made by Mercedes-Benz are already capable and they never become inattentive or tired. Plus, the of recognizing many dangerous situations in traffic vehicle is online and thus constantly derives current and reacting to them in an appropriate way—such information from the internet, including informa- as by automatically braking. Many Mercedes-Benz tion about things occurring beyond the range of the models from C- to S-Class already drive semi-au- vehicle’s sensors. All of these data are combined, tonomously in traffic—for example, with the help assessed and appropriately interpreted. We call this of DISTRONIC PLUS with steering assistant and Intelligent Sensorfusion“, explained Thomas Weber, Stop&Go Pilot that can semi-autonomously inch member of the Board of Directors of Daimler AG, and forward in traffic jams. The Active Parking Assistant the man responsible for company-wide R&D and with PARKTRONIC provides for active steering and Mercedes-Benz Cars development. braking interventions that enable the automobile The drivetrain technology as well points the way to park itself—including parallel parking and pulling towards the future. The F 015 Luxury in Motion into a diagonal space. was conceived in such a way that an electrical drive In August 2013, Mercedes-Benz impressively system using fuel cells can be integrated into it. demonstrated that autonomous driving is already This is based on the trailblazing F-CELL PLUG-IN possible, even in complex big-city traffic and on the HYBRID used in the F 125! concept car developed interstate. Before going into serial production, the in 2011 and combines on-board electrical current Mercedes-Benz S 500 INTELLIGENT DRIVE went for production with an especially high-output, com- a completely autonomous spin from Mannheim to pact, high-voltage battery. For hydrogen storage, Pforzheim, the same approximately 100-kilometer this concept calls for a high-pressure tank made of route on which, in 1888, Bertha Benz took the first carbon-fiber-reinforced plastic (CFRP). long-distance trip in automotive history. So the inventor of the automobile is now in the This pioneering drive in late summer two years ago process of reinventing it. Just as the Benz Patent- likewise made headlines. In comparison to the Motorwagen replaced the classic carriage in 1886, F 015’s recent appearance in San Francisco, only a the first self-driving cars are launching a radical few passers-by on the roadside whipped out their upheaval of their own. “Whoever thinks strictly in cell phone cameras to capture that historic event— terms of technology has yet to recognize how auton- after all, it was only an inconspicuous S-Class car

omous motoring will change our society,” explained that was successfully mastering complex situations Mercedes-Benz Dieter Zetsche, chairman of the board of Daimler AG such as traffic circles, bottlenecks with oncoming and director of Mercedes-Benz Cars. Thomas Weber traffic in villages, and “whose right-of-way” situ- summed this up nicely: “Autonomous driving is one ations.

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the open-source square El Campo de Cebada 6 in the Future Catalysts is a joint project between Ars Elec- center of Madrid was created on a fenced-off site as tronica and Hakuhodo. As Future Catalysts, our goal a result of community participation in city planning. is to be the catalysts that create the future of Jap- In fact, cities are no longer designed top-down; new anese industry, administration, and local commu- city landscapes are created through the inspired nities. As a focal point for cutting-edge creativity visions of participatory citizens who share their relating to the future of society in art, technology individual knowledge and skills to meet social chal- and science, Ars Electronica has offered concrete lenges and co-create their city with industries, the ideas for the future derived from the intersection government, and cultural organizations. of various fields of creativity since 1979. Hakuhodo The Post City Kit Initiative aims to create a platform brings together industry and society by carefully to meet, exchange and create visions together for studying sei-katsu-sha, its term for real people with the Post City Kit. People all over the world can com- real lives, the essence of the modern world.

Shingo Mitsui pare their reasons for creating their Post City Kits, We at Future Catalysts go beyond traditional frame- what they contain, and how they can be used in their works in utilizing and synergizing our respective Post City Kit own city, and it promotes the exchange of ideas for experiences, specializations, and creativity to iden- solving local issues and global common issues. In tify creative questions for designing the future and Initiative by Future Catalysts Hakuhodo x Ars Electronica addition, the platform functions as an experimental producing new creative solutions for various issues environment to practice and to deploy the Post City facing society. The Post City Kit Initiative embodies The Post City Kit is a collection of ideas, strategies, City Kit. For example, the fabrication of a The New Kits. The name Post City Kit implies that this initia- the idea of the Future Catalysts for our cities. 2 tools and prototypes to enhance our cities. A kit, in York Times Special Edition with news stories offers tive will provide people with the “tools” to develop Text: Hideaki Ogawa, Ars Electronica + Kazuhiko Washio, general, means any collection of items or compo- an inspirational vision of the future city. Or Ars Elec- their creative ideas. Hakuhodo nents needed for a specific purpose1. And so what tronica’s Shadowgram 3, an interactive installation At Ars Electronica 2015, the Post City Kit—the second 1 Kit—Wikipedia, the free encyclopedia. Retrieved from does the kit for the cities of the future look like? that engages visitors in social brainstorming and project by Future Catalysts Hakuhodo x Ars Elec- https://en.wikipedia.org/wiki/Kit A city is a place of ongoing social experiment for produces a silhouette of the visitor, which is then tronica—prototypes the platform, focusing on four 2 Ars Electronica (2009). The New York Times Special survival, an organic and creative system formed in printed out and added to the big picture, while the themes: Future Mobility, Future Work, Future Edition. Prix Ars Electronica Award of Distinction 2009. a specific time and place. Holistically, a city rep- visitor writes personal ideas on current social issues Citizens, and Future Resilience, which feature in Retrieved from http://www.aec.at/humannature/ cyberarts/the-new-york-times-special-edition resents the culture, society, and politics of the age, in speech balloons next to their silhouette. The city interactive exhibitions, discussions, workshops and 3 Ars Electronica Futurelab (2013). Shadowgram. and today’s digital age has transformed the life- of Linz has used this tool to encourage community performances. Based on the prototype of the plat- Retrieved from http://www.aec.at/solutions/en/ style, the ways of communication (e.g. the internet), participation in city planning processes. Goteo4 is an form, we are planning to apply the platform concept shadowgram/ and the opportunities for community participation open crowd-funding and crowd-sourcing platform to many other cities in the world. In the process of 4 Platoniq (2012). Goteo. Prix Ars Electronica Award of Distinction 2014. Retrieved from http://prix2014.aec.at/ of those living in cities. So what will the citizens of and project that specializes in collective funding realizing this framework in different cities, the Post prixwinner/12349/ the future look like? for society, culture, and education. Kibera, a vast City Kit Initiative will become a creative driving force 5 Map Kibera Trust (2010). Map Kibera. Prix Ars Researching the case projects of Ars Electronica slum in Nairobi, Kenya, was a blank spot on the map to mirror both site-specific issues and solutions for Electronica Award of Distinction 2010. Retrieved creations and some winning artworks from Prix Ars until young Kiberans created the public digital Map all cities. from http://archive.aec.at/prix/#18741 Electronica, we could find hints for forming the Post Kibera 5, which has revitalized the community, and 6 El Campo de Cebada (2010). El Campo de Cebada. Prix Ars Electronica Golden Nica 2013. Retrieved from http://archive.aec.at/prix/#48584

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Shunji Yamanaka, fuRo—Future Robotics Technology Center Halluc IIx

fuRo—Future Robotics Technology Center ILY-A

ILY-A is a three-wheel one-person compact electric mobility vehicle that transforms into four configu- rations to meet the needs of a wide variety of situ- ations. The ultra compact body is about the size of a baby stroller and contains all-new robotics-based intelligent safety technologies. It recognizes all stationary and moving objects, e.g. a person or an obstacle suddenly coming into view, and automat- ically reduces speed and controls the brakes. It is a neo-futuristic vehicle that will serve as futuristic “legs” for people of all ages, from youths to active seniors, supporting their locomotion and activities in a wide range of scenes. With ILY-A, we propose a lifestyle with a greater range of activities and strive Like Hallucigenia I, Halluc II is a robot/vehicle that to establish this vehicle as a new standard tool for can cope with the natural and rough environment. people’s everyday life. It features a newly developed ultra-multi-motored system with 56 motors, which makes traveling on uneven surfaces possible and eliminates the need for paving. It has three different movement modes: vehicle, insect, and animal. The fusion of humanoid robot technologies and automobile technologies make the unprecedented mobility of Halluc II possible. Although Halluc II has been demonstrated at international venues such as DESIGN INDABA in South Africa, Ars Electronica in Austria and Miraikan in Japan, this is the world premiere of the newest creation of the Hallucigenia project, Halluc IIx. Concept and Design: Shunji Yamanaka System Design and Engineering: fuRo (Future Robotics Technology Center) at Chiba Institute of Technology

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Otto Bock Healthcare Genium—Bionic Prosthetic System

takram design engineering , fuRo—Future Robotics Technology Center © Ottobock © Ottobock ON THE FLY The innovative Genium leg prosthesis system offers ON THE FLY is an innovative infotainment system for the first time the opportunity to walk with a gait which integrates paper with digital media. As soon that is incredibly close to the natural physiological as you place a plain sheet of paper on the table, one. Innovative functions, such as optimized physi- letters and moving images emerge, as if by magic. ological gait (OPG), stairs and stance functions, give Design and Development: Hisato Ogata (takram design the user more freedom of movement and make it engineering) easier to handle daily activities. Collaboration: fuRo (Future Robotics Technology Center) at Everything happens in real time—and certain situ- Chiba Institute of Technology and Shunji Yamanaka (L.E.D) ations are even anticipated. Thanks to the latest Sound design: Keiji Matsui in microprocessor, sensor and control technology, using the Genium is straightforward, intuitive and incredibly flexible. This results in surprising move-

ment possibilities for you: safely walking backwards, © Ottobock climbing stairs step-over-step, balanced standing even on inclines, and much more. Everyday mobility and quality of life have been entirely redefined.

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formquadrat D-Dalus: A New Way of Traveling

The D-Dalus is the “enfant terrible” of the aircraft ter. Stability and the aerodynamics are enhanced industry with outstanding and surprising new flight by these rotors, and the back wings are mounted Johammer features. The dream of flying has been around since much higher in order to ensure better airflow, thus time began—but the D-Dalus can do more than just creating a free entry and exit area. A further security J1 Electric Motorcycle

fly … It can also start and land vertically, float, and plus is that the D-Dalus has no freestanding rotors G. Zeidler turn on its axis. When the engines are switched off like a helicopter. The unmanned D-Dalus drone has for a fraction of a second, the D-Dalus can even suc- already seen a real ”lift off“, the manned version is a The J1 Electric Motorcycle is a futuristic electric maintenance is required. A very special advance- tion itself onto the landing surface, thus enabling it concept with 4 seats measuring approx. 8 x 8 meters cruiser with innovative energy technology and first ment has been made in battery pack development to land on ships or other planes. at just over 2 meters high. series motorcycle with a range of 200 km. A Joham- and the extremely torsion-resistant aluminum main Thanks to the new four cyclogyro rotors, which are http://www.iat21.at mer bike not only looks different, it really has been frame accommodates the shock absorbers and located in the wings and connected to each other, http://www.formquadrat.com designed from scratch and offers unique EV mobil- battery pack. The J1 Electric Motorcycle embodies it can fly vertically—just like a helicopter—and has a ity and technical features. The electric motor and perfect synergy in terms of weight, stability and significantly better forward flight performance, and Inventor: Meinhard Schwaiger, IAT21 GmbH controller are integrated into the rear wheel, so no function. is far quieter and more economical than a helicop- Designer: Julian Pröll, formquadrat gmbh http://www.johammer.com

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Peter Moosgaard Cargo Cult Segway Bernhard Garnicnig Lang Manfred Fotostudio

Hannes Langeder Fahrradi Farfalla FFX

Indigenous tribes on the remote island of Tanna weapons to throw off colonialist oppressors. The Following the tremendous success of the prede- it is possible to lift off slightly from the ground at in the South Pacific nation of Vanuatu built giant cargo cults are strange mockups of imperialism, cessor object Ferdinand GT3 RS, the current model all times (= anti-gravitation). An even better venti- airplanes from wood and carved headphones and and at the same time the preservation of old tradi- Fahrradi Farfalla FFX is an attempt to further lation of the interior is a side effect. The next inno- radios from bamboo—and they await the arrival of tions. But is the cult today for real or just an act for develop the concept of the mimicry encasement vative step was the attempt to further constrain the a messianic serviceman called John Frum. The rep- tourists and anthropologists? It does not matter; based on muscle-driven drive technique (muscle already extreme slowness of the predecessor Fer- licas of western technology are supposed to attract it is about The Tale of the Cargo, which rings true car) in an evolutionary manner. Unlike Ferdinand, dinand through an even greater transmission ratio. US airplanes carrying a cargo of material treasures on so many levels. The cult of the cargo is almost however, the Fahrradi is not a copy of an existing car This makes the Fahrradi a serious rival for pedestri- and bringing happiness and prosperity to the island exactly reflected in our world: We perform mean- model, but rather the anticipation of a future top ans in street traffic as well. By (Austrian) law, the and its people. The villagers copy the devices and ingless routines we call work, in the hope of future model of an actually existing automobile brand. The Fahrradi can be driven at any time on public streets. the routines of US soldiers, who descended on the cargo. We possess the technology that can take external form of the vehicle is the result of Internet Nighttime use is ensured by a modern lighting sys- islands with apparently endless supplies of material us to the moon but we write LMAO. The western research into various real and fictive design ideas tem based on approximately 200 ultra-bright LEDs. goods—which they did not have to work for—during world itself is a giant cult concerned with replicat- about how this vehicle could look, but also our own Along with the Ferdinand GT3 and the Veyron WWII. These mockups may give rise to laughter, but ing things that somehow worked—dressing in suits, design ideas and, not least, a substantial portion UC, the Fahrradi is part of the racing sport team did the soldiers truly understand their technology, using buzzwords ... of clairvoyance. MT RACING, founded in 2011. MT—Mikadotrochus their big global agenda? In Peter Moosgaard’s artistic practice the longing Another substantial difference to the predecessor (Latin) or Millionaire’s Snail avoids shallow waters. The cargo shaman Chief Isaac once said: “You build for god-given goodies on the horizon—the use of art model is a built-in butterfly mechanism. An angle The habitat of this snail in the depths of the ocean your plane too and wait in faith. The waiting is the & technologies we don´t understand—constitutes a gear attached to the rear axle moves the wing doors is so difficult to access that it makes this individual hardest part.” According to some shamans in the parable of great desire. while driving, resulting in a wing beat similar to that an extraordinary delicacy. past, the planes they awaited would also bring of a butterfly (Farfalla in Italian). This ensures that http://fahrradi.han-lan.com

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University of Art and Design Linz + Kuka Robots in Architecture Kuka

Hiroo Iwata Big Robot Mk1 Association for Robots in Architecture Robots Association for

Large-scale humanoid robots, such as Gundam The Big Robot Project in the PhD program in Empower- The Association for Robots in Architecture was exhibits will include numerous prototype applica- or Macros, are popular in Japanese animation and ment Informatics, University of Tsukuba, aims to founded in 2010 by Sigrid Brell-Cockan and Johannes tions, especially in the field of architecture. Manga. What if such robots appear in the real develop the world’s largest robot in which a pilot Braumann as a research consortium in applied cre- A highlight of these presentations will be the intro- world? Those robots are used in battlefields in can ride and move. The Big Robot Mk1 has two legs ative robotics. In cooperation with the Institute of duction of the first sensitive lightweight robot iiwa fictional stories. However, large-scale humanoid with wheels attached at the bottom, and the pilot is Industrial Design and Creative Robotics, University which is suitable for industrial applications. iiwa robots in the real world are highly vulnerable and positioned 5m above the ground. The pilot controls of Art and Design Linz, and German robot manu- (intelligent industrial work assistant) features flex- so fragile that they cannot be used in battlefields. the robot’s movement forward by moving his or her facturer Kuka, ideas and projects will be presented ible, sensitive mechanics and drive technology that On the other hand, the existence of real large-scale own feet. The robot is programmed to follow the at this year’s Festival, that demonstrate how robots will facilitate a new form of working partnership robots may inspire courage in the audience. Thus, it path of a 5m tall humanoid. Thus, the pilot feels as can be put to good use in design and production between humans and machines. has potential as an art form. if he or she has the body of a 5m tall giant. processes by those working in the creative field. The

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FESTO AG eMotionSpheres Collision-free Motion of Autonomous Systems in a Space © FESTO AG & Co.KG AG © FESTO © FESTO AG & Co.KG AG © FESTO © FESTO AG & Co.KG AG © FESTO

With the eMotionSpheres, Festo shows how several to flying objects. Ten cameras installed in the space flying objects can move in a coordinated manner record the spheres via their active infrared markers and within a defined space. Whether individually or and pass on the position data to a central master collectively—even in chaotic situations, there are no computer. The actions calculated from this process collisions as the spheres move out of each other’s are sent back to the spheres, which then implement way. Each of the eight spheres is filled with helium them locally. The intelligent networking system cre- and is driven by eight small propellers that are ates a guidance & monitoring system that could be attached to their outer shell. The drives are adaptive used in the networked factory of the future. and supply the same efficient thrust in a forward http://www.festo.com/cms/de_corp/13705.htm and reverse direction, which is a first when it comes © FESTO AG & Co.KG AG © FESTO

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Rintaro Shimohama, Naoki Nishimura, Shinya Wakaoka Noramoji Project

IDPW Internet Yami-Ichi

Internet Yami-Ichi (Internet Black Market, Yami also doesn’t strictly comply with the most stringent implies “sick for” and “addicted to“) is a flea mar- copyright policing, privacy and security standards ket-style event to sell and buy internet stuff face- for everyone. Maybe we don’t want our every activ- to-face. If virtual reality (the internet) represents ity on-line to be observed. The internet we used to the legal market for trading goods and services, enjoy for the freedom it gave, is gradually metamor- then “reality” can be understood as the black mar- phosing into a very restrictive place. ket, although there’s nothing illegal going on here. The Internet Yami-Ichi exemplifies our inalienable Target group and potential participants is anyone right to turn off, log out, and meet up, in a new who has had meaningful experiences on-line which space for exchange. All the richness of the internet The Noramoji Project is a Website and an Open- profits generated by the sales are given back to the he or she would like to share off-line. was put there by us. Everything that we enjoy(ed) source project. The old fonts used on the signs of owners of the original signs, helping to support Accompanying the global spread of internet (and on-line can be enjoyed off-line too. We want to local stores may not be as sophisticated as a pre- their maintenance for future generations, passing the mobile phone network) infrastructure and communicate, exchange and enjoy our relationships cisely designed commercial font, but these “stray on the scenery of regional towns and cities, and the communication possibilities it offers, various according to individual “values,” unmediated, face- letters” (Noramoji) still have their own unique creating what we might call a typographic folk art on-line communities and cultural forms are con- to-face. This is the genesis of the Internet Yami-Ichi. charm. This project’s starting point was the desire movement. During the Ars Electronica Festival, the tinuously developing. The emergence of social net- Like the early internet, the Yami-Ichi atmosphere to rediscover and archive the charm of these signs, Noramoji Project is linking Ars Electronica with Japa- works and the rapid sale of smart phones—on-line is rich with irony and humor. The best of what we from their design to their antique-like craftsman- nese Shops. T-shirts bearing designs based on shop by default from mid 2000—have made our off-line share and exchange at the Yami-Ichi is witty, playful, ship and the aging of materials. The “stray letters” signs will be displayed at Ars Electronica. Visitors lives increasingly dependent on our on-line lives. provocative. Whether data, memory, internet-in- discovered through the project are analyzed and will be able to take a T-shirt home in exchange for a Some people feel uncomfortable with this level fused fashions, using a recipe found on the internet then converted into usable computer fonts. By donation to the shop concerned, thereby linking Ars of connectivity, and the extent to which society is to cook, or selling and buying—these things are so then distributing the font data online, more peo- Electronica visitors to the shops in faraway Japan. dependent on this infrastructure necessitates the easy to do on the internet but much more difficult ple can learn about the fonts on the old signs. The The Noramoji Project will establish a donation cycle. establishment of stricter internet rules compared in real life. What is actually on view, and partici- Supported by Japan Media Arts Festival to the relative freedom we enjoyed in early on-line pated in, are the attitudes and ideas of our evolv- culture. Maybe we are over-sharing on SNS. Maybe ing understanding about what post-internet values we don’t want to format our social networks so that are exactly, in a creative and spontaneous and fun they are easier for corporations to mine. Maybe we environment. want to watch videos or visit sites whose content

110 111 POST CITY KIT Jochen Zeirzer

Volksgarten Volksgarten—What gives somebody the right to Welcome home—Buses from abroad are welcomed. persecute refugees a second time round?

The Trinity Session—Stephen Hobbs and Marcus Neustetter nesburg, while in Linz. My German speaking, male Renaming the City whiteness was just as alienating in the refugee and migrant circles in Linz—I was not painted with the

brush of the tourist, but of the local, that might or Neustetter Victor When I first walked through the Volksgarten in Linz of the Chinese restaurant or Kebab store on the might not be accepting of the foreigner. I did not hear any German being spoken. Yet the sto- Hauptplatz? Can we imagine a future where a city’s Back home we look to the public spaces in which ries on the local news detailing the grim experiences commitment to global growth and integration will we operate and we try to make sense of how these of refugees and migrants living in Linz stood in stark be measured through the way in which they wel- spaces exemplify the layered history of our country, contrast to the diversity I was experiencing in this come the newcomer into their public spaces? It will a sense of ownership, control and alienation. Our public space. It reminded me of home—Johannes- start to define a city’s wealth not for its infrastruc- artistic interventions in public have helped make burg, South Africa—where overt xenophobia is felt ture and its economic boom, but for its tolerance, sense of these charged spaces. These interven- in everyday mistreatment of foreigners that culmi- engagement and cultural diversity. Dialogues held tions are both in the creation of permanent public nates in regular violent outbreaks. Sadly, our South with immigrants in Linz produced both grueling artworks, as commissioning agents for the city, as African borders and behaviors have come to send tales of an arduous journey, as well as positive anec- well as temporary activations towards our own prac- a strong message of rejection, in a time of great dotes of the support they have received. However, tice. Each project gives rise to new opportunities need, to the people of the nations that so gener- it is apparent that we still seem to be a long way for engaging the new inhabitants of the city and ously accepted and aided our exiled community. My from the welcome we would like to receive if the getting to know our own neighbors. experience in the Volksgarten highlighted connec- tables were turned. Bordering on social practice and cultural activism tions between the South African apartheid experi- Both Stephen and I are white born South Africans these artistic interventions help illustrate a future ence which, much like the Austrian Nazi history, lin- with European family roots. South Africa is home. reimagining of public space as a host for various gers on in subjective memories, through continued Johannesburg is home. Yet, with the changing pop- cultural activities. Witnessing Johannesburg change spatial injustice, and in pervasive othering. Indeed ulation in our city—from black South Africans that as a city has provided much inspiration in exploring it is this that drives our artistic practice of socially moved into the city at the end of Apartheid and the other options and tools for meaningful engage- engaged public art towards understanding whether more recent influx of refugees and migrants from ment and creating a sense of city ownership for its there is a utopian inevitability of global integration. the continent—we are suddenly considered the tour- diverse public. On a national level, streets, parks, Is it that far fetched that the Champs-Élysées in ists in certain spaces of our city. While we constantly and public areas, are being renamed to celebrate Paris will one day host the cultural attractions of question our presence and foreignness in a radically local post-apartheid heroes and to attempt to cre-

a francophone African city? Or that foreign culture changing space, I did not expect to be reminded of ate new identification with the very public spaces Neustetter Victor and integration will need to go beyond the cliché the questions I ask myself on the streets of Johan- that were once only accessible to a few. Volksgarten

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forces locals to engage and include those that are tunities to play with different parts of the park. often marginalized. In developing the relationships Representing it so much larger and more real than with communities that have had to struggle with the Hauptplatz in the map elevates its importance. acceptance in Linz, leading up to the festival there In addition, it magnifies the people in it, as cultur- will be attempts to connect through positive ges- ally diverse as they are, with their daily activities tures. One of these gestures originated in the real- and exchanges. As part of the Post City Volksgar- ization that many immigrants leave their homes ten experience, visitors will be able to contribute in Linz during August to holiday in their previous to the space by sharing their ideas for new names homes. On their return, they will be met with per- of the paths. This will become a collection point of sonal gestures of welcoming by strangers—volun- public squares and street names emanating from teer Linz inhabitants. “Welcome home” signs in various languages, cities and personal references languages appropriate to the arriving travelers will and journeys. be held by local people offering a warm handshake These choreographed acts are a small attempt at or maybe even baked goods to a surprised neighbor re-imaging the future city, not in the sense of futur- who has never experienced welcoming in the city istic buildings and transport systems, but in simple before. gestures of naming ones everyday space, fostering For the festival, Linz will be mapped out in the large a sense of belonging and ownership to that space, Post City venue. It is the artists’ intention to ”cap- and forging neighborliness between global citizens. ture” a piece of public space and present it in this Text: Marcus Neustetter venue. The focus area of our renaming exercise, the Volksgarten public park, will feature in the space not The Trinity Session—Stephen Hobbs and Marcus Neustetter only as a drawing on a map, but as a feature to be (Johannesburg, South Africa) With the contribution and collaboration of Jochen Zeirzer, experienced. The mirroring of this “captured” space PANGEA | Werkstatt der Kulturen der Welt, Integrations- within the building, hopes to draw attention to the büro der Stadt Linz, and the broader network of the real park and its activities, as well as create oppor- participating immigrant organisations and Linz community.

Borderless, live action, 2011. The stark juxtaposition of the wealthy Sandton Central and Alexandra Township is most demonstrative of the social, economic and racial inequalities in the city. By marching goats, an infinitely valuable commodity in the township, to the 5 Star Michelangelo Hotel in Sandton City, the performance provoked reflection on the origins of the xenophobia attacks of 2008.

Our project for POST CITY—Habitats for the 21st Cen- tury, responds to these very conflicts. It attempts to bring some of our processes for engagement and place making from home into a context that faces similar challenges. The primary intention of our proj- ect is to permanently rename the pedestrian roads in the Volksgarten. The new names will be based on incorporating names proposed by immigrants in Linz—a symbolic act that hopes to establish a Ataya—West African Tea Ceremony, Johannesburg/Paris 2012–2013 social and political consciousness around ownership The saying in Africa: If you are lost, sit down and make tea, serves as a starting point for Hobbs/ Neustetter’s public and inclusivity. This act is not only a conceptual link tea ceremony actions with west African immigrants. Taking up to 2 hours to produce three stages of tea, the attendant back to the transformations of public spaces where conversation between friends and strangers often matures equally. For Hobbs/Neustetter, ataya serves as a form of “urban we come from, but an outcome driven process that acupuncture”; raising questions in situ, about the potential for change. Since 2012 these interventions have happened Streets in Johannesburg are renamed. in francophone immigrant neighborhoods from Hillbrow, Johannesburg to Saint-Ouen, Paris.

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University of Tsukuba + Ars Electronica Futurelab

Ars Electronica Futurelab Post City Kits from the University of Tsukuba Focus In the Ars Electronica Futurelab Academy, experts from Ars Electronica’s research laboratory mentor students who are working at the nexus of art, technology and society at eminent international partner universities, opening a field of creative exchange across cultures and disciplines. During the 2015 Futurelab Academy program with the Empowerment Informatics PhD program at Japan’s University of Tsukuba—a leading research univer- sity with a visionary focus on human-centered cybernetics—two student teams have produced experimental projects that envision radically dif- ferent interpretations of a “Post City Kit”.

IrukaTact idMirror Aisen Caro Chacin, Takeshi Oozu Maša Jazbec, Floris Erich IrukaTact is a submersible haptic search glove idMirror is an artistic project that investigates inspired by dolphin (iruka) echolocation. It can how social networks and emerging mobile tech- locate sunken objects after a flood, translating nologies have forever changed the perception of ultrasonic range finding data into haptic feedback human identity. The piece uses tablet computers’ Focus is a smartphone app first developed by Ars using a novel approach. Conceived as a kit for emer- inherent resemblance to mirrors to play with Electronica Futurelab for Schlossmuseum Linz. This gency situations, it is open source and can be con- identity by turning the visitors’ faces into objects app enables visitors to take an active approach to structed using readily available materials and digital of unexpected manipulation. the exhibits and zoom in or focus on what they like fabrication processes. best. At the end of their exhibition tour, visitors are invited to upload their favorite motif to the Focus terminal and create a button badge they can take home. Focus thus represents a new approach to visitor engagement and perception of exhibition content. By creating a button visitors are actively involved with a theme and create something tangi- ble they can take back home with them. Focus is an ongoing cooperation between Ars Electronica and OÖ Landesmuseum.

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MIRAI Project Department TOYOTA MOTOR CORPORATION X Future Catalysts (Hakuhodo x Ars Electronica) KURUMA-IKU Lab

KURUMA-IKU is a blend word that combines What role will the car play in society in the future Kuruma (Car) with Iku (Nurture). The KURUMA-IKU Post City, and what will our lives be like? At the Ars lab is a research & development initiative that Electronica Festival 2015, children who are going to focuses on the relationships between people and play future roles will use KURUMA-IKU lab’s work- cars and invites children and creators to join the shop kits to learn about cars and to creatively reflect investigation into sustainable roles for cars in our on future mobility and city. Currently, we collaborate future society. with Future Catalysts (Hakuhodo x Ars Electronica) Cars are used to transport people from one place to and our programs are beta versions. another and driving is also an enjoyable experience for many people. But is this all a car has to offer? Kurumachi A car has “intuitionally judge-able materials” such Kurumachi is a workshop program to research and as the shape, the color, the sounds, the motion, and create new relationships between children and also “the stories of makers”. If we change the way mobility. By personalizing a car model as oneself Steering-san Steering Jam of presenting cars and how they can be used, cars or a partner, this workshop stimulates the imagi- If you add a steering wheel to something, it will Steering Jam is a workshop program to design a will become tools for nurturing inquiring minds and nation and the individual, and allows participants become a car. Steering-san is a workshop program personalized interactive steering wheel. The partic- creativity. At KURUMAIKU-Lab we can use art to to create the concept of their own original car. The to create story telling by using an everyday object ipant customizes both the appearance of the steer- reveal the inherent and various merits of cars that Kurumachi workshop focuses on discussing both around us that resembles a car. If everyday objects ing interface and the sound of mobility in running, have not yet been discovered. This program aims to individual roles of self and forms of society through become able to move around freely like a car, what turning and horning. Thus, it allows participants nurture children’s creativity and to build new rela- a combination of design process by digital media new benefits of mobility are created? to design their own mobility experiences. Running tionships with citizens. and hands-on experience constructing a paper craft. with friends will lead to an unexpected jam ses- sion. This workshop discusses future mobility and the future city, through the creation of an original mobility interface.

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FIELD Katia Cánepa Vega Quasar Beauty Technology James Medcraft

Quasar is the first part in this new series of works photographs and three VR screen captures. Each of New technologies often require the handling of combines wearable technologies with beauty prod- by FIELD, and describes the spirit of pioneering the sculptural helmets houses a VR headset, which complicated technical devices to control them. ucts by integrating electronics into make-up, nail as three human archetypes—each with their own is connected to a PC. With Beauty Technology the Brazilian artist Katia polish, and fake hair. By applying these, controlled means of perception, rationale and communica- Concept, Design + Direction: Marcus Wendt Cánepa Vega plays with the possibility of using skin movements of facial muscles or touching sensors tion. We observe their acts of exploring and creat- Co-direction: Vera-Maria Glahn and other body parts as interfaces for controlling in the hair with false fingernails can trigger appli- ing, their willpower, creative strength, and physical Production: Maran Coates technology, and considers how to empower dis- ances such as window shades or a smartphone. This Fabrication: Studio MakeCreate exhaustion. Quasar explores visions of a near future Interaction Design: David Li, Tim Murray-Browne, abled people to enrich their lives by creating simple demonstrates how the human body can act as an and what it will mean to be human. Comprised of Jonas Johansson access to technology, mobility and smart homes by interface. wearable sculptures, interactive experiences and Sound + Music: Ben Lukas Boysen designing interfaces that are connected to the body photo artworks, all elements of Quasar characterize Assistance: John Jones, Chris Corless, Matteo Zamagni without the aesthetics of cyborgs who are wired and Models: Calvin How, Donja Rose, Emma Zang the three archetypal explorers from different view- tied up in cables and devices. The artist merges con- This project was awarded an Honorary Mention at this Styling + Costume: Natalie Caroline Wilkins year’s Prix Ars Electronica [the next idea] voestalpine art points. The Quasar series comprises of three sculp- Hair + Make-up: Elvis Schmoulianoff trol engineering with the human desire to achieve and technology grant, a program within the framework of tural helmets and interactive experiences, fifteen Motion Direction: Marquez + Zangs beauty through enhancing their appearance—she the Ars Electronica Residency network.

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Hannah Perner-Wilson, Andrew Quitmeyer

A Wearable Studio Practice Dorota Sadovská Vivid Dresses Hannah Perner-Wilson Brian Fisher Andrew Quitmeyer Jakub Gulyas

A Wearable Studio Practice packages a physical add to it. There are workshops for visitors at certain In Vivid Dresses Dorota Sadovská takes as her theme body a projection surface for a hybrid ambiguity of computing/new media studio into a series of por- times in our studio in which they can make their natural creative processes, the deformation of body and anti-body. Thus, the plant-clothing can table items that can be worn or carried on the body. own wearable, digital devices. The Wearable Studio nature, and the self-inflicted distortion of human be understood as an enveloping foreign body, or as This mobile infrastructure provides the function- collection consists of items that are primarily fabric, nature. The constantly growing sprouts stand for a second skin, a botanical epidermis. In this sense, alities normally contained in static architecture lightweight, and easy to carry/wear/transport on the spontaneous, fertile power of the earth. Cloth- the tufts of grass on the surface of the dress might of traditional labs, while allowing engineers and the body. When set up, the Wearable Studio pro- ing, on the other hand, represents the regulative bring to mind hair that protects the body below it. designers to become nomadic in their practice. At vides a work environment (lighting, power…), work element of modern civilization in which people The artist isn’t just interested in the human body; Ars Electronica the Wearable Studio is a recon- surfaces (soldering, building…), and organization need to cover up their bare skin and thus enwrap she also enjoys experimentation that entails com- ceptualization of digital design work happening in structures as well as easy-access storage for mate- their own original naturalness. In photographic bining extremely diverse materials and media, and spaces beyond the traditional idea of the city. We rials, tools and parts. works and performances, the artist makes her own consciously overstepping their bounds. will inhabit the studio and flesh out more items to Text: Lucia Miklošková, SADO 3 art magazine 2015

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Katrina Spade Urban Death Project

Shiho Fukuhara, Georg Tremmel Biopresence

Biopresence is an art venture by Shiho Fukuhara and Georg Tremmel that focuses on exploring, par- ticipating in, and ultimately defining a top relevant 21st century issue—the impact of biotechnologies on society and the human perception of these coming changes. Biopresence creates Human DNA Trees by transcod- ing the essence of a human being within the DNA of a tree in order to create “Living Memorials” or “Transgenic Tombstones”, and is a collaboration with scientist and artist Joe Davis on his DNA Mani- fold algorithm, which allows for the transcoding and entwinement of human and tree DNAs. The Manifold method is based on the naturally occurring silent mutations of base triplets; this means it is possible to store information without affecting the genes of the resulting tree. Biopresence Human DNA Trees do not modify the genes of an organism, so they are not genetically modified organisms (GMOs). Biopresence presents current developments of its The project‘s mission is to create a meaningful, Conventional burial is chosen by more than half of research and encourages the public to explore the equitable, and ecological urban alternative for the Americans today. The annual tally of buried materi- proposed issues and to envision possible futures. care and processing of the deceased. als in U.S. cemeteries is more than 30 million board- The Urban Death Project is a compost-based renewal feet of hardwood and 90,000 tons of steel in coffins, system. At the heart of the project is a three-story 17,000 tons of steel and copper in vaults, 1.6 million core, within which bodies and high-carbon materials tons of reinforced concrete in vaults, and more than are placed. Over the span of a few months, with the 750,000 gallons of formaldehyde-laden embalming help of aerobic decomposition and microbial activity, fluid. It is disrespectful both to the earth and to our- the bodies decompose fully, leaving a rich compost. selves that we fill our dead bodies with toxic fluid The Urban Death Project is not simply a system for before burying them in the ground. turning our bodies into soil-building material. It is Cremation is a less wasteful option, but it still emits also a space for the contemplation of our place in 540 lbs of carbon dioxide per body into the atmo- the natural world, and a ritual to help us say good- sphere, contributing to climate change. The more bye to our loved ones by connecting us with the options we have to safely and gently dispose of our cycles of nature. dead, the better. The Urban Death Project is a solution to the over- Text: Taken with permission from crowding of city cemeteries, a sustainable method http://www.urbandeathproject.org/ of disposing of our dead, and a new ritual for laying

Tom Mesic, Ars Electronica Flickr account Mesic, Tom our loved ones to rest.

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Búi Bjarmar Aðalsteinsson XXLab (Irene Agrivina Widyaningrum, Asa Rahmana, Ratna Djuwita, The FlyFactory Eka Jayani Ayuningtias, Atinna Rizqiana) SOYA C(O)U(L)TURE

SOYA C(O)U(L)TURE can be found as a simple kitchen in the middle of the Post City’s Fashion District: The Indonesian female art collective XXLab works on a program to create fashion while deal- ing with environmental problems. In countries and cities with high soya consumption the wastewater from tofu and tempeh production is problematic for the environment. XXLab develops simple, cheap, and eco-friendly processes to turn it into useable biomaterials—bio-fuel, fertilizers, and leather-like materials. A simple kitchen is used as a laboratory to transform the wastewater into these biomateri- als, and as an atelier to design clothes, accessories, and shoes. But their knowledge has to be spread: in their workshops XXLab enables citizens to combine The FlyFactory is an ecological food production con- temperature of the flies’ environment. Larvae are basic kitchen equipment with free technology and cept with Black Soldier Flies as the main component. similar to meat when it comes to protein, fat and open source software in order to upcycle everyday The larvae become rich in fat and protein, which can nutrients. But larvae need 5 to 10 times less food to wastewater. then be harvested for human consumption. They produce the same amount of growth. Larvae—and The SOYA C(O)U(L)TURE project is the winner of this year’s also produce a clean and nutrient-rich soil, which is insects in general—are also very resourceful when it Prix Ars Electronica [the next idea] voestalpine art and subsequently drained into compost canisters and comes to feeding, as they are able to digest almost technology grant 2015, a program within the framework of then used for vegetable, fruit and spice production. any biomass available in the natural environment. the Ars Electronica Residency Network. Finally, heat generated by refrigerators that are used This makes insects a valuable resource in the search for larvae preparation and storage will be employed for ecofriendly methods of farming and the produc- as a thermal source to maintain the humidity and tion of protein rich foods.

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Soichiro Mihara bell

The artwork bell (2013) is the second part of be heard. Long ago wind chimes placed on territory the ongoing blank project, started in 2011, which borders warned people of imminent danger and the investigates the relationship between technology as yet unseen evil that was about to befall them. and society. When a microchip under a glass dome bell gives perceptible form to nature and detects radiation that is imperceptible to humans, science’s imperceptible threats, sending out an the sound of the wind chime within the dome can audible warning about radioactive waste. http://mhrs.jp/project/blank/

Maja Smrekar K-9_topology

The interaction of biology and culture is the cen- covering the inner walls. It is equipped with an inter- tral concept in the understanding of human evolu- active sensor installed respirator that allows visitors tion, geographical dispersion, diversity, and health. to experience the smell of the serotonin isolated Within this frame, we are interested in metabolic from the platelets of the artist and her dog—the pathway processes that trigger an emotional motif essence of their relationship. which enables two species—humans and dogs—to successfully coexist. K-9_topology researches the co-evolution of genes, Produced by: Kapelica Gallery, Ljubljana Thanks to: Lord Byron (Scottish Border Collie) evolution psychology, behavioral ecology, and Co-designing, planning: Andrej Strehovec hence cultural evolution through the paradigm Planning, execution of lab infrastructure and protocols: wolf-dog-human. The project focuses on evolution Marko Žavbi, MA lab biomed and domestication—patterns of human movement Molecular biology consultancy, execution: Alja Videtič Paska, Tilen Konte, Institute of Biochemistry, Faculty of across the globe, rooted in data sets by analysis Medicine, University of Ljubljana of ancient DNA and contemporary gene polymor- Field research and consultancy: Miha Krofel, Department phism research. This purely scientific data leads to of Forestry, Biotechnical Faculty, University of Ljubljana a cross-disciplinary dialogue on the mutual domes- Installation execution: ScenArt Glassblowing: LabTeh d.o.o. tication of animals and humans. Supported by the Ministry of Culture of the Republic of The installation is an immersed living environment, Slovenia and Municipality of Ljubljana, Department for shaped like an archetypical horn and with wolf fur Culture, Slovenia Keizo Kioku Keizo

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Salvatore Iaconesi, Oriana Persico Ubiquitous Infoscapes The participatory performance of the city

The exponential rise in the quantity and quality On top of that, when data becomes so detailed that of data and information that individuals gener- the sample can be as large as the actual popula- ate every day is the single most important driver tion, and it is possible to use complex algorithms of the evolution of the Big Data concept. Each of to process it, the perception of the possibility to our gestures, movements, relations, transactions, use all of this data to eliminate all risks recurringly and expressions tends to become an occasion for comes to mind, and thus its impacts in terms of the the generation of digital data and information. This elimination of the possibility to comprehend and happens whether we realize it or not, consciously value what is different, unexpected, transgressive, or unconsciously, in direct, indirect, transparent or adventurous, and possible. completely opaque ways. This overall scenario may lead to a deterministic, Ubiquitous Commons, 2015, Bari. Diagrams of Ubiquitous Ubiquitous Commons, 2015, Brussels. Presenting Ubiquitous At the present time, most individuals generate data data-biopolitical scenario, which is what we con- Commons integrated with Human Ecosystems. Commons at NetFutures 2015. in ways they don’t realize or even understand, due front with our projects. to the opacity of collection processes, algorithms, We aim at describing an ubiquitous infoscape, in classifications, and parameters. They don’t (can’t) which data becomes an accessible, usable part of Ubiquitous Commons know how this information is used: inaccessible the landscape, just as buildings, trees, and roads, Ubiquitous Commons (UC) is an international viduals and groups. Temporary identities can be profiles are used to generate personalized inter- and in which it is clear and transparent (although research effort dedicated to the production of a created for events and initiatives. Nomadic identi- faces, services, advertisements, and content. We complex and fluid) what is public, private, and inti- legal and technological toolkit which enables indi- ties can be created to generate value that can then are constantly becoming the unknowing subjects mate. And in which people are able to express how viduals to express how they wish their data to be be passed on, to share it with other individuals or

of social experiments, communication campaigns, they wish their data to be used and can actually of Art is Open SourceCourtesy used, and to create shared, participatory processes entire communities. national security scrutiny, dots in dashboards and use it to construct meaningful actions. We aim to in which data, information and knowledge can be First working implementations of UC have already information visualizations. create a participatory, inclusive performative space generated and accessed within a high quality, trust- been prepared for social networks and online ser- Individuals are, currently, the only ones who cannot in which people, as individuals and as members based relational environment. vices, and current efforts are directed to including fully benefit from Big Data to organize themselves, of society, can express themselves and do things, UC takes the form of a protocol (both legal, tech- it in network connected devices, Internet of Things, to create meaningful, shared initiatives, or to under- defining new forms of public/private/intimate nological and philosophical) that can be autono- wearable technologies, biotech devices, and more. stand more about themselves and about the world spaces that are agible, accessible, and usable. mously used by single individuals and that can also Ubiquitous Information and Knowledge is about the around them. be integrated in services, devices and processes. UC data, information and knowledge produced by bod- operates according to the possibility to use emerg- ies, locations, movements, desires, expectations, ARTI—Agenzia Regionale per la Tecnologia e l’Innovazione della Regione Puglia (IT); Artsci Salon (Toronto, CA); ARTSHARE ing technologies (such as the BlockChain) to create and cultures that are created, reproduced and medi- (PT); City of New Haven (USA); City of Rome (IT); Décalab (FR); EF - Eisenhower Fellowships (US); Fondazione Bruno peer-to-peer (P2P) networks in which a variety of ated ubiquitously, online/offline, through mobile Kessler (IT); Foundation for P2P Alternatives (NL); Internet Festival (IT); ISIA Design Florence (IT); Yale Center for types of identities can co-exist and express them- applications, sensors, cameras, augmented reality, Engineering Innovation and Design (USA); Yale Center for Emotional Intelligence (USA); Yale World Fellowship (USA); selves. Individual, collective, anonymous, temporary maps, Internet of Things, and more. Consciously Yale Urban Design Workshop (USA); York University (Toronto, CA); LabGov—Laboratory for the Governance of the Commons (IT); Sapienza University of Rome (IT); King’s College (London, UK); Maker Faire Rome (IT); Nexa Center for Internet & and nomadic identities can manifest themselves on and unconsciously. And about the ways in which Society (IT); Rural Hub (IT); ODI - Open Data Institute (UK); SESC Vila Mariana (BR); Transmediale Festival (DE); UC and use strong cryptographic mechanisms to this information and knowledge is used. Universidade Metodista (BR). ensure that their data, information and knowledge Ubiquitous Commons is the commons in the age of are used in specific, desired ways. Ubiquitous Technologies. It constructs a novel iden- This possibility creates unexpected opportunities. tity model in which data forms a Common Resource Collective identities can be defined for neighbor- Pool that is managed collectively through the pres- hoods, cities, and communities of practice. Anon- ence of a High Quality Relational environment. ymous identities can be created for activists, indi-

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Human Ecosystems Human Ecosystems (HE) is a complex technological HE represents a new form of digital public space in system for cities and a new space for artistic, cul- the cities in which it is implemented. It facilitates tural and creative performance, in which citizens better understanding of the flows of information, and other types of urban dwellers are able to use knowledge, communication, emotion and opinion the city’s infoscape—its informational landscape. that take place in the digital public space of the city, The project has already been instanced in various and allows this understanding to be used for multi- forms in urban settings such as Rome, Sao Paulo, ple purposes—to “ask the city questions “, to create New Haven, Montreal, Toronto, Berlin, Lecce, Bari, information visualizations and urban dashboards on Florence, and Budapest. multiple topics, to compare multiple cities, to create HE massively captures data in real-time in the city artworks and designs, to understand how different and transforms it into a commons, available and cultures express and relate in the city, to allow peo- accessible to anyone, and manageable collabora- ple to use the public Relational Ecosystem of the tively. Data is captured from major social networks city to understand how to organize themselves in (Facebook, Twitter, Instagram, Google+, Foursquare, peer-to-peer models, to enable participatory deci- Learning, 2013, Cava de’ Tirreni. Students during a The Real-time museum, 2012, Rome. The desires for the Flickr) and other data sources (such as census, land sion making and policy shaping processes, and to workshop, learning to use the Relational Ecosystem transformation of the city, expressed on social networks registries, energy, mobile traffic, and the many create new services and processes. of the city types of Open Data source which can be present in A wide, inclusive education program is developed the city), and processed in near-real time using a in the city as HE starts, teaching citizens, children, The Real Time Museum of the City variety of techniques (georeferencing, natural lan- the elderly, artists, designers, researchers, public guage analysis, emotional analysis, network anal- administrators, professionals, and others to under- The Real Time Museum of the City (RTMC) is the themselves”, by providing their user name on major ysis, data integration and fusion techniques, and stand how to use HE and the Relational Ecosystem physical public space manifestation of the Human social networks, through a street address or some standard statistics techniques). The result of these of the city and how to engage citizens in the process. Ecosystems (HE) project. It is a physical museum other type of identification. This kind of experience processes is a real-time Open Data source which All of the technologies related to HE are released (although many of its exhibits are accessible online) is exciting, useful and critical, at the same time. On forms a commons and which is made available to as Open Source, and are actively maintained by an in which multiple exhibits allow you to experience the one hand, it allows museum visitors to explore the collectivity, to be preserved and managed col- international community of practitioners in tech- the digital public space of the city. The exhibits the Relational Ecosystem of the city from their laboratively. nologies, arts, sciences, and humanities. range from the more useful to the most abstract own point of view, analyzing connections, topics, ones; from actual service and research tools, to relational distances, community belonging, and games and playful, critical or surreal investigations the form of their identity as it shows in the digital on the real-time expressions of the entire city. Vis- public space of the city. On the other hand, it may itors to the museum find themselves completely be an unsettling experience. Wondering “Why am I surrounded by the data, with which they can inter- in the museum?” can be a thought-provoking issue, act, using devices, gestures, keyboards, voice and touching critical topics such as privacy, surveillance, other forms of interaction, and by collaborating with rights, freedom of expression, cultural representa- one another: people can explore the flows of data, tion, power architectures, and more. All experiences information, knowledge, emotions, opinions, and are built in ways that allow for critical reflection languages as they are captured through HE, also but also for positive construction, enabling visitors being able to go back and forth through time (to to understand how to confront these important see how different topics, emotions or geographies issues, along protective and constructive directions. transformed in the city), or even to compare differ- The RTMC is also the place where the HE educational ent cities in which HE is present. program takes place, providing people with engaging Different experiences have different valences, from experiences in which they can learn how to use the the more entertaining to the more critical ones. In city’s digital public space completely immersed in

Courtesy of Art is Open SourceCourtesy one exhibit visitors, for example, are able to “find the data, information and knowledge from their city. One Million Dreams, Maker Faire, Rome, 2014. Stampede, Luohu, 2015. The city district of Luohu in China, Dreams on social networks. during a stampede crisis.

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TPB AFK: The Pirate Bay Away From Keyboard A film directed by Simon Klose

CITIZENFOUR A film directed by Laura Poitras

In January 2013, filmmaker Laura Poitras received ous times, and refused to be intimidated. When encrypted e-mails from an unidentified sender who Snowden revealed he was a high-level analyst driven referred to himself as CITIZENFOUR and claimed to expose the massive surveillance of Americans to have proof of illegal covert programs of mass by the NSA, Poitras persuaded him to let her film. Founded in 2003 by “a couple of guys in a [internet] state prosecution in Sweden and the site’s runners surveillance being conducted by the NSA and other Laura Poitras is a documentary filmmaker, journalist chatroom,” P2P file-sharing website, the Pirate Bay Gottfrid Svartholm, Fredrik Neij, and Peter Sunde. American intelligence agencies. In June 2013, Laura and artist. Her work has been singled out for rec- was responsible for coordinating half of the world’s February 2009 saw the three partners embark on Poitras and journalist Glenn Greenwald flew to Hong ognition with many important honors worldwide— bit-torrent traffic by 2009. With an estimated 22-25 their crusade against the machinery of the movie Kong to meet their mystery contact, who turned out among them, a Peabody Award as well as Oscar million users downloading from the site at any one industry and what they view as stagnant copyright to be Edward Snowden. CITIZENFOUR is a real-life and Emmy nominations. Poitras’ NSA reportage time, TPB is clearly a principal player. It’s claimed law in the modern information age. The trials and thriller in which these dramatic events unfold by based on the documents made public by Edward that major motion picture studios suffered $6.1 bil- tribulations of the following year and a half take the minute right before our eyes, the breathtakingly Snowden garnered her the 2014 Pulitzer Prize for lion losses at the hands of piracy in 2005. That’s the their toll on all three young men in different ways. exciting account of the courageous step taken by a Public Service bestowed by the Guardian and the kind of thing that puts a trio of Swedish tech-geeks young whistleblower—urgent, disturbing, politically Washington Post. firmly in the sights of Hollywood’s big guns. Their Text, photos: cine-vue.com; http://moviespix.com/ explosive. Poitras had already been working on a ongoing trial is the focus of Simon Klose’s docu- tpb-afk-the-pirate-bay-away-from-keyboard.html film about surveillance for two years when, in Jan- Courtesy of Polyfilm mentary, TPB AFK: The Pirate Bay Away from Key- Directed by Simon Klose; Produced by Martin Persson uary 2013, she was contacted by Snowden using the Directed, filmed, produced by LAURA POITRAS board. Spanning a period of around 18 months, TPB Edited and produced by MATHILDE BONNEFOY Screenplay by Simon Klose name CITIZENFOUR. He reached out to her because Produced by DIRK WILUTZKY AFK documents the continuing battle between the With: Gottfrid Svartholm, Fredrik Neij, Peter Sunde he knew she had long been a target of government With: Edward Snowden, Glenn Greenwald, Ewen MacAskill, surveillance, had been stopped at airports numer- William Binney, Jacob Appelbaum, Jeremy Scahill et al.

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The process of the FIS is based on three steps: comfort zone, at the same time stimulating and unlocking creative energy, facilitating creative pro- unlocking creative energy. Secondly, facilitators play cess, and triggering creative questions. The Future an important role, as they guide the brainstorming Catalyst Program is a setting of collaborative delib- process to the final outcome. Hakuhodo’s profes- erations and workshops in the inspiring ambience of sional facilitators will utilize their own methodolo- Future Innovators Summit 2015 the Ars Electronica Festival for art, technology and gies to elicit creative questions by maximizing the society. Seasoned experts and young entrepreneurs, participant’s individual skills and expertise. Finally, activists, engineers, scientists and artists as well as mentors will advise the participants on how to designers will work in different groups. implement the idea in society. Through this process, Each group will create a new idea for the Post City the participants will prototype their ideas and come Kit. The FIS program includes individual flash talks, up with creative solutions. intensive workshop sessions and meetings with Since 2014, Future Catalysts Hakuhodo x Ars Elec- mentors. At the end of the process, all groups will tronica have utilized the FIS to develop innovation hold their final presentations in public. processes for society. The focus is not on finding For implementing the FIS, there are three import- solutions for specific problems but rather on coming ant factors to consider. First of all, the FIS needs up with visionary questions. The challenge of the unique locations and artistic inspirational spaces. FIS 2015 is to build a bridge between the processes The special atmosphere of the disused postal ser- of triggering creative questions and finding creative vice center venue takes the participants out of their solutions in order to improve our cities. Text: Katharina Bienert, Kyoko Someya, Hideaki Ogawa AEC, Florian Voggeneder AEC,

The Future Innovators Summit (FIS) is a creative The challenging topics and questions for the system to develop ideas and prototypes for the Post City Kit are: future. The FIS has been developed by Future • How smart does a city have to be before we are Catalysts Hakuhodo x Ars Electronica through the afraid to live in it? Incubation Training Workshop at the Ars Electronica • “Publicy” ... the transformation of private and Festival 2014. public Following its successful premiere at Ars Electronica • Smart democracy 2014, in 2015, the Future Catalysts will realize a new • Strategies to elicit community involvement project for the special theme of the festival. The • Informed trust—In a world of autonomous participants of the FIS will develop a Post City Kit— machines ideas, strategies, tools and prototypes to improve • What types of resilience should we develop? our cities. AEC, Tom Mesic Tom AEC,

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Derrick de Kerckhove Connected Intelligence in the Post City The Internet as a Social Limbic System

My understanding of Post City is smart city with literacy did. It allows for any number of individual each panel. The added value of ThinkWire is that communication, socialisation. More and more people inside. No need to remind anyone that entries in a fluid information space definable for the software upgrades Twitter to allow imputing frequently, these communities are populated by “smart city” is a dominant buzzword today. As a individual as well as collective and connective needs. 280 characters rather than the skimpy 140. That, a variety of citizens who look for more interac- metaphor, following upon others such as “Cloud It can take many forms whether pooling individual as Gary explains, is a deliberate and rigorous cogni- tive aspects of online tools. Apart from obtaining Computing”, “Internet of Things” and “Big Data”, resources in services such as Google, Wikipedia and tive strategy. It has the double merit of permitting information, there is the possibility of interact- like yeast to bread, it has done wonders to raise new social bookmarking or externalizing and objectifying more substantial arguments, but at the same time ing with other users and ultimately to “leave a markets. Although the smartness is not quite there imagination in fictional but live 3D shared environ- restricting the length of interventions to a man- trace” of themselves in the online community”4. yet, it is bound to mature as cities eventually get ments such as Second Life. This environment of ageable size. ThinkWire is a sort of cognitive dis- equipped with a truly functional nervous system. knowledge functions both as an extended memory cipline for groups. In reality, ThinkWire is a typical In Post City, the four kinds of space cross over and The question is whether it will be central or distrib- and as a processing intelligence for each one of the model for how to sculpt connectivity for the most are coordinated, the physical, the mental, the social uted, autonomous or controlled, self-organizing or users individually or in association with others. It is pertinent effects in given cognitive enterprises and and the virtual. People’s individual roles, choices monitored and administered. As Steven Poole wrote in constant evolution because intelligence, collec- environments. It is the platform that Culture and and moods in Post City are affected and modified in The Guardian: “The phrase itself has sparked a tive or connective, benefits enormously from the Technology International (CTI)—our international by this bridging. As observed by Salvatore Iaconesi, rhetorical battle between techno-utopianists and very minds and skills that have been changed and team of experts—has used to explore some dimen- another member of ThinkWire for Ars Electronica: postmodern flâneurs: should the city be an opti- trained precisely by technologies arriving on the sions of Post City. Among the observations that mized panopticon, or a melting pot of cultures and market. Data Analytics, for one, is already modifying emerge from the discussion is that, while Post City “We find ourselves in a digital Third Space, ideas?”1 the way we think about “intelligence”. Big Data, for as a concept is its own space, it seems to contain more inclusive, in which information is not only another, is bound to make asking the right question and integrate the others. attached to places, spaces, bodies and objects, If Post-City can be defined as ”Smart City with a top priority in business, government, education or but constantly recombines, remixes and re-con- People”, then indeed there is a great need for kits research. For millennia, we have taught answers in The Space of Post City textualizes itself, creating constantly new geog- to better connect those people who have the city schools. Won’t it be time soon, to teach questions? As Pierre Lévy famously said, “Internet is not in raphies that are emotional, linguistic, semantic, in mind. Over the last three decades I have shared with Gary space, it is space”. relational. All of this is relative to the many pat- Connected Intelligence Schwartz2 a fascination for connected intelligence terns that non-human algorithms can glimpse Post City bridges the physical, social and mental All electronic technologies from the telegraph to and how to harness it for the benefit of my stu- emerging from data, information and knowledge, spaces. the Internet and social media derive their properties dents. We invented together and separately several correlating different spaces, times and human from weaving connecting routines to elicit selected iterations of collaborative software. My last one is Concluding on preliminary observations in the intro- networks.” modalities of relationships and knowledge. The iWall, a hybrid between a portal and a PowerPoint duction of a very influential book, La production present trends of information and cognition tech- presentation to facilitate collaboration in classes de l’espace, Henri Lefebvre defines space as con- The continuity of flows influences the perception nologies have been based and guided on connect- and other research situations. And now Gary has stituted by three distinct but interrelated environ- and sense of the continuity of being. The sense of ing people and things in specific configurations to come up with ThinkWire (www.thinkwire.com/Ars- ments: “physical space: nature, the Cosmos, mental one’s being unfolds in space as well as in time as improve awareness, intelligence and knowledge, as Electronica), a superb concentration and simplifi- space (including logical and formal abstractions), networks create bonds across distances. Rosane well as generating flows of emotion. This is the core cation of many complicated ideas we shared long and finally social space”3. Inspired by Lefebvre, Araujo, member of CTI, is one among a growing meaning of connected intelligence: making the right ago and, as well, a perfect example of how con- sociologist Anna Cicognani adds cyberspace as yet number of thinkers such as Michel Serres, who connections—mental, social and/or technological. nected intelligence can work on line. ThinkWire is another distinct but complementary kind of space: see themselves as nodes and interfaces in a single The potential of electronic technologies to foster an application of Twitter, with the difference that material, cognitive, sensitive and emotional envi- intelligent connections has increased continually it invites groups of people interested in studying “Online Virtual Communities (VCs), in particu- ronment. Her book, The City is Me, makes a good from the telegraph to “cloud computing”, Twitter or resolving or producing something of value to get lar, represent an increasing resource for people case for expanding one’s identity and sensibility and the Internet of Things. It brings people and together in virtual panels. A person who is willing using the Internet as a tool for various purposes, to the proportions of the city. This approach is ger- things together instead of separating them as print to take charge of stoking the discussion moderates among others, information exchange and storing, mane to “Post-city thinking”.

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Understood and supported in positive terms, Post results from the perception on the part of social ization of public and private in the Post City. The guaranteed privacy were long in coming from the City could be a systemic response to disruptions media users, that they are connected personally advent of the Net introduces a new dimension of time of extortion and “question” during the Spanish of systemic proportions occurring in politics, soci- with others sharing their own political views, with collective and individual unconscious, the digital Inquisition to the separation of Church and State ety and the economy. Today cities and nations are whom they are willing to share information and unconscious, that takes shape through the set of and the rise of the private individual. This long-term facing huge challenges of connected intelligence. It news in real time. data and reports available online. Sharing every- trend is being reversed today. A new ethics based is not an option anymore to go one’s way without Democracy is not only based on equal rights and thing with everyone as in Social Media represents on transparency appears inevitable. It will probably minding the effects. Another conclusion drawn from proper representation of the individual by power one of the many effects of the connective properties give precedence to community over individuality. the ThinkWire panels, as seen through the three and institutions, it also based on sharing a vast of electricity. Transparency now looms as the unex- Our quasi permanent concentration on some screen thematic challenges, community involvement, pub- mental space, that is, the awareness—at different pected effect of electricity’s capacity to penetrate or other introduces a reversal in our mental orien- licy, and smart democracy, is that Post City is really degrees of intensity—of belonging to a common sit- all substances, including the human body, and even tation. The space of the network is essentially rela- a Smart City that also takes account of people’s uation bound neither by physical nor virtual space, the mind. tional. Instead of being oriented towards the inner emotions. but including the social in the mental space as a Cyberspace, physical space and social space are pub- person, our focus is mainly on our communication kind of background intuition. Cyberspace adds a lic spaces by definition, evidence and practice. The ports and contacts, that is, to that which is exter- COMMUNITY INVOLVEMENT: The Social global extension to all the other spaces to allow a one we deem to be and remain private is our mental nal to our physical being. The identity formation in Limbic System “global social being” to emerge at the subconscious space. We feel and know that we are always in a social and other media occurs outside the body. Our In his seminal approach to intelligence, Daniel level of everybody. position to withhold information and keep private digital identities will forever come back to haunt Goleman5 has added a critical element, which is The concept of the social being is not just a new what we decide is such. The idea or sense of the us, gradually shaping our lives and our bodies in its emotional component. This element proves metaphor. It was probably the main experience of self that we all have at one degree or another seems unsuspected ways. important for social activism more often than not being for members of early tribal cultures, but now- to be non-negotiable. Whatever could possibly be The signs of this happening are everywhere, and motivated by indignation, anger, fear, or a feeling adays even in a modern city, where people are part known about you, there is only one you and that’s it. Wikileaks, PRISM and Big Data are only some of of social solidarity as in so many examples since of the connective social being, they are continually However that very privacy and uniqueness are being the frontrunners of transparency, bulldozing privacy. the world movements of Indignados, Occupy Wall subjected to the emotional currents of the moment threatened in all manners by digital data collection, Under the conditions of generalized surveillance due Street, Anonymous or the Arab Spring. The Internet from the neighborhood to the globe. The great the- digital analytics and cross-referencing. As we stand to applications of big data, because eventually any- has a very important emotional dimension. People orists of the crowd, Gustave Le Bon (The Crowd: talking to each other face-to-face, on line, under our body will have access to the profile of anyone else increasingly feel the need to share more and more A Study of the Popular Mind, 1895), Elias Canetti feet so to speak, flows of data about our most inti- without permission or notification, the obligation of personal details about themselves, their thoughts, (Crowds and Power, 1960), and Jacques Ellul (Pro- mate recesses stream into databases from which all will be to not have anything to hide. Not paying feelings and ideas with the wider world, as part of paganda: The Formation of Men’s Attitudes, 1973) they can eventually go public. one’s taxes will eventually incur social opprobrium. their online existence. have all made similar relevant observations about The problem is to live in a society that has two ways Reputation Capital signals the return of a shame This is true not just for the “friends” on Facebook, man’s social being. Similarly, it is also understood of thinking about reality and no one knows exactly culture. or for couples using match-making sites, but also that where people have physical and social needs in how to integrate them: one is the private model and for the whole of our lives as lived on this medium. common, an emotional exchange also occurs as part the other is the invaded or otherwise known as the SMART DEMOCRACY: Democracy, Privacy, It is true for how we share our politics via Twitter of the interaction. The arrival of real-time media, “shared” one. The way of the private self generally même combat? or our viral videos on YouTube. Social media act radio, television and now the Internet, magnify this believes that identity and the way one sees oneself Democracy, a concept invented in Ancient Greece, as the agent for conveying and sharing emotions. process and speed it up more than ever before. In is a private affair, a space reserved for our personal means “people power”. It came along when people, The online world works as an integrative system of summary, therefore, we can say that the Internet use, my mind occupied by myself alone and not pen- learning to read, became individuals. One could pre- impulses, desires and frustrations, all of which is has mimicked the biological limbic system of the etrated or shared without permission. sume that now that these individuals have become moving at the speed of light. The grassroots activist individual body to extend its influence to the social The commercial and social pertinence of knowing transparent, their vulnerability to total control sites such as Ushahidi or Avaaz articulate collective body. everything about us—to say nothing about security makes democracy mere wishful thinking. But in emotions and foster connectivity amongst peoples issues—makes that trend irreversible. Our destiny as reality, people never had as much power as now. across borders and cultures. PUBLICY: The Digital Unconscious and the a society immersed into digital culture world-wide In the republican past, people didn’t have power The immediacy of social media enables the indi- Ethics of Transparency is to become transparent. This is the exact opposite aside from voting their representatives into the real vidual to get involved on an emotional level with Publicy is a term invented by Mark Federman (mem- of the effects of literacy that made people individ- power, a situation that more often than not invited current social and political issues. The readiness ber of CTI and moderator of the eponymous panel ually opaque by internalizing and silencing speech abuse of power from institutions. Paradoxically, the to respond emotionally to external public events on ThinkWire) to signify the melding or hybrid- thus privatizing thinking. The ethics of opacity that people are actually more powerful now than ever

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before thanks to social media. There they can and and subsequent job are launched and monitored This way the subversion grown in the interstices fashion all of society into a tolerable shape, and that do express more than their vote, their opinion, good according to how the youth and their parents and of everyday life, in the shadow of politics or in the the Civil Society extended and respected globally or bad, and they can put pressure on their govern- neighbors feel about their progress, thus allowing Undernet, takes nourishment from the symbolic will prove to be the only tolerable shape humanity ments to effect change. organizers to adjust strategies almost in real time. and affective dimension. Because of this “trans- should strive for in the era of transparency. What makes democracy smart? Primarily smart citi- This is smart democracy in action. So is the case of political” sensibility, the thick barrier of modernity zens, that is, people who actually take an active part the recent release of two Moroccan women who had crumbles. Seemingly banal and trifling phenomena 1 http://www.theguardian.com/cities/2014/dec/17/ in the affairs of the city. In most countries smart been imprisoned for the last month because they like pokes, tagging, chat lines, role playing games, or truth-smart-city-destroy-democracy-urban- thinkers-buzzphrase citizens arise more or less spontaneously, like art- were wearing dresses above the knee. No less than new jokers’ jests and pranks, release into the ether 2 Canadian businessman, creator of ThinkWire, author ists or innovators, usually without organized sup- 500 Moroccan lawyers and a slew of other people the ghosts which haunt the collective imagination of several bestsellers, including The Impulse Economy, port, except that of those who connect with them. put out a petition to liberate them and the society and urge this at last to mold physical reality in its international speaker and consultant. There is no school to raise smart citizens. In fact in general from the application of henceforth irrele- own image. 3 “De quels champs s’agit-il? D’abord du physique, la 6 nature, le Cosmos—ensuite du mental (y compris la what is missing in most schools of the world is a vant laws . Petitions function as spontaneous pleb- All this to say that democracy is still possible and logique et l’abstraction formelle)—enfin du social”, formal education to civic behavior and sensibility, iscites and obtain satisfaction in a growing number that, as Churchill said, democracy is a terrible model Lefebvre Henri. La production de l’espace. In: L’homme two qualities that are needed more than ever. It is of cases. Vincenzo Susca, moderator of the Smart but it is the best we have. et la société, N. 31-32, 1974. Sociologie de la connais- up to philanthropic societies to generate smartness Democracy panel on Thinkwire has another word Connected Intelligence to defend the Civil Society: sance marxisme et anthropologie. 15-32. Full text: http://www.persee.fr/web/revues/home/prescript/ in democracy. for it: The history of the Internet has demonstrated at article/homso_0018-4306_1974_num_31_1_1855 In Milan, Fondazione Riccardo Catella has funded every turn that all attempts at controlling it have 4 Cicognani, A. (2006). Defining a Design Language in a “Smart Community”, a project to allow the 20,000 “Every blogger network, electronic tribe, local engendered swift countermeasures to protect neti- Text-based Virtual Community. Retrieved from inhabitants of the Porta Nuova area to take part community or flash mob generates a “commu- zens. In this regard connected intelligence on and http://www.encore-consortium.org/Barn/files/docs/ in discussions and decisions that concern the area. nicracy”. This is the form of puissance, and not off line will prove effective to defend civil society in cve98.html#Heading2 5 Goleman, Daniel (1995). Emotional Intelligence: The project is especially relevant to a Post City kit in power, that emerges today every time that a the Post City. In activism it is important to know (or Why It Can Matter More Than IQ. Bantam Books. that it has equipped a center dedicated with tools community vibrates unanimously, in commu- sufficiently know about) the other participants to 6 Le Monde.fr, (2015, July 13). for research and visualization to find out how people nion around an act of communication. This con- trust them. That presents the obligation to connect interact and feel about their day-to-day conditions figuration is valid and acts within an ongoing in the right way. Many applications exist already to of life, creating, with the use of Moodmix.com, a “situation”, inside a precise experiential and/or strengthen and sustain activism, but I have no doubt map to monitor people’s sentiments (as expressed imaginary origin. It is thus limited in time and that customized and democratized Big Data mining primarily but not exclusively via Twitter) about what space as well as suspended in its way of living. applications will soon give even more powerful tools is going on around and for them. In Naples, in the It is so intense as to impose upon the law of the than anything invented so far. My general trust (and difficult zone of the Rione Sanità, where youth State or the laws of economy the group’s agree- thrust) is that in the end the Internet and cyber- unemployment—and consequent unrest—is high, ments, a pact of blood and also of images filled space will continue to self organize and eventually special projects to help them find the right training with high emotional density.”

142 143 Maria Pia Rossignaud POST CITY KIT Multiplying Mind by Mind Connected Intelligence Atelier arrive at a digital presentation (PowerPoint, blog, Here are some excerpts from statements and site, portal, video, etc.). exchange of ideas by CTI members as they dis- The PRESENTER contributes the rhetorical values cussed the three issues over a few weeks in May in the production of the presentation as it is being and June of 2015: During this year’s Festival, Ars Electronica offers METHOD developed, thus taking an active and critical part Future Catalysts the opportunity to take part in a Connected Intelligence Workshop in the process, and eventually the person to do the ON COMMUNITY INVOLVEMENT Connected Intelligence Atelier, an innovative brain- The method used to guide collaboration is called final presentation. Giorgos Cheliotis (US based consultant who did not storming method created by Derrick de Kerckhove. Connected Intelligence Workshop (CIW). CIWs are All sub-themes are synthesized at the end of the participate in the panels but whose selection of The objective is to provide a kit of tools, ideas and brainstorming sessions designed to channel the process. What is expected from this CIW is a set of five main features of community were proposed by strategies in three of the six topic areas proposed storm and put minds to work together—rather than formal presentations on the topics proposed, in this Maria Pia Rossignaud @mediaduemila as a starting in the call: against each other as in many forms of brainstorm- case in the format of a kit, along with a preliminary point): ing. Participants distribute themselves in small, outline of how to achieve the project. • A community is based on shared interests and Strategies to elicit Community Involvement interconnected groups. Each group is entrusted with The workshops are proposed in three basic stages: weak ties; less so on social characteristics or The primary target area for improvement is not responding to a different but complementary aspect • First meeting: presentation of the challenge and strong ties; merely technology or policy, but involving all the of the challenge, whether this be business, govern- elaboration of projects in each group • It is ego-centric (mass individual): individuals cre- people in their own progress. Evolving from a top- ment or cultural enterprises, production, design, or • Second meeting: presentation of first drafts of ate social networks based on their interests and down socio-political system to a bottom-up open strategy. The purpose of a CIW is not merely to solve projects to the assembled groups, testing their motivations and are not tied to one community; one requires long-term adaptation—as evidenced by a problem, or to invent the future, but principally coherence and applicability and work on the final- • But these are not either–or distinctions; commu- recent European history. What tools and strategies to provide a way for people to design that future ization of the individual projects nities come in many shapes and sizes; can help people start and support participation, in together, in whatever professional or social context, • Final meeting: final presentation, request for • The traditional ideal of community is a “pastoral what social, cultural, educational or political con- with the help of specific and highly trained local and approval of the project, and subsequent work on myth” (Wellman and Gulia, 2007); texts, at what level, with what responsibility…? international experts. implementation or amendments and adjustments • The real question to ask is how is this or that com- Each group (6 to 10 participants) addresses a sub- During the interval between the meetings, the col- munity seen by its members? “Publicy”, the Hybridization of Public theme of the overall task at hand. To better col- laboration can be supported to continue sharing and Private laborate and develop a specific responsibility, each ideas and suggestions. This can be done in one of Malu Fragoso @malu_fragoso: The Internet has picked up and immensely accel- group member must initially select one of six basic two ways: either by appointing a monitor (perhaps Comments on Cheliotis’ definitions: erated drive that began with the telegraph, that is, roles (some can be attributed to more than one the coordinator) who is responsible for keeping close Shared interests are structural, but they may change. to foster transparency. Our society is now evolving person): contact with the group until the next meeting, or Are ties grounded by interests or affections? How from opacity to transparency. In Big Data lies the The COORDINATOR (animator) takes responsibility by using collaborative software such as ThinkWire. do we see ourselves in the community? I believe present and the future of our unconscious drives. for the management of the overall process, keeps com to share the elaboration and the progress of we are now in a social system of individual actions. As people become more and more transparent, the deliberations on course, distributes specific the project. ThinkWire is the brainchild of Gary Collectivity rarely represents us. what sorts of behaviors, what new ethics, can we tasks for the other roles and schedules the timing Schwartz. It is an extension of Twitter to set up Derrick de Kerckhove @ddek: Community involvement expect or adopt when nothing that concerns you of CONNECTORS and PRODUCERS. moderated panels and allows participants to use is “unrelated people sharing interest and partic- can remain permanently hidden? What new legal The RESEARCHER(s) posts useful elements of the 280 characters instead of the usual 140. Ars Elec- ipation in projects”. The problem is to find the protection, what education is needed for one’s dig- research and fetches images, videos and texts to tronica invited the experts of Culture and Technol- right kind of project. Many arise spontaneously as ital persona? What social adjustment should we build content for the PRODUCER. ogy International (CTI) to contribute their thoughts in a protest. What kind of social innovation could be ready for? The CONNECTOR(s) makes lists of ideas and tips to via ThinkWire.com/ArsElectronica and share their involve people communally? bring to other groups, thus exchanging innovative visions about Post City. Agnès Yun @agnesyun: As people are exposed to so Smart Democracy suggestions, and returning with ideas from these CTI is an open international consortium of experts many fragmented “communities”, it is not easy to Paradoxically democracy is both supported and other groups’ discussions. in different fields—cultural, academic, social and get them “involved”. We can make people gradually challenged by social media and the digitization of The IMPLEMENTOR (reality-checker) brings up other—related to digital culture. Including sharing involved using virtuous cycle mechanisms. One pos- human activities in general. There is an urgent need objections, and makes alternate suggestions resources to improve research and applications, sible approach is to gamify community activities. At to give people a voice in all levels and sectors of wherever reasonable, also in charge of the practi- CTI’s mandate is to help institutions, enterprises first, people participate to have fun, then become society and fostering dialogue—especially for the cal aspects of the project, providing introductions, and persons to manage the transition to the digi- aware of their activities, and finally have increased purpose of planning and implementing opportuni- addresses, email or telephone numbers of contacts tal condition. It operates by fostering face-to-face responsibility by understanding the consequences ties for the future. What suggestions, or dedicated that could contribute to actualize the process. meetings among members twice a year and it also (value) of their activities. E.g. if we are interested sites, or tools to assist benevolent, responsible and The PRODUCER requests, selects and assembles offers Connected Intelligence Workshops as a con- in making cities greener, bike riding can be gamified, effective social activism should there be? elements proposed from the other participants, to sulting service. show riders how much energy they have saved and

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ON PUBLICY how they have reduced CO2 as they ride, and finally protected for the powerful, the corporations, and Republicans). Post-Occupy must get much smarter help them see the consequences of their collective Derrick de Kerckhove: What I like about publicy is that governments. And then there’s Anonymous. via technology. actions. the word itself somehow describes, by its very struc- Gary Schwartz: Our communities expanded globally Smart citizenship means well-informed, well-rea- Mark Federman @MarkFederman: Here’s a possible ture, the kind of serious intermingling of private with print, then radio, film, and television. They soned, and engaged. Partly enabled by social media example that I co-organize/host: Sidewalk Salsa, and public not only in the networks, but through now have collapsed again to the individual with as well as vested-interest cable news, these three a weekly, open air, free salsa party in downtown their effect on people too. We are becoming publicy cost-effective sensors and internet. Now we are all prerequisites are systemically being eliminated by Toronto. A public parkette, music, and dancers every people developing a new way of being. media and data broadcasters. The next challenge partisan and other (sometimes completely stupid) Thursday evening. It opens space for random par- Mark Federman: We used to control our own privacy, is to weave individual data back into a community interests. ticipation, creates community, especially for new- especially private thought. Publicy initially sug- narrative. This is the challenge of the IoT (Internet Because social media technologies amplify voices comers to the city. Over the ten years that we’ve gested curation of multiplicity of e-personae; now, of Things) where we are all nodes and the commu- w/o discrimination or privilege, ultra-minority dis- been doing it, people new to the city (esp. univer- with ubiquitous telemetry via digit-footprints & nity takes its instructions from the aggregated data. courses are given equal weight to dominant knowl- sity students since it’s near U of T) have connected big-data collection, what we curate is only a partial This is new community; it is also the new democracy. edge. As anti-hegemonic practice this is good. As to social groups, local neighbors have come out to story. Publicy speaks to the amalgam that is one’s Maybe, as Pico says, we are all a “floating tribe” only dissemination of populist BS, less so. Smart democ- enjoy an evening of music, passers-by have started collaboratively constructed identity. This Pico Iyer connected to our present geography based on our racy must be able to distinguish. to learn to dance. It’s a weekly pop-up happening TED talk is thought-provoking. digital actions and the impact those actions have Rafael Mira @rafaelmirapm: that enables live, in-person interactions. The con- on animate and inanimate things around us. Digital media bring many new opportunities. How- http://www.npr.org/2013/10/11/229893758/ cept has spawned other similar ventures in other Derrick de Kerckhove: Rosane Araujo wrote a book ever, the key for the development of a true democ- what-do-you-call-home parts of the city with other dance styles, ranging that reflects Pico and the preceding exchange: The racy is the ability for people to collaborate through from organized, funded major events (one at Har- … “Where you come from is less important than City Is Me where she claims that we carry everything spaces for deliberation. The digital world allows for bor front) to other guerrilla-type events. Key is fun, where you’re going. Identity is more rooted in the we know about ourselves and about where we live the creation, expansion, and large participation on participation, openness. present than in the past.” Whereas I believed the and where we plan to go in the real-time of con- these spaces/platforms. Agnès Yun: I consider these phenomena as ‘organic/ experiential effect of the online world was private, sciousness reconstructing decor according to both Gary Schwartz: Digital media is the new represen- continuous collaborations’ in a connected world. I’d I no longer think so, especially among those born on our needs and evidence. tative democracy. It has allowed democracy advo- like to reformulate Derrick’s Q as: how to augment this side of the Internet break boundary. Millennials Maria Pia Rossignaud: Zuckerberg: said it “privacy cates to keep political memes alive and to make the degree of awareness and responsibility (instead experience their life in public; publicy is the some- is over”. The question then is how to behave under their issue go viral. of involvement and belonging) in a connected world times intimate sharing of first-person living. such henceforth, unavoidable circumstances? There Leticia Soberon @LSobern: For me the clue to democ- where everyone is a maker of value? Derrick de Kerckhove: I am working on transparency is a need to discern the coming shape of people’s racy is deliberation, not only opinion. And deliber- Mark Federman: We’re also seeing social innovation in the era of Big Data. McLuhan claimed that elec- attitudes, manners, protocols, social and personal ate supposes information + reflection + dialogue. via crowd-funding of social causes, especially those tricity would wipe out privacy. In fact we are evolving behavior etc. A sociological rather than moralist Are we ready to deliberate on line? The binary “like” that are controversial. Have a look at this: rapidly from the era of opacity (literacy’s silent and intention. or “don’t like” is not enough! We need to invent http://www.theglobeandmail.com/news/world/ personalized control of language) to transparency. Derrick de Kerckhove: If privacy is over, so is democ- new platforms for dialogue. An essential part of crowdfunding-emerging-as-platform-for- How does publicy replace privacy? racy. Both are inextricably tied by their origin in lit- the “smartness” of a group is 1: good and pertinent political-speech/article24472107/ Mark Federman: We literally carry everything that is eracy and opacity. Both are already gone. We only shared information. 2: the goals they try to achieve. “Initially founded to finance small passion proj- known about ourselves via mobile devices—phones, pretend they still exist because our social order is And 3: the process of dialogue between them. ects... people are opting to express politically watches, later implants. Our psyches are open books still based on appearances. Mark Federman: (It’s) hard to say what legal & politi- charged opinions via digital donations.” to Google, Apple, Facebook via monitored, aggre- cal criteria will create neo-democracy as fair, social- Gary Schwartz @ImpulseEconomy gated, analyzed behaviors; hence PUBLICY that we ON SMART DEMOCRACY ly-acceptable, & based on well-informed participa- Crowd funding is powerful as we can finally reap only indirectly curate. Vincenzo Susca @vincenzo_susca: Is postmodernity tion as opposed to “truthy” populism. Democracy digital community benefits such as driving gender Publicy suggests that our data trail can and is bringing us toward a post-democracy? has always been based on the supporting institu- equality for entrepreneurs. Over 40% of successful being used against our own interests via marketing Derrick de Kerckhove: And what is the best of democ- tions; merely voting creates sham governance. crowd funding campaigns are women-led (while manipulation of partisan interests. That so many racy? Individual freedom and an equilibrated partic- When we figure out intersection of local rights & only 8% of companies run by women receive tradi- people vote against their personal interest b/c of ipatory relationship between rulers and ruled. The participatory obligations among multiple social tional venture capital.) data-driven psychological manipulation is political ruler should be bound by responsibility. In the era subnets, new/smart democracy creates rules for Derrick de Kerckhove: I see crowd funding as the effect of extreme publicy. of transparency, compensation is honor not power. active participation, policy creation, etc. most innovative change in the economy since the However, when everyone can see everything about Mark Federman: I would suggest that we are far from invention of the banknote. Finally we can put our our lived behaviors, no one will particularly watch having the “best of democracy” today—in any coun- The conversation will have continued well beyond the time money where our heart is. But more to the point anything about anyone. The issue is asymmetric try. Oligarchy and plutocracy are better descriptors, of printing and, inspired by the projects retained from the proposals of the Future Catalysts, will have fed more investment is participatory and generates feelings surveillance: privacy is over for the masses, but especially when people are manipulated to vote content and focused suggestions to support the Connected of belonging. against their own interest (e.g. the US Tea Party Intelligence Workshop CIW.

146 147 CONNECTING CITIES CONNECTING CITIES Dietmar Offenhuber

Civic Technologies: Tools or Therapy? reorganization in the 1970s, based on a simulation The politics of popup anything model by the Rand Corporation. The project ended What will the aspirations of civic tech mean for the with an unprecedented series of fires in the poorer future of the city, its physical appearance, and its The “Smart City” is dead. This sentence is not a make the Smart City a losing proposition. Instead, neighborhoods of the city, because the model did governance? It could mean that cities gain more provocation or the beginning of a manifesto, but IT companies increasingly focus on what they can do not consider the political power structures that freedom to experiment. Since all their interactions merely a plain observation, since even its evange- best and what is more profitable: offering analytic ultimately determined the distribution of fire sta- with citizens become open data, the public will judge lists have given up on the idea. The Smart City is a services for the huge amounts of data that cities tions.2 The cybernetic legacy of the Smart City is the decisions of officials based on their outcomes, comprehensive concept in which all urban systems already have, instead of directly dealing with the often illustrated with the aesthetics of “total con- not by whether they strictly followed administrative talk to each other, governed by a control system complexities of the cities’ physical hardware and trol” signaled by the IBM Intelligent Operations guidelines.6 In everyday urban environments, this that, invisible to the public, keeps everything in organizational structures. Center in Rio de Janeiro, bringing live data streams freedom would mean less standardization, more an optimal equilibrium. Meanwhile, even the com- There is no shortage of criticisms of the Smart City.1 from citywide systems into a single control room informality, improvisation, and creative hacking—a panies that originally promoted the concept have These criticisms can be summarized in two points. equipped with large wall displays. However, such motley utopia of “popup anything”—hackspaces, come to realize that cash-strapped municipalities The first criticism is the observation that the Smart criticisms can also be reductive. The main advan- fablabs, knitbombed potholes. are unlikely customers for such comprehensive solu- City concept is unduly reductive and apolitical. In tage of the Operations Center is not a capacity But it should also be mentioned that the shift from tions. The messiness of urban infrastructure with its techno-centric approach, the Smart City resem- for total surveillance, but the simple fact that it process-oriented to outcome-oriented accountabil- its historical legacies, institutional idiosyncrasies, bles the 1960s model of the cybernetic city, which brings city employees from different departments ity is rooted in the 1980s doctrine of New Public the brittleness of sensor networks in the harsh out- failed to account for the complexities of the actual together in the same room, as an IBM engineer from Management (NPM) and Margaret Thatcher’s ideas door environment, or the contractual constraints society. An often-cited example in this context Rio de Janeiro noted. Even the Rand Fire Project for reforming government. NPM introduced busi- of public employees: all these complications can is the failure of New York’s fire response system for New York was path-breaking—despite its initial ness management practices into public administra- failure—and influential for contemporary emergency tion, modeling the relationship between citizen and response systems.3 city as the relationship between customer and com- The second criticism is not about shortcomings of pany. The ambition of civic technologies to involve the Smart City, but about lost opportunities. The private citizens in solving urban problems and argument goes like this: why should we attach sen- enlist them as stewards of their own neighborhood What do New Yorkers complain about? sors to every light pole, when each citizen already can also entail a push towards individualization of based on two years of 311 calls concerning owns an array of intricate sensors? I am not refer- responsibility and the privatization of public ser- ring to sensors in smartphones and gadgets, but vices. Prime Minister David Cameron’s policy initia- to the eyes, ears, and the local knowledge of each tive of the “Big Society,” publicly showcased during individual, for which the smartphone is just a con- the 2012 London Olympics, embraced local activism, duit. This argument has gained traction during volunteerism, and private initiatives, while at the recent years. Initiatives such as Code for America same time cutting back funds for public services. and its various global spin-offs4 connect young cod- Civic hackers and neoliberal reformers make strange ers with city departments where they collaborate bedfellows. This can be illustrated by emerging con- on the nuts-and-bolts of participatory governance. cepts of decentralized algorithmic governance using The notion of government as a platform 5 recasts Bitcoin technology, which is in a sense also a civic, urban governance as an informal and problem-fo- commons-oriented technology. In 2013, developer cused collaboration between the city and citizens. Mike Hearn presented his vision for the future of The supporters of Civic Technologies emphasize the infrastructure, governed by a hypothetical, block- advantages of this arrangement for both constit- chain operated and distributed entity he called uents and institutions. For the city, citizens make TradeNet: the city legible by contributing data about the urban “In this future scenario, the roads on which Jen environment, create new services that make use of is driving will have also become autonomous these public data, and directly participate in solving actors, doing trades with the car on TradeNet. problems. The constituents, on the other hand, gain They can submit bids to the car about how direct influence in governance decisions and benefit much they are going to charge to use them. If from a more responsive city. In summary, civic tech- she is in a hurry, Jen can choose a road that is nologies are hoped to introduce a new appreciation a bit more expensive but which will allow her for the public good. to get into the city faster. Awesome, right?”7

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While civic technologies emphasize ideas of the A second step is participation as feedback. Citi- us the potential, but also the limitations of sus- which democratic discourse unfolds, but as an public good and infrastructure as a commons, zen issue trackers, the classic civic technology app, tained participation. Some inspirational examples object of this discourse. Collectively defining pro- TradeNet completely abandons the idea of public are a good example of this category: smartphone exist. Founded by the media artist Usman Haque, tocols and standards is a democratic concern in the infrastructure. In a scenario where even miniscule apps that allow citizens to report problems in the Pachube was a community platform for sharing live 21st century city. In this respect, the designers and consumptions of infrastructure services can be environment, from potholes to graffiti, from litter data feeds from sensors deployed by a community coders of civic technologies find themselves in an measured and billed, infrastructure becomes an to streetlight outages. Pioneered by systems for of citizen scientists and enthusiasts. In many ways, unfamiliar role: not only as mediators of experience, entirely private good. In the face of these seeming non-emergency community requests, many large Pachube delivered what the Smart City concept but also as policy makers, who design the technical contradictions, one has to ask: what is the politics cities around the world have implemented citi- promised to do, surpassing most official sensor frameworks that not only facilitate, but also shape of civic technologies, are they neo-liberal or neo-we- zen-reporting apps. The value of the information networks in scope and completeness. Ed Borden urban governance. berian, service-oriented or activist? I argue that the collected through this means is huge, giving the city from Pachube posted in June 2011: answer to this question depends on what is entailed access to accurate data from street level. Noting “BigGov has become irrelevant in the public sec- 1 Greenfield, A., & Kim, N. (2013). Against the Smart by the elusive term “participation.” that the majority of reports are submitted by a small tor, eclipsed by someone with a supercomputer City (The City Is Here for You to Use). New York, NY: Do projects; Townsend, A.M. (2013). Smart Cities: Big Data, What do we mean when we talk about participation? number of individuals, cities encourage individuals in their pocket, open source hardware and soft- Civic Hackers, and the Quest for a New Utopia. New Participation is almost universally accepted as a to become stewards of their own street. ware at their fingertips, and a global commu- York, NY: W.W. Norton & Company; Kitchin, R. (April positive value, so much that Sherry Arnstein com- But citizens are not just passive sources of infor- nity of like-minded geniuses at their beck and 1, 2014). Big Data, New Epistemologies and Paradigm mented somewhat sarcastically in 1969, “the idea mation for the city, which might or might not use call: YOU. YOU are the Smart City.“ Shifts. Big Data & Society 1, no. 1: 2053951714528481, doi:10.1177/2053951714528481. of citizen participation is a little like eating spinach: this information. The next step is therefore par- The urbanist Adam Greenfield gently objected: 2 Flood, J. (2010). The Fires: How a Computer Formula, no one is against it in principle because it is good for ticipation as monitoring. Through data collection, “There are some things that can only be accom- Big Ideas, and the Best of Intentions Burned Down New you.”8 But only, as she argues, until participation is citizens can also create pressure on the city and to plished at scale—I think, particularly, of the York City—and Determined the Future of Cities. New understood as a re-distribution of power and con- some extent challenge its authority and expertise. kind of heavy infrastructural investments that York: Penguin. 3 Gianino, C.E. (1988). The Rand Fire Project Revisited, trol, in which case enthusiasm quickly wanes. To They become what Kuznetsov and Paulos call the underwrite robust, equal, society-wide access Fire Technology 24, no. 1, 65–67. 10 disambiguate the different meanings of the term, “expert amateur.” In the Japanese Safecast project, to connectivity. And for better or worse, gov- 4 https://www.codeforamerica.org; http://codeforall.org Arnstein introduced her famous “ladder of citizen a collective of activists built and deployed mobile ernments are among the few actors capable of 5 Lathrop, D., & Ruma, L. (2010). Open Government. participation” as a conceptual continuum of dif- radiation monitoring units after all Geiger counters operating at the necessary scale to accomplish Boston: O’Reilly Media, Inc. ferent levels of control bestowed upon the partici- in the country were sold out following the nuclear things like that; they’re certainly the only ones 6 Goldsmith, S., & Crawford, S. (2014). The Responsive City: Engaging Communities Through Data-Smart pants—from pseudo-participation as an empty rit- disaster at Fukushima Daiichi. The volunteers not that are, even in principle, fully democratically Governance. San Francisco: Jossey-Bass. ual on the one end, to complete citizen-control on only documented radioactive pollution but also accountable.”14 7 Hearn, M. (2013). Future of Money. Retrieved from the other. We can apply a similar lens—a ladder of uncovered flaws in the official radiation measure- He was proved right—just a few weeks after this http://www.slideshare.net/mikehearn/future-of- participation in civic technologies—to differentiate ment methodology.11 exchange, Pachube was sold, renamed, and turned money-26663148 8 Arnstein, S.R. (1969). A Ladder of Citizen Participation. the modes of participation of the “smart citizen.” A further step is participation as co-production: into a closed service. Its groundbreaking idea, the Journal of the American Institute of Planners 35, no. 4, Often, participation is not much more than com- involving citizens in planning, implementing, and enthusiasm of its community, and its short life as 216–24. pliance. This is the case for contemporary forms of managing public services. The theorist of gov- a community project illustrate a central dilemma 9 MacBride, S. (2012). Recycling Reconsidered the Present behavior engineering under the terms “gamification” ernance of commons, Eleanor Ostrom, observed of infrastructure and participation: the dilemma Failure and Future Promise of Environmental Action in the United States. Cambridge, Mass.: MIT Press. or “nudging”: using game mechanics to motivate that if people are involved in planning and imple- between the creative energy of participatory proj- 10 Kuznetsov, S. & Paulos, E. (2010). Rise of the Expert and reward people for behaviors that are, like eat- menting infrastructure or housing projects, they ects and the expectation of longevity, reliability, Amateur: DIY Projects, Communities, and Cultures. ing spinach, considered good for us: taking the bike are more satisfied with service provision and have and accountability. Any concept of a future city Proceedings of the 6th Nordic Conference on instead of a car, recycling, and generally being a nice more sense of ownership.12 The city benefits from will have to come to grips with these two opposing Human-Computer Interaction: Extending Boundaries, citizen. Here, participation is about succeeding at the local knowledge of participants and can better forces. This is not necessarily a limitation or a prob- 295–304. http://dl.acm.org/citation.cfm?id=1868950 11 Offenhuber, D. & Schechtner, K. (Eds.). (2012). the rules, not questioning the rules. What does it react to their needs, the individual gains by having lem, just an indication that cities are too complex Inscribing a Square: Urban Data as Public Space. mean if an Aluminium company releases an app more influence in the design of services which they to be “fixed” by a single group, whether they are Vienna, New York: Springer. for encouraging people to recycle beverage cans by will eventually be the primary beneficiaries. Silicon Valley entrepreneurs, Smart City engineers, 12 Ostrom, E. (June 1996). Crossing the Great Divide: rewarding them with points for recycling? It is a way On the other end of the spectrum is participation as civic hackers, or governmental institutions. The Coproduction, Synergy, and Development. World Development 24, no. 6, 1073–87. of saying that it is the individual consumer who is self-organization: systems that are entirely created tradeoffs of participatory governance can be gen- doi:10.1016/0305-750X(96)00023-X. responsible for a healthy environment, and not the and managed by their users, or “Inverse Infrastruc- erative and open up a rich space of experimentation 13 Egyedi, T.M. & Mehos, D.C. (2012). Inverse beverage companies, who have designed their sup- tures.”13 Truly self-organized, or even crowdsourced between technology and policy, once we understand Infrastructures: Disrupting Networks from Below. ply chains around disposable packaging made from infrastructures that are sustained over a long period that no simple solutions exist, and that none of the Cheltenham, UK: Edward Elgar Publishing. 14 Borden, E. & Greenfield, A. (2011, June 30). YOU Are the problematic materials. In this sense, “saving the are rare, with Wikipedia being the obvious and over- involved actors can claim a neutral, objective posi- “Smart City.” [Web log message]. Retrieved from http:// world one step at a time” is a great way of staying used example. The inverse infrastructures of the tion. The involved protocols and algorithms should blog.pachube.com/2011/06/you-are-smart-city.html in place—maintaining the status quo.9 open source and citizen science communities show not be seen merely as the technical substrate on

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Veronika Pauser, Claudia Schnugg, Susa Popp Connecting Cities Artists and Researchers Empowering Citizens since 2012

The Connecting Cities Network (CCN) is a worldwide tion of new communication strategies and initiate explored, for example, site-specific problems like globe: a planet that we can grasp simultaneously in initiative of cities and institutions in the field of intercultural dialogue. In this field, CCN supports the challenge of how to create access for human an ever-changing configuration of networked tangi- media art and new media. Within the framework of the idea of the public space as a space for creativity, interaction and trigger new forms of participation, ble and intangible spots. a 4-year artistic research program, the CCN partners visibility and exchange of culture through redefining engagement and bottom-to-top activism. Which Besides research and artistic production the CCN link their research and diverse artistic activities to urban media façades as platforms for co-creation interfaces and devices can enable a direct exchange also aims for exchange and circulation of artistic and investigate the creative potential of urban screens of cities through bottom-up strategies. Moreover, between local scenes and trans-local communi- socially relevant contents. This mainly happens in and media façades. The main goal is to reflect on such urban media environments and media façades ties? How to develop socially relevant scenarios in form of the Connecting Cities Events where a broad the increasing presence of large-format digital demand new forms of curating and artistic produc- a playful and at the same time critical way? More- public audience can interact with the commissioned media façades in public space and to examine their tions. over, they worked on questions like: What are the artworks and can experience the artistic research unique communicative function within local cul- To approach these topics, a broad range of artistic communicative and socio-cultural potentials of results. Often designed as city-to-city interven- ture and international communities. In practice, the and research activities has been undertaken by all of these often only commercially used urban media tions, these events connect the CCN infrastructure projects aim to establish urban media façades as the partners: production and adaptation of artworks infrastructures? How to provoke social and politi- of media façades, urban screens and projections in open platforms for citizens to engage in participa- for their own city, common workshops and confer- cal action through artistic intervention using urban real-time. All these events are adjusted to the local tory city-making processes, to exchange data and ences, test screenings, urban media labs and other screens and media façades? What does it mean to situation and interest of the participating CCN part- experiences, and to create cultural hubs that reach specific research activities. All these actions are give the public space back to citizens and enable ners: some develop artistic content for permanent out to others beyond the border of a single city. characterized by an interdisciplinary collaborative interaction, communication, critical reflection of large media architectures like the Ars Electronica When the EU-funded project Connecting Cities was approach in defining research questions, developing information, and set actions? Center in Linz, Medialab-Prado in Madrid, the Digi- launched in 2012, the partners could build on fertile research design and producing artistic projects. In 2015 within the framework of the In/Visible City tal Gallery at the SESI Building in Sao Paolo; others ground laid out in previous efforts by the contrib- In the course of the Connecting Cities artistic topic three partner institutions, Ars Electronica Cen- work temporarily with existing infrastructures that uting partners. In particular, in 2008 Public Art Lab research program the CCN partners explore these ter in Linz, FACT in Liverpool and PAL in Berlin, could are otherwise mainly commercially used screens or Berlin initiated the Media Façades Festival to reflect research questions from different perspectives: host research residencies. In the course of these projection walls like m-cult in Helsinki, FACT Liver- on the increasing presence of massive infrastruc- · The main topic Networked City in 2013 led to a focus residencies Ars Electronica Futurelab worked with pool and Public Art Lab in Berlin; others work with tures with digital visual elements in public spaces. on interlinking the urban media infrastructures by the residents on generating artistic perspectives exhibitions and permanent showcases of how to In 2010 Ars Electronica collaborated with the Media opening them as real-time windows between the on hidden information and interaction and thus utilize urban media environments for participatory Façades Festival Europe to present a fascinating cities and connecting local neighborhoods beyond making the invisible visible, at the Public Art Lab city-making like Quartier de Spectacle in Montreal array of art projects on the LED façade of the Ars national borders. residencies focused on potentials of connecting the and the Federation Square in Melbourne. Electronica Center and on the tobacco factory · The main topic Participatory City in 2014 aimed at fields of science, media art and light technologies to http://www.connectingcities.net grounds during the Ars Electronica Festival 2010. the investigation of community building through develop new contexts and services, and at FACT the Media façades were transformed into local stages participatory involvement by engaging the citizens residencies explored the political and social impacts The Connecting Cities Network is supported by the and thus opened a global window for cultural and in the collaborative creation of their urban environ- of connecting people beyond western culture nar- European Union Culture Programme 2007–13. societal processes to create a dialogue and connect ment and encouraging them to use urban media for ratives. It was initiated by Public Art Lab Berlin in cooperation with Ars Electronica Futurelab Linz, Medialab-Prado Madrid, the local public virtually with other places through- communication, public debate and investigation. Over the entire term of the CCN research program, FACT Liverpool, Videospread Marseille, iMAL Brussels, out Europe. · The main topic In/Visible City in 2015 led to explor- researchers and artists developed a new under- Riga 2014, BIS (Body Process Arts Association) Istanbul, Besides this communicative aspect, media façades ing the visualization of invisible data streams and standing of cities and citizenship, moving away m-cult Helsinki, Media Architecture Institute Vienna, represent an interesting medium from a media open data generated through sensor and data net- from a pure technological understanding of the Museum of Contemporary Art Zagreb, University of Aarhus, MUTEK & Quartier des Spectacles Montreal artistic and an architectural perspective. Thus, this works on urban media environments. As a result, smart city towards the city as platform for social is a highly interesting topic for researchers from invisibly generated data becomes visible through and cultural interaction by reconfiguring layers of Currently the following cities are part of the constantly different disciplines as they provide a range of artistic scenarios and creates an awareness of the digital and physical space. The rhetoric of flow and growing network: Aarhus, Berlin, Bogotá, Brussels, Dessau, possibilities for artistic experimentation as well as digitalization of our society. dematerialization associated with the Internet in Dortmund, Frankfurt, Guangzhou, Helsinki, Hong Kong, social and cultural exchange. Based on the increas- Research questions that have been investigated the Nineties is now being turned into a call for hybrid Istanbul, Jena, Linz, Liverpool, London, Madrid, Marseille, ing presence of these massive infrastructures with from these perspectives range from very practi- place-making and meaningful re-appropriation of Melbourne, Montreal, Moscow, New York, Pula, Riga, Ruhr, Saarbrucken, Sao Paulo, Sapporo, Sydney, Utrecht, Vienna, digital visual elements in public spaces, researchers cal issues to more theoretical and socio-cultural the public sphere. This leads to a rediscovery of the Wuhan, York, Zagreb, Zaragoza and cultural activists aim to investigate the utiliza- developments. The partners and artistic researchers condition of citizenship in the face of a shrunken

154 155 CONNECTING CITIES nita. Ursula Feuersinger blindage. Deep City A Connecting Cities Research Residency 2015 Project A Connecting Cities Research Residency 2015 Project blindage is the french word for a wall, a shield intervention focusing on ways to camouflage real- Deep City is a data visualization experiment inves- extracting hidden artifacts from the deep and or an envelope, which protects what’s inside. ity. façades are also masks. the project invites the tigating the collective information that defines a bringing them to the surface. A crank allows par- inbetween disclosure and disguise. how can you audience to peek beyond the Ars Electronica Center city’s present and future. Findings from Linz, Vienna, ticipants to browse through color-coded topologic hide your face without losing it—how can you divulge façade. Berlin, and New York are represented as visualized layers. When users pause on a given color, animated it without getting transparent. blindage. is the http://blindage.at/ data layers and displayed on the four sides of the content is revealed, both on the Ars Electronica Cen- poetic trial of freedom in a world of monitoring and http://www.studionita.at/ Ars Electronica Center building. By comparing the ter façade and on the terminal’s screen. data superabundance. the project focuses on the This project was realized within the framework of the Ars data sets, assumptions about individual behaviors The second interaction element is a 3D printed cube, use of digital masks by contemporary human beings. Electronica Residency Network. and social customs can be explored and challenged. a hand-sized, miniature model of the AEC build- blindage. is divided into three chapters—fleurêve. idea/masks/visuals: anita brunnauer (nita.) What information characterizes a city and reflects ing. By rotating the cube on the interface termi- camera/edit: benjamin skalet (simp) synanthrope. and abîme. each one translates met- audio: simp & STSK its future? How effectively does data represent nal, users can switch from one city to another and aphors into visual art by using dance, taxidermy technical support: leonard prokropek the complexity of cities, and how do inhabitants view the respective city’s content. Participants are and handmade organic masks. archetypical as well postproduction/motion graphics: ludwig tomaschko, interact with and make sense of these represen- encouraged to explore the particularities of their as surrealistic imagery accompanied by different benjamin skalet, anita brunnauer tations? Social, political, and personal properties own urban spaces, and to compare them to oth- ways of projection. blindage. coquettes with the vocals & protagonist chapter nº1 fleurêve: of urban spaces were considered in the context of ers. Deep City invites residents to critically engage sophia hagen (soia) distinction between high res and low res. a mélange sustainability and quality of life. Ultimately, 8 data with their surroundings, but also to enjoy browsing dancer chapter nº2 synanthrope: paz katrina jimenez (cat) of analogue and digital techniques—overhead pro- faces chapter nº3 abîme: dusty crates, improper walls, sets that explore the tension between individuals, through colorful, animated public data on a large jection, microscoped organic footage, and digital sen7even, shakiba ravazadeh, soulcat e-phife spaces, and resources were chosen and grouped into media display. pairs: Growth / Diversity, Green Spaces / Bike Paths, Water Usage / Waste, and Density / Noise Exposure. This project was realized within the framework of the An interactive terminal was designed and con- Ars Electronica Residency Network. structed to return the data to its source, the urban Design & Animation: Ursula Feuersinger population, for reconsideration and evaluation. Sound: Richard Eigner & Roman Gerold (Ritornell) Observers of the project become participants, Technical Support: Leonard Pokropek Anita Brunnauer Anita

156 157 KAPITELTEXT CONNECTING CITIES Dietmar Offenhuber Urban Entropy Florian Born, Christoph Fraundorfer A Connecting Cities Research Residency 2015 Project ESEL-Complain “Maintenance is a drag; it takes all the fucking time”. A Connecting Cities Research Residency 2015 Project Manifesto for Maintenance Art, Mierle Laderman Ukeles, 1969 Urban space can be divided into many different Auto-Complain detects potholes by mounting your Is complaining an act of civic participation? Urban these two spaces. While civic participation increas- types of spaces: living space, space to relax, space smartphone on the handlebar of your bike. These entropy is a public display of complaining and ingly takes place online, we stay inside a filter bub- for interaction, or space for unexpected things to potholes are entered into an online database and repair, a drama of maintenance and things that do ble and only find what we are looking for. IRL (“In happen. Moreover, it is also a space of noise or marked with a spray can. myESEL develops bikes not work. The façade of the Ars Electronica Center Real Life”), the public space of the city, we cannot lost places. There is a close connection between that can be adjusted to meet individual needs in visualizes the work queue of the city of Linz public foresee or choose whom we might run into, for bet- urban mobility and the quality of public spaces in the manufacturing process. This flexibility is the works department and reads the litany of citizen ter or worse, just like the involuntary listeners to the cities. ESEL-Complain shows opportunities and the perfect opportunity to integrate the auto-complain complaints to pedestrians passing by the building, chorus of Urban Entropy’s complaints. potential provided by the use of bicycles in public system into a bike. which is conveniently located across the street from Urban writers such as Jane Jacobs and Richard Sen- spaces. It connects two projects that try to make This project was realized within the framework of the City Hall. nett have defined public space as the sometimes riding your bike in a city as pleasant as possible. Ars Electronica Residency Network. The proliferation of citizen issue trackers, feedback unpredictable exposure to diversity, unlike the con- and grievance systems are part of an emerging par- trolled environment of segregated suburban neigh- adigm of participatory infrastructure governance. borhoods, which share many similarities with online The evangelists of this paradigm emphasize issues public space. When citizen reporters know that their of transparency, accountability, and nuts-and-bolts submissions are not just compartmentalized on the collaborative problem solving between the city and city’s website, but broadcasted into public space, its residents. The local version of an issue tracker, would they write their complaints differently? the “Schau auf Linz” service, displays its submis- Urban Entropy moves the process of maintenance sions publicly on the website of the city. Data repos- into the foreground, shows that infrastructure (to itories such as the archives of the service are con- paraphrase Susan Leigh Star) is not a thing, but a sidered part of the digital equivalent of public space. relationship: between physical structures and orga- By bringing complaints from the city’s website into nized human practices. the physical space of the city, Urban entropy makes This project was realized within the framework of the Ars a point about an important difference between Electronica Residency Network. Benjamin Skalet Florian Voggeneder

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Tamer Aslan, Onur Sönmez Flame A Connecting Cities Visible City 2015 Project

Fire has been strongly associated with human soci- At the same time, however, this power was taken ety since early civilization. For the first hunters and from the hands of the public and placed under the gatherers, and even more for settled societies, fire control of a few. When fire and its accompanying defined the central gathering point and meeting customs and traditions started to disappear from place. Food was prepared over its heat, and wounds the cities, the people lost their say in the rules that were cleaned with its ash. Good times were cele- governed them and their cities. Both fire and the brated, and bad times lamented by the fire. mechanisms of the city became invisible, disap- As civilizations became more complex and villages pearing from sight and becoming incomprehensible evolved more and more into cities, fire started to to its citizens. Flame, wants to give the fire back to become the power that forged the tools and weap- the people, to help them forge the tools of the new ons of this complexity, and hence initiated the prog- century, and to burn to the ground the institutions ress of technology. Its symbolic representation rose that restrain them, if necessary. Flame wants to to its highest form with the industrial revolution, remind them once more of the forgotten fact that where steam engines converted this power directly their own breath constitutes the very basis of this into usable energy, which eventually became the fire. main driving force of the cities. Special thanks to Bernhard Ranner for the metal work and fire sculpture. Fire hardware provided by TBFpyrotec.

Mark Shepard, Julian Oliver, Moritz Stefaner False Positive A Connecting Cities Visible City 2015 Project

Welcome to candygram, where you are It is not just the trust we place in network infra- more than just a number. structure but also our willingness to trade bits of Tired of being treated like yet another personal data for access to online services that ren- anonymous subscriber? der us vulnerable. Caught between ruse and exploit, At candygram, we get to know our we find ourselves subject to ever more sophisticated customers personally, and we know forms of profiling, both online and off. Yet if algo- you better than you think. rithmically generated data bodies are our future, Candygram—let’s get personal® they are also prone to error. False Positive deploys text messaging, stealth infrastructure, street inter- vention, and data visualization to enact a surveil- lance conspiracy engaging the public in an intimate, techno-political conversation with the mobile tech- nologies on which they depend.

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Second Council of Europe Multi-Stakeholder Platform Exchange on Culture and Digitization Smart Creativity, Smart Democracy

The impact of digitization on culture has been information on the digitisation of culture, so as recognized by the Council of Europe as entailing to keep the organization’s cultural policy-making momentous societal transformation. Digitization informed, involved and up-to-date. The Platform’s has provided an unprecedented means for people theme aims to reveal further evidence of the mutu- to access, express, generate, assemble and dis- ally reinforcing relations between citizens’ digital seminate culture in a variety of different ways. It creativity, media competence, access to and partici- has further led to a more collaborative culture and pation in culture, civic engagement, public outreach seen the genesis of innovative schemes such as and democracy. crowd-funding, crowd-sourcing and collective cre- While the platform exchange will be open-ended ation. This has meant political implications for the and its outcomes determined by the contributions Council of Europe’s mandate of upholding human of the participants, answers to the following ques- rights, democracy and the rule of law, such as by tions will be sought: How can digitization be best providing a means for governments to enhance cit- used for facilitating access to and participation in izen access and participation in digital culture, but culture and creativity with a view to strengthen- also by showing up threats such as the breach of ing democratic participation and thus contribute citizen privacy and the propagation of hate speech, through “Smart Creativity” to “Smart Democracy?” all of which call for due action. What are the examples of the most recent inno- In this context, the 2013 Council of Europe Conference vative cultural practices and digital applications in of Ministers of Culture requested the setting-up of Europe, what are their specifics? How were they a multi-stakeholder platform of exchange for policy set up, run and financed? Do they actually boost makers and cultural and media practitioners to dis- audience engagement and attract a larger audience? cuss these issues. A first platform meeting was held Do they boost creativity and participation? What from 4 to 5 July 2014 in Baku, Azerbaijan. It collected are the lessons learnt, what are the good practices the different views of various actors and explored observed, and can these be translated into inspi- the egalitarian promise of digital culture that had rations and principles for innovative cultural pol- already dissolved countless boundaries and removed icy-making, to be recommended by the Council of many hierarchies in culture creation and dissemi- Europe to its member states? nation. This first meeting subsequently provided The conference will once more be practice-oriented insights for a Council of Europe Recommendation and bring together senior policymakers with artists to European Governments on the “Internet of Cit- and cultural producers, practitioners from cultural izens,” meant to complement the now well-known institutions and professional associations as well as concept of the “Internet of Things.” Promoting a researchers, civil society actors and representatives people-centered approach to the Internet, it will be from international bodies active in this field. This adopted later in 2015 by the organization’s political multiple stakeholder approach is aimed at including stakeholders. the widest number of players and perspectives in In summer 2015, the Council of Europe, through the field and reflects their shared responsibility for its Steering Committee on Culture, Heritage and shaping the present and the future. Landscape, and in cooperation with Ars Electronica, The work on Digitization and Culture will continue will organise the second of such platforms. Entitled after the platform meeting and be reflected in the Smart Creativity, Smart Democracy it will be held in forthcoming Council of Europe “Internet Governance Linz at the Ars Electronica Festival. In this way, it Strategy 2016–2020.” Synergies are welcome with hopes to take advantage of the latest trends and relevant initiatives from other organizations. Council of Europe

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What is Knowledge Capital?

River Capital the government, built several academic facilities The city of Osaka, established in the 7th century, sur- along the riverside–including public libraries and the rounded by a major river and waterway, is known as Osaka City Central Public Hall. the city of merchants. The river, like the Danube, has always been an inspiration for innovation among Knowledge Capital the people, in terms of transport and as a place for Even today, innovation in Osaka continues to be led entertainment. They might mean a leisure area. by the business sector and individuals. Knowledge Capital is a core facility of the complex established People’s Capital by private companies and works as an intellectual Osaka was built by the people. The schools along creation hub to realise interactive and collabora- the riverside provided a diverse and talented work tive environment at the heart of Osaka. Just as rain force. To meet demand and improve business, mer- forms a stream that becomes a river and the river chants and locals built more than 200 bridges in the flows into ocean, we at Knowledge Capital have Edo period (1603–1868), whereas the government offered places and opportunities for unique and only built 12. Public works continued to be built by creative individuals to bring forth new ideas that the people. In the 20th century, entrepreneurs, not will spread to the rest of the world.

KNOWLEDGE CAPITAL The Emergence of Osaka in Action

Knowledge Capital is a center for the creation of collaborative activity creates an innovative culture, new intellectual values through interaction and col- ideas, goods, and services. laboration, and a core facility at Grand Front Osaka, Osaka has flourished as a river city since ancient the multi-purpose complex of commercial facilities, times, and it was the people, rather than the author- offices, hotel and service apartments. It is located ities, who built bridges to ensure better service. in the center of Osaka, and everyday 2.5 million Knowledge Capital has inherited this spirit of the people pass through this largest station in western people and seeks to innovate business and lifestyle. Japan. Businesspeople, researchers, creators, ordi- This spirit has traveled 9,000 km from Osaka to Linz nary citizens, and a wide variety of other people along the Danube. We hope you feel the heartbeat come together there to pool their knowledge and of what is happening over here, and participate in create something new and valuable. We believe that the activities of Knowledge Capital.

Takuya Nomura, General Producer KNOWLEDGE CAPITAL Osaka, the „Knowledge Salon“ and „The Lab“

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The exhibits are by enterprises, universities and Folklore Sphere entrepreneurs from the Knowledge Capital facilities Kansai University The Lab., the Knowledge Salon, and the Knowledge Folklore Sphere is an attempt to rediscover regional Office. values in both the city and nature, which have been evolving organically in a timeless way, and to pres- ent the values as multiple works of digital media for the civic pride of the future generation. EXHIBITION WORKS AND RESEARCH In cooperation with Daiko Advertising Inc.

Colloidal Media Compositions / Anti-gravity sound scape Digital Nature Group, University of Tsukuba How can our imagination be physicalized? We pre- sent two art works utilizing acoustic field technolo- gies: colloidal compositions in which programmable soap bubbles represent the ambiguity of our mind and memory. The other is an anti-gravity sound- scape–media composition that expresses the mal- Bunraku Robot leability of the physical world. Small particles in the Muscle Corporation air are manipulated, burst and stabilized. Bunraku Robot fuses state-of-the-art robotics tech- nology and the traditional Japanese puppet theater artform. The human puppetmaster can teach the robot original lithe movements, and the robot can re-play the motion as many times as needed.

A tree tweets. A tree reacts. ISI-Dentsu, Ltd. Open Innovation Lab., MIT Media Lab., OUJ, Obayashi Co., What Color is your City? and Aoyama Gakuin Univ. Osaka Institute of Technology What if we could add humanity to trees, and robo- 1. Progress report about the Japanese National Proj- tinity to humans? What will the mutually beneficial ect on innovative Robot Service. futuristic relationship of trees and human beings be 2. Pilot experiment of social art for graphical inter- like? We explored ways of sound communication pretation of latent urban structures and attrac- by monitoring sap flow and pulse. Here come tree tions through digitally visualizing casual behavior tweets. of visitors and habitants in cities, using the Japa- nese-friendly tool “Uchiwa.”

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Incendiary reflection Shigeo Yoshida, Takuji Narumi, Tomohiro Tanikawa, Michitaka Hirose, The University ENTREPRENEUR EXHIBITIONS of Tokyo Do all of your emotions really come from inside? Incendiary reflection influences your emotional experiences by slightly modifying the reflection of Twee-Shirt your facial expression. Although you do not change XOOMS × U-SOFTFACTORY your facial expression, the face in the mirror is either Twee-shirt is a tool to facilitate the communication a happy or a sad face. between strangers. A person wearing the Twee-shirt, on which a specific AR-marker is printed, registers their Twitter-ID and other personal records on the server in advance. Any person who wants to speak to them is able to get the information through a mobile application before starting a conversation.

GOKAN Response Activating Space Takenaka Corporation We offer the architecture that affects human senses in response to the human’s movement by images, sounds, perfumes and air-flows and will activate human’s body and mind. You will experience the response of architecture that makes humans smile, communicate with people and dance. This is the prototype of space designed for the super-aged society that Japan will face in the approaching future.

Being There Without Being There iPresence LLC We are planning to connect multiple locations using Lost Physical Existence remote presence technologies. We will be connect- VisLab Osaka: Osaka Univ., Kwansei Gakuin ing between the Knowledge Capital in Japan and Univ., Osaka Electro-Communication Univ. Ars Electronica in Austria, and even some other Ars The barcodes are attached to humans and mismatch Electronica locations, and visitors from both sides personal information. Barcode readers are also used will experience the other side without being there. as a visual display. A 3D Fog Display could be screen- ing senseable city. An umbrella-like device called FUNBRELLA entertains people with weather data and an umbrella is the user interface. These objects are paradoxical in the face of digitization.

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Gerfried Stocker The Challenge of Art and Science European Digital Art and Science Network

Since its very beginning Ars Electronica has always If one really wants to meet these expectations, an The main idea of the network is to draw a bow between micro- and focused strongly on the many interrelations altered understanding of the role of the artist and macro-cosmos of science and digital arts. between Art and Science. From the Sky Art Confer- even more of the role of the institutions of art and ence in 1980 or the 1992 festival dealing with Nano- culture is also needed. technology to the Hybrid Art category of Prix Ars But how can it be changed without compromising In cooperation with seven artistic & cultural institu- tural exchange as well as gaining access to new tar- Electronica that was started in 2007, Ars Electronica the autonomy and integrity of the artistic process tions as well as CERN and ESO (European Southern get audiences are among its declared goals. There has made major contributions to the development because after all this is the one thing that makes it Observatory), Ars Electronica launched the Euro- is also strong emphasis on art’s role as a catalyst of this field and introduced challenging scientific so promising and valuable? pean Digital Art and Science Network, an interna- in processes of social renewal. By creating images topics into the discourse and practice of media art. What kind of practices can be established to suc- tional initiative offering artists the chance to spend and narratives dealing with the potential risks and For a long time, artists seemed to have a greater cessfully tap into this special energy? How can it be several weeks at CERN, ESO, and the Ars Electronica rewards inherent in technological and scientific interest in this field, but in recent years the interest translated and conveyed beyond the art? How can Futurelab. The network aims to link up scientific development, artists exert an important influence in exchange and collaboration has increasingly come the art itself benefit from this and gain momentum aspects and ideas with approaches used in digital on how our society comes to terms with these inno- from scientists and researchers, which is largely due of innovation for itself? What experiences and find- art. Fostering interdisciplinary work and intercul- vations. to the popular idea that many of the challenges of ings can be drawn from the prototypic encounters our present time can only be solved with creative and collaborations of the many artists in residence new approaches and even more extensive collab- programs that are currently aiming to bring artists oration. and scientists together? The challenges we face in these many transforma- These are the questions that are presently being Half the financing of the European Digital Art and Science Network is tions that are now taking place are bigger than the discussed in many programs and places, and that is being provided by the European Union programme Creative Europe, capabilities of each individual group of experts, and why Ars Electronica teamed up together with seven the other 50% is contributed on an equal basis by the participating so collaboration which is going beyond just the mere experienced European art institutions and two of institutions. Creative Europe is the European Commission’s frame- joining of forces but has the potential to lead to the most exciting research facilities that we can find work programme for the cultural and creative sectors. transformation and innovation is the mantra of our today: CERN with its Large Hadron Collider, looking time. No doubt the large attention that art and sci- into the smallest possible structures of our matter ence collaborations are getting right now is driven and ESO’s high end observatories in Chile looking In cooperation with the seven European partner where mentors will assist the artists in the creation by very profane expectations that a new wave of cre- into the furthest distances of the universe. organizations, Ars Electronica issued two world- and development of new works that were inspired ative innovations could boost the weak economies Besides these unique artist in residence opportuni- wide calls for submissions. The first call (fall 2014) by their previous residency at ESO or CERN. and become the much needed competitive edge for ties, Ars Electronica is also devoting a big part of the was for a residency at the European Southern Obser- The results of the respective residencies will be pre- the next decade. festival to the field of art and science collaboration. vatory (ESO) in Chile, the second call (spring 2015) sented at the Ars Electronica Festival 2015 for the for a residency at CERN in Geneva, Switzerland. ESO residency, and in 2016 for the CERN residency. From among the entries, the juries of top-name The results will also be presented in modular trav- experts selected two artists (artistgroups) to take eling exhibitions that will be running at the seven part in the residencies. The artists will spend a few partner institutions. In addition to the exhibitions, weeks at the scientific institutions (ESO and CERN) the network will also stage workshops and discur- and derive inspiration from their mentors and their sive projects such as conferences and symposia hav- scientific work. Subsequently, they’ll spend an addi- ing to do with the artistic themes of the respective tional residency at the Ars Electronica Futurelab, works.

172 173 ART & SCIENCE Scientific Partner Institutions European Cultural Partners The basis of the European Digital Art and Science Network is a big manifold network consisting of two scientific mentoring institutions, CERN and ESO—representing Europe’s finest in scientific research, the Ars Electronica Futurelab—providing state-of-the-art technical production possibilities in a transdisciplinary discourse, and seven European cultural partners who represent strong and diverse European cultural and artistic positions. GV Art (UK): GV Art is the UK’s leading focused on how modern society interprets and contemporary art gallery which aims understands the advances in both areas, and how to explore and acknowledge the interrelationship an overlap in the technological and the creative, the between art and science, and how the areas cross medical, and the historical fields are paving the way ESO (CL): The European South- over and inform one another. The gallery curates for new aesthetic sensibilities to develop. ern Observatory (ESO) is an inter- exhibitions and events that stimulate a dialogue http://www.gvart.co.uk governmental organization that has its headquarters in Munich and its observing facilities in Chile. Founded in 1962, today ESO consists of many DIG gallery (SK): DIG gallery is the ing artistic practice and creativity in general. DIG different observation facilities which helped to alternative platform for presenta- gallery collaborates with several institutions and make a lot of important discoveries in astronomy. tion of the contemporary forms of independent initiatives within the interdisciplinary ESO has built and operated some of the largest and digital and media arts. Activities research, alternative education, and partnership most technologically-advanced telescopes in the of DIG gallery are focused on map- networks. DIG gallery was founded by DIG non- world. http://www.eso.org/public/ ping and popularization of this area, developing profit organization in 2012 as a model of the open- ESO, C. Malin ESO, local and international connectivity, and support- source gallery based in Kosice. diggallery.sk

Science Gallery (IE): Science Gal- cased the first ever live simulation of a pandemic lery is an organization dedicated using RFID technology. Science Gallery is ranked to igniting creativity and discov- amongst the top ten free cultural attractions in Ire- CERN (CH): As the cradle of the World Wide Web ery where science and art collide. Science Gallery, land and is all about opening science up to passion- and home of the Large Hadron Collider which inves- since opening in February 2008, has welcomed over ate debate. It is uniquely located in Ireland’s leading tigates the mysteries of our universe, the European a million visitors with over 24 exhibitions ranging research university, Trinity College Dublin, with a Organization for Nuclear Research—CERN is an emi- from EDIBLE, which examined the future of food, recognized expertise in astrophysics and astronomy nent center of digital culture as well as science and to BIO-RHYTHM, which got to grips with music and as well as a focus on public engagement with cre- technology. As an international center of excellence the body, to INFECTIOUS, an exhibition which show- ative science, art and design. in these fields it is an inspirational place for artists http://dublin.sciencegallery.com and designers to explore and extend their research in order to find new artistic approaches. http://www.cern.ch LABoral (ES): LABoral is a mul- tion, a practice that involves an intense knowledge tidisciplinary institution which exchange amongst professionals from different dis-

CERN, Maximilien Brice Arts@CERN is CERN’s arts programme, designed produces, disseminates and ciplines with a common objective. In this context, to make creative connections between the worlds fosters access to new forms of culture rooted in the collaboration with all these professionals has of science, the arts, and technology. It is part of the creative use of information and communica- always been a new challenge, due to the differences CERN’s Cultural Policy, agreed in August 2010, which tion technologies (ICT). LABoral has been working and similarities between practices. Thus, this expe- led to the creation of its flagship arts programme in crossovers between arts, science, and technology rience is to be shared, agreed, and formalized with “Collide@CERN Artists Residencies—Creative Colli- since its creation in 2007. The hybrid nature of the similar hybrid institutions through the production sions between the Arts and Science”—in 2011. The institution is seen through its focus on produc- of various research projects and related activities. “Collide@CERN” residency programme is already http://www.laboralcentrodearte.org well established and highly regarded, having run successfully for 4 years, with a proven track record in transdisciplinary artistic excellence and exchange between artists and scientists. http://arts.web.cern.ch 174 175 ART & SCIENCE Residencies

Zaragoza City of Knowledge Foun- (in collaboration with Ars Electronica), to promote dation (ES): Zaragoza City of Knowl- technology-based creativity in the public space, edge Foundation is an independent Innovate! Europe (a European event on startup public-private organization that is in culture), and Das Detroit Projekt (coordinated by charge of the program for the Etopia Center for Schauspielhaus Bochum). Zaragoza City of Knowl- Residency at the European Southern Observatory (ESO) in Chile Art & Technology. According to this mission they edge Foundation has also been quite active in par- developed some interesting projects with interna- ticipating in events and projects of the European In early 2015, more than 140 artists from 40 coun- Fernando Comerón tional scope, providing valuable experience for the Union, especially in the field of smart city initia- tries submitted ideas and concepts to the Open Head of the ESO Representation in Chile Foundation. The most relevant are: Paseo Project tives, urban innovation, and Future Internet PPP. Call issued by the European Digital Arts & Science www.fundacionzcc.org Network. They were vying to take advantage of an ESO, the European Southern Observatory, is the extraordinary opportunity: a residency for artists at main organization in the world for ground-based the European Southern Observatory (ESO) in Chile astronomy. Its facilities in Chile include the Very and a residency at the Ars Electronica Futurelab in Large Telescope (VLT) array of four telescopes each Kapelica Gallery / Kersnikova of artists that dare to go beyond safe and pleasant Austria. Representatives of the member institu- with a 8.2 m diameter mirror at Paranal Observa- (SI): Kapelica Gallery was themes and challenge visitors to contemplate and tions of the Art & Science Network awarded this resi- tory, and the Atacama Large Millimeter and Sub- established in 1995 as an wonder with them. Together with BioTehna Wet- dency to María Ignacia Edwards.The decision was millimeter Array (ALMA) at Llano de Chajnantor of art space with focus on Contemporary Investiga- lab, Kapelica is an active production platform which reached by a 10-member jury made up of represen- 66 antennas sensitive to radiation in the microwave tive Arts and a production platform for research, encourages, facilitates, and showcases investiga- tatives of Ars Electronica, the European Southern regime. ESO also operates the La Silla Observatory, investigation, and experimenting with the limits of tive artistic production, creates public debate, and Observatory (Fernando Comerón), and the seven where two telescopes with 3.5m diameter mirrors artistic discourses and art poetics. Kapelica art pro- stimulates a critical understanding of the times we cultural partner institutions. and other smaller ones are also carrying out fore- gram is constituted by exhibitions, performances, live in. “The artist works with space, endeavouring to front scientific research. and artistic research. The gallery presents works http://www.kapelica.org maintain the balance, suspension, lightness and While most scientists would tend to see those facili- weightlessness of objects, which are sustained by ties only as big tools for astrophysical research, ESO’s their own weight and counterweight. The construc- sites in Chile become many additional things when tions are the result of exquisite prior calculations, seen from the perspective of visitors from other mechanisms, solutions and interventions. María backgrounds: they are also showcases of advanced Centre for the promotion of binds together, provides help, and supports all sci- Ignacia Edwards calls these pieces self-sustainable technologies, examples of the complicated logistics science (RS): Promotion of sci- ence popularization organizations and initiatives because they require no more than their own weight required for operating in remote places, flagships of ence is one of the major tasks throughout Serbia. Special attention is given to the to exist, and the objects tend to rotate constantly international cooperation for peaceful purposes, or for every European country. In cooperation with scientific institutions—the Serbian around their own axis. The artist invites behold- places of inspiration, as felt by artists who have had this field, the Centre for the Promotion of Science Academy of Sciences and Arts in the first place, but ers to observe each object as if they were stars in the chance to be there. It is indeed enriching to see (RS) is already actively engaged in bringing the also with leading scientific institutes and all univer- the firmament. While, at first sight, her approach the observatories through their eyes. In chosing the science community closer to a larger public, with sities in the country. might seem purely plastic, it transcends science and location for her residency, María Ignacia Edwards—as the ambition to become the top institution that www.cpn.rs particularly physics and mathematics, and in the first selected artist within the European Digital Art jury’s view, it is especially attractive for the poten- and Science Network—has felt especially attracted tial it offers for the residency. The artist makes a by the blend of history, landscape, and peace found great effort to connect both the inspiration and the at La Silla observatory, and by the remoteness and outcome of the work to characteristic features of other-worldly appearance of ALMA, themes to be astronomy: isolated objects in weightlessness. The combined with the persistence of reduction to the work is thus intended to evoke astronomy-inspired simplest forms, spatial arrangements, and motions awe. The presentation is very well elaborated and in her work so far. clearly transmits the idea of the project, though it also promises great potential for development in both residency venues.” (Statement of the Jury) 176 177 ART & SCIENCE AEC, Claudia Schnugg AEC,

In the 1960s ESO built the first observatory La Silla. with the beauty and the weight of past time on This facility includes several telescopes, which are things, it touched me deeply. I could feel a nos- operated by ESO as well as other institutions. “The talgia and melancholy for what it used to be and visit to La Silla was overwhelming, I found a place that somehow still is, moving at its own time and that seems suspended in time and over the clouds, rhythm. A place apparently full of stories.”

María Ignacia Edwards at ALMA, the Atacama Large illusion of understanding and witnessing the mech- Millimeter/submillimeter Array. At 5,000 meters anism in action with all those antennas moving at above sea level, the world’s largest radio telescope once…The harmony in the accuracy of the move- has 66 antennas spread out across this arid expanse ment, which is one of the essential elements that to scan the sky in all directions. ”ALMA inspires me: inspire my work.” There is the power of the desert, the sun and the

The artist spent a few weeks at the scientific Futurelab, where mentors assisted the artist in the institution and derived inspiration from her men- creation and development of new works that were tors and their scientific work. Subsequently, she inspired by her previous residency at ESO. spent an additional residency at the Ars Electronica

María Ignacia Edwards, born in 1982, is an artist from Santiago, Chile. After receiving her BA from the Finis Terrae University in Santiago and her Diploma in Cinema, Art Direction and Photography from the University of Chile, she lived and worked in New York City from 2009 to 2012. During this time she also did an artistic residency at the School of Visual Arts and in the Lower East Side Printshop. In 2012, she received an invitation from the Arts Cultural Center in Mexico, Reinosa/Tamaulipas, to stage an individual exhibition, In Between at the Tamaulipas International Arts Festival. The artworks of María Edwards were also exhibited in Chile, Spain, USA, Argentina, Peru, and Mexico. She has also taken part in international fairs: Pinta Art Fair in New York; ArteBA in Buenos Aires; Art Lima in Peru; and ChaCo in Chile. Recently she has been awarded the honor prize ”Art for Science“, granted by the

ESO; AEC Claudia Schnugg AEC ESO; National Commission for Scientific and Technological Research (CONICYT) in Santiago, Chile.

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Rolf-Dieter Heuer Mónica Bello Director-General of CERN Head of Arts@CERN Great art for great science In search of the fundamental When we launched the Arts@CERN programme For centuries science and art cast together the some six years ago, little did I know that it would contour lines of our reality. The way we compre- enjoy the great success that it has. In large part, hend our environment, the interactions with other that is due to the partnership we have enjoyed with beings, or the understanding of the complex laws Ars Electronica, and the quality of the artists who of nature, constitute the common drives of art have held the Prix Ars Electronica Collide@CERN. and science through human history. At the cur- CERN’s decision to engage with the arts comes down rent moment, there is a major interest in exploring to a deep-seated conviction that art and science these hybrid cultures where these two domains of form two aspects of a single culture. The level of knowledge collide. Today it is possible to imagine heated debate about the so-called Two Cultures is a a place where artists and scientists can meet and constant source of bafflement to me. Of course arts influence each other by using formal strategies and and science are linked. Both are about creativity. universal imperatives. Far from commenting on sci-

CERN: Maximilien Schweizer Mona Brice, Both require technical mastery. And both are about entific facts, illustrating science or communicating exploring the limits of human potential. That’s why advanced technologies, art provides a framework the motto of the Arts@CERN programme is “Great for discussing the complexities that underlie our Residency at CERN, Geneva, Switzerland art for great science”. contemporary scientific culture. Through the three years of the Prix Ars Electron- CERN is an exceptional laboratory dedicated to the After selecting Maria Ignacia Edwards for a first resi- strated in previous projects a broad sense of spec- ica Collide@CERN, we have certainly experienced most recent discoveries about the universe, a place dency at the ESO in Chile, followed by a residency at ulation, complexity and wonder, using strategies great art. From the remarkable Julius von Bismarck’s where thousands of scientists, engineers, and schol- the Ars Electronica Futurelab, the Collide@CERN Ars of analysis and translation of the phenomena into award winning collaboration with Gilles Jobin, to ars have met since 1954 in a continuous exchange Electronica Award open call was the second oppor- tangible and often beautiful forms. Bill Fontana’s soundscapes and Ryoji Ikeda’s Super- and with a common goal. It is also the birthplace tunity to realize a new scientific inspired project Semiconductor (UK) has a long track record of sci- symmetry installation, all three laureates have not of great discoveries and technical advances such in a fully funded residency for up to 2 months at entific research and previous collaboration with only contributed fully to the cultural life of CERN, as the Large Hadron Collider, the most powerful CERN, followed by a residency at the Ars Electronica research institutes, e.g. NASA Space Sciences Labo- but they have all produced fantastic works of art, man-made machine that has ever existed, or the Futurelab. After three successful years within the ratory in California, and the Smithsonian Museum of bringing the complementary realms of arts and World Wide Web, a true milestone in recent history Prix Ars Electronica Collide@CERN Award, CERN and Natural History. Semiconductor embraces processes science closer together. Through the remarkable whose invention in 1990 transformed our society as Ars Electronica decided to continue their fruitful that remind us of how our experience of science relationships that have been forged during each a whole. These efforts would not have been achieved cooperation. is framed by tools and artifacts. Their work brings artist’s residency at CERN, the laureates of the Prix without tremendous international collaborations The Collide@CERN Ars Electronica jury, formed by together a deep understanding of materiality, data, Ars Electronica Collide@CERN have each shown just and without the understanding of an openness, Mónica Bello, Michael Doser (both CERN), Horst and models of natural environments and phenom- how closely intertwined arts and science are. Over demonstrating the relevance of exploration of the Hörtner, Gerfried Stocker (both Ars Electronica), and ena. We believe that they will be greatly inspired the years, the programme has brought this import- unknown to society. Mike Stubbs (Fact), met in early July in Linz. The by their time at CERN and the fundamental physics ant message to thousands around the world, amply The pursuit of fundamental research is an essen- jury selected the British artist duo Semiconductor research being carried out there, and that similarly fulfilling one of the key goals we set ourselves when tial factor for human survival. Not only because it (Ruth Jarman and Joe Gerhardt) as the winners of they will have an impact on the researchers working we launched the programme. helps us to improve our understanding of the uni- the international competition, granting them a fully in the laboratory. In their project proposal A par- But all good things come to an end, and as we enter verse, but also—and primarily—because it enables funded two-month residency at CERN in Geneva ticular kind of conversation they express a specific this fourth year of collaboration with Ars Electron- us to work together towards positive cultural and and one month at Ars Electronica Futurelab in Linz. interest in exploring quantum phenomena and the ica, we are evolving the partnership. This year, the social changes. When the CERN Cultural Policy was A good range of 161 projects from 53 countries was subjects of theoretical and experimental practice as collaboration becomes part of the European Net- launched under the name “Great Arts for Great reviewed by the jury leading to a great debate, dis- carried out at CERN. We foresee multiple outcomes work of Art and Science and is renamed the Collide@ Science” in August 2011, CERN’s engagement with cussing what was of value and who would gain most in a variety of media, which we hope will greatly CERN Ars Electronica award. As in previous years, the arts was placed on a similar level as the excel- from the opportunity offered by the Collide@CERN impact the practice and the legacy of science-in- the winning artist will spend two months at CERN lence of its science. At the time it became relevant Ars Electronica award. The winning artists demon- spired art. and one at Futurelab. The artists duo Semiconduc- to form collaborations with international partners Statement of the Jury tor who steps up to receive the award at this year’s that were following the same objectives: to activate Ars Electronica Festival has not just one, but three the most innovative way of understanding art and hard acts to follow. I am very much looking forward creation through fundamental research. As part of to seeing the result. this global ecosystem, Ars Electronica immediately

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Art and Science Program at Ars Electronica 2015 Exhibitions, Symposia and Workshops to chart the Territory

Besides these unique artist-in-residence opportuni- A large exhibition program spans three different ties, art and science collaboration is highlighted at locations: the Ars Electronica Festival 2015. 1. The Ars Electronica Center with two exhibitions—a Two big symposia and several workshops are also joint development with ESA from the science side dedicated to Art and Science. and another that includes artistic projects funded by the European Network of Digital Art and 1. The symposium “Future Mobility—a Challenge Science, for Art and Science“ looks at the potential of 2. the OK Center for Contemporary Art which pres-

CERN: Maximilien Brice, CMS Collaboration CERN CERN: Maximilien CMS Collaboration Brice, artistic input into shaping one of the most pop- ents Hybrid Art Prix Ars Electronica projects, and ular future topics, expanding it way beyond the 3. the Post City Kit exhibition in the former logistics mere discussion about electric and autonomous center of the Austrian postal service. cars. The research collaboration between the AE became a natural match for CERN because of the ing, these and other actions are part of the daily Futurelab and Daimler to develop new strategies The aim of the first series of programs that we are common interest of encouraging synergies between routine and the residence experience. What consti- for the communication of two-man and autono- producing with the support of the EU is first of all disciplines and an understanding of the benefits of tutes CERN, the different labs and the scientists mous machines serves as a best practice model to chart the territory. this to society. and engineers that work as part of a huge tireless for this discussion. Obviously we are starting with some cutting edge Establishing the Collide@CERN Ars Electronica hive, constitutes the fascinating environment in 2. The ”Prix Forum—Art and Science“ is completely art projects which artists have recently developed Award partnership has provided unique and excit- which the artist becomes immersed. dedicated to the artists, their expectations, and in close relationship with scientists, resulting from ing opportunities to share our combined expertise At CERN the goal is to investigate the fundamental their experiences in the collaboration with scien- deep engagement with and understanding of the in cutting edge arts, science, and technology over structure of our universe. In order to do this, some of tists and science institutions. The prize winners scientific matter they are dealing with—including these four years. Since then CERN has partnered the most powerful and largest machines have been of the Hybrid Art Category of Prix Ars Electronica, the outcomes of the artists in residence projects at several leading international organizations, such as designed and crafted to allow the modeling of the as well as curators of outstanding international CERN and ESO. the Onassis Culture Centre in Athens, the Minis- primordial stage of the cosmos. Fundamental parti- art and science activities, will present their pro- But it seems necessary also to widen the scope try of Culture of Taiwan, the Federal Chancellery of cles are collided at the speed of light allowing phys- grams and discuss their experiences. and include works and projects that are exploring Austria, or the Swiss Arts Council Pro Helvetia. Other icists to discover their properties and the laws of 3. The Future Innovators Summit brings artists, the wider surroundings as well as some rare niches: organizations are joining this unique network ded- matter, as well as the forces involved in the process. scientists, social activists, and young entrepre- Projects that are dealing with questions of percep- icated to the artistic exploration of scientific ideas Art and science, as essential forces, help us to dis- neurs together for a three-day workshop program tion and interpretation or projects dealing with the in the multidimensional domain of particle physics. cover the substantial human condition, that is, the on ”informed trust“ and ”shared spaces.“ possible impact and implication of new scientific The arts program at CERN provides an opportunity drive of curiosity, play and discovery. Science opens 4. The roundtable and workshop on STARTS brings developments on culture and society. Projects that for creators to develop their practice in an incom- up new routes to explain nature, while art offers together policy makers and practitioners from the critically question the assumptions, promises and parable location during a 3-month residency. During us original paths to interpret new realities. Both creative sector to discuss the new program of the possible consequences that may accompany the this time the artist is invited to become part of the domains provoke ways to experience knowledge by EC for the support of Art, Science and Technology introduction and application of new sciences and community of researchers at CERN. His/her percep- detecting unique and unexpected connections in the collaboration. technologies. tion will be challenged by the idiosyncrasy of the natural system. Technology provides the potential We think that we also have to deal with a very com- place, where conversations are formed by numerous for modeling conditions that were previously only mon topic in the art science discourse, the question terms that are far from everyday speech, to slowly imagined. And this is how, by creating experiences, how far the artistic work can help to better explain become mimetic by the routines of the lab. Meet- by inciting interaction and stirring forces, common and understand the world of science. ing physicists and engineers, visiting experiments, threads of inquiry are found between the hybrid And last but not least, all this cannot be separated reflection, researching, arguing, exploring, question- practices of art and science. from the tradition and history of art and technol- ogy—an area Ars Electronica is home to since the very first festival in 1979.

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Victoria Vesna Jurij Krpan Art&Science Art&Science Relationships and Emergence The relationship that is not existing but yet it’s functioning

Throughout human experience, art and science have Meeting in between and building a relationship The subtitle is taken from the notorious J. Lacan The relationships between Art&Science might be influenced, inspired, and informed each other in requires mutual respect, dedication and hard work— seminar: Encore, 1972–1973, where he introduced asymmetrical and abusive where artists are merely many ways. Nevertheless, we are still grappling with the motivator being excitement of the shared the non-biological, denaturalized sexual difference using knowledge, expertise, and tools that scien- an artificial division that is a legacy of the indus- idea—driving the attraction of two or more people between a woman and a man and formalized it in tists can provide them with for an art project, while trial age. But, as we collectively began sharing and to create something new. This has the potential of the scandalous one-liner: “There is no sexual rela- scientists, on the other side, can instrumentalize utilizing the common computer / communication emergence that is related to self-organized critical- tionship”. Being inspired with theoretizations of the artists to draw and design visualizations of their tools—like the Berlin wall—the barrier is starting to ity (SOC) that eludes scientists and artists alike as it relationship between two genders, where theoret- findings to communicate their complex scientific give way and has become progressively more open. is unpredictable and resides somewhere in the col- ical psychoanalysis created the gap between the results better. In parallel, the established reductionist methodol- lective unconscious. In my mind’s eye, ideas are an sexes to be able to depict the inherent out-of-sync In the art projects where artists are problematizing ogies of sciences are showing signs of limitations intelligence that emerge as a result of a network of between something that is apparent to everyone and criticizing the effects of scientific findings and and becoming too constricting, especially for those consciousness and need a particular set of qualities as being contingent. With this inspirational quote technological applications on society, the science that have emerged with the advent of new technol- and circumstance slowly driven in order to manifest in mind, I want to emphasize that the Art&Science figures only as relational field. Artists are using ogies—bio, nano, neuro, to name a few. as an avalanche of creativity. If the artist / scien- which is taken for granted and objectifies anything materials, tools, and protocols that are typical for In search of new methodologies, scientists are tist group is unable to overcome the limitations of in arts that is related to media, electronics, and the phenomena caused by scientific agents, in order increasingly turning to artists and opening up to an social and educational programming, then the great other contemporary technology, is not a solid praxis to be more precise in their thematizations. If I put it equal voice for listening and engaging in transfor- idea “fails” to manifest and moves on to another where art and science merge, but rather a dichotomy simply, artists can’t use the oil on canvas technique mative type of collaboration. In my own experience, potential group. How do I prove this speculation you where one struggles with the other. Conceptual dif- when arguing about the effect that biotechnologies I have witnessed a growing shift in the perception may ask? That is exactly what cannot be done in ference between science as production of knowledge are having on the consumeristic ideology that pro- of art and science work, and see it encouraged and the existing paradigm, as it is more an experiential and art as production of meaning, plus structural poses to design life as a product. sponsored actively by various communities. With satori. Work done with calculation and too much discrepancy between linear thinking in science I might go on forever with descriptions of possi- cautious optimism, I would like to offer two fun- planning may succeed in a limited manner, but it and non-linear (synchronous) comprehension, are ble types of relationships between artists and sci- damentally important aspects of engaging in such will most likely miss the magic that is the essence leading us to a number of possible approaches and entists, but the format of this short text enables ventures—relationships and emergence. It takes of art and science for which we have to develop a intersections between the two which may be tried me to extend the whole discourse just inside this time to move through the brain patterning of scien- new vocabulary. out one by one or all together at the same time. one-page essay. However, I believe, it is enough to tific or artistic training and work—the methodologies Being attracted by the ultimate questions—who we underline the impossibility of the Art&Science term, employed are very different. Victoria Vesna is a speaker at the Prix Forum—Art and are, where we come from, and where are we going since there is nothing that you can “point your finger Science and a member of the Prix Ars Electronica 2015 Hybrid Art Jury. as humankind, artists and scientists are sharing at” and determine what Art&Science precisely is. the same field of metaphysical interest, but the If I wrap up, there is no such thing as Art&Science, way they approach these ultimative questions are but yet it is clear, that that dichotomy is producing intrinsically different. If we are looking for a sym- extremely fruitful tensions. Exactly like theoreti- metrical relationship between artists and scientists, cal psychoanalysis enables us to understand the we should look for a relationship where the work functioning of non-existing relationships between of both are mutually inspirational. There are some the sexes, we should understand the dynamic inter- mundane examples where scientists can be inspired sections between arts and science and shouldn’t be by artworks and artists can be inspired by the sci- frustrated because we see how “out-of-sync” the entific findings (sometimes still just concepts), but two practices are. The whole axiomatic statement such inspirational premises are never really smooth “There is no sexual relationship” has its rhetorical and uni-directional. There might be a case of neg- follow-up: “But yet it’s functioning”. ative inspiration as well and also just an unscrupu- lous transposition of a scientific experiment into a Jurij Krpan is a speaker at the Prix Forum—Art and Science and a member of the Prix Ars Electronica 2015 gallery or another art context. Hybrid Art Jury.

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Art and Science Exhibition Part I HYBRID ART

As part of the annual CyberArts exhibition, showing After the festival, these projects will move into the the prize-winning works of the Prix Ars Electronica, Ars Electronica Center as part of the Elements of Art a selection of outstanding art and science projects and Science exhibtion or to exhibitions of the other is being shown. network partners.

Detailed descriptions of these projects can be found in the CyberArts 2015, International Compendium—Prix Ars Electronica 2015

Drosophila titanus by Andy Gracie Satelliten by Quadrature

Omote / Real-Time Face Tracking & Projection Mapping, Augmented Hand Series by Golan Levin, Kyle McDonald, Chijikinkutsu by Nelo Akamatsu Mirage by Ralf Baecker by Nobumichi Asai, Hiroto Kuwahara, Paul Lacroix and Chris Sugrue

PSX Consultancy by Pei-Ying Lin, Špela Petrič, Plantas Autofotosintéticas by Gilberto Esparza Teacup Tools by Agnes Meyer-Brandis ReBioGeneSys—Origins of Life by Adam W. Brown, Dimitrios Stamatis and Jasmina Weiss Robert Root-Bernstein

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Art and Science Exhibition Part II Elements of Art and Science Ars Electronica Futurelab, Claudia Schnugg Ars Electronica Futurelab, Installation view at Art Museum, Singapore. Science Catching the Light is a moving image installation which explores how science and technology frame our experiences of the natural world.

Semiconductor (Ruth Jarman and Joe Gerhardt) A particular kind of conversation María Ignacia Edwards María In their art works the artist duo Semiconductor of the natural physical world, their works delve into explores the fundamental material nature of our unseen worlds and create visual interpretations of María Ignacia Edwards world and how we experience it through the lens of these through self-developed technical processes Mobile Instrument science and technology, investigating how devices and unique aesthetics. Their works transcend the mediate our experiences of nature and position man tools that have been used to make them, instead María Ignacia Edwards works with equilibrium, Based on her experience at the ESO observatories as an observer of the physical world. They combine creating new forms of expression that defy genre lightness, and weightlessness of objects that she La Silla and ALMA, María created a “Mobile Instru- methods of filming, animation, sound and dia- and provide new experiences for audiences. brings into balance by deploying their own weight or ment,” as the artist calls it, which is able to capture logue; re-working and combining actual elements counterweights. Though, at first glance, her works the movement of pieces located at distant places of the scientific language of particle physics (ver- are perceived as purely aesthetic, artistic objects, it by a musical mechanism as a reference to time and bal, visual, aural, technological...) into new forms. soon dawns on those who behold them that these the motion of the universe. This includes using actual particle physics data to constructions are the result of elaborate mathe- generate cutting edge animations and working in matical and physical calculations. On one hand, the This project has been realized within the European Digital such a way that the sound is born from the pro- Art and Science Network in collaboration with ESO and the artist is inspired by astronomy; on the other hand, Ars Electronica Residency Network. cess of the particles being studied. Semiconductor she aims to create works that get others interested make distinctive and innovative works which push in astronomy. the boundaries of moving image as a visual lan- guage. Always looking to extend man’s experience

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Ann-Katrin Krenz, Michael Burk Kepler’s Dream

Kepler’s Dream is an aesthetical investigation, exploring obsolete projection technologies in com- bination with computationally created content that is given a physical shape through 3D printing. Mixing digital aesthetics—parametric and genera- tive shapes—with the qualities of analog projection creates an otherworldly look. Interacting with the installation provokes a deeply immersive effect, as the instant reaction of the projection and the “infinite frame rate“ let this fantastical world come to life. The installation lets the user explore an abstract, non-linear story, inspired by the Mys- Cédric Brandilly terium Cosmographicum of Johannes Kepler, who thought the geometrical basis of the universe could Architectural be explained in terms of the Platonic solids. Each of SonarWorks the elements (fire, water, earth, air) is represented by a body that transforms into parametric shapes The aim of this project is to create a musical / audio from a linear—from point A to point B—is made pos- and landscapes. Following the path of these struc- language based upon cartographic statements and sible. For this project the artist does not capture tures back to the initial Platonic solids, one can find architectural characteristics which belong to a defi- urban sounds to broadcast them at a later date, but the conclusion in the all-connecting dodecahedron. nite space. It also consists in imagining architec- instead writes real musical scores using map data. http://www.frau-krenz.de ture as a partition. Each architectural element, each At Ars Electronica Architectural SonarWorks will also http://www.michael-burk.de building has characteristics that can be turned into be presented as a live performance by the artist. sounds. The determination of a musical language http://cedricbrandilly.com/

formquadrat IAAC—Institute for Advanced Architecture D-Dalus: A New Way of Traveling of Catalonia Minibuilders

The construction industry is wasteful and inefficient, slow to adopt technologies that are already well estab- lished in other fields, such as robotics. Robotics and additive manufacturing offer great potential for inno- vation within the construction industry. However, in their current form, these systems all share a specific limitation. The objects they produce are linked to and constrained proportionally to the size of the machine. This methodology for production and construction is not scalable. Minibuilders is scalable, it supplants one large robot for a number of smaller agile robots, that work together effectively towards a single outcome. D-Dalus can do more than just fly, it can also start and land vertically, float, and turn on its axes. http://robots.iaac.net/

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Yasuaki Kakehi Transmart miniascape

Transmart miniascape is an art installation for dis- playing volumetric images that blends in with ambi- ent surroundings. This piece consists of 8 trans- parent sheets of glass arranged in layers at regular intervals. The work is installed in a well-lighted area, especially in the sun. Technically, this system is a non-luminescent volumetric display that etches the shapes of volumetric images in 8x8x8 pixels on the sets of glass. In this work, varieties of sceneries appear like a miniature garden. To be more exact, a volumetric animation expressing a cycle of the seasons is repeated. Owing to the high transparency of the glass, audiences can also see the actual scale of natural sceneries through the miniature garden. Laurent Mignonneau and Christa Sommerer Furthermore, this work changes its appearances aware of slight differences in the ambient environ- Portrait on the Fly according to ambient light conditions even if we ment and beauties included in them. Moreover, the play the same animation. For example, the pixel display switches images interactively by respond- Portrait on the Fly consists of a series of interac- of plotter drawings and as short video sequences. contrast changes according to climate conditions. If ing to the positions and movements of audiences’ tive portraits and plotter drawings. The work was Snapshots of the digital fly portraits are printed out it is dusk, the pixels develop orange contrasts to the hands held in front of it. They can control images inspired by Guiseppe Arcimboldo’s fantastic com- in the style of 1960s plotter drawings. Ephemeral sunset. Through the pixels, we can observe and be and sounds, actively like playing a theremin. posite heads from the mid 15th century. Roland Bar- moments of interaction are thereby secured as orig- thes maintained that the artist was doing some- inal illustrations. The first of these artworks is an thing akin to scientific research when he painted autoportrait of Sommerer & Mignonneau. The grow- Jonathan Keep those portraits, as they were composed of many ing series includes portraits of important media art Seed Bed details taken from zoological and botanical speci- experts, theorists and artists, such as Frieder Nake, 3D printed ceramics mens. He also believed that the artist thereby expe- Mark Wilson, Hans Dehlinger, Edmond Couchot, rienced a kind of artistic freedom and took pleasure Marie-Hélène Tramus, Hannes Leopoldseder, Chris- Nature—not objective nature out there but sub- in the depiction of lurid and monstrous elements.1 tine Schöpf, Peter Weibel, among many others. The jective, universal nature within us all, artist and For the series Portrait on the Fly Sommerer and aim of this installation is to conserve images as well viewer, is what my work is about. The Seed Bed Mignonneau modeled virtual insects that can align as video sequences of the historic figures who are relates to the fundamental concept of evolutionary themselves so as to compose human portraits in real involved in media art–an ephemeral field that is morphologies but also creative growth. Generated time. The interactive version consists of a monitor characterized by novelty and change. in computer code my working method lends itself that shows a swarm of a few thousand houseflies. Laurent Mignonneau and Christa Sommerer are repre- to altering the code to make related and evolving When a person positions him/herself in front of it, sented by DAM Galerie Berlin, Galerie Charlot Paris and shapes. Being able to 3D print these unique and the insects try to detect his/her facial features and Galerie Peithner-Lichtenfels GPLcontemporary Vienna. individual forms directly from the computer in clay then begin to arrange themselves so as to reproduce 1 Ferino-Padgen, S. (2007). Giuseppe Arcimboldo: Court represents the strength of this technology and ful- them, thereby creating a recognizable likeness of Artists, Philosopher, “rhétoriqueur”, Magician or an fills my desire to explore the possibilities of ceramic the individual. Within seconds the insects invade Entertainer? . In S. Ferino-Padgen (ed.), Arcimboldo form. My interest is in how at a basic evolution- 1526–1593. Milan: Skira Editore and Vienna: Kunst- the face, but even the slightest movement of the historsches Museum. ary level we respond to natural forms. We have an head or of parts of the face or body drives them off. 2 Sommerer, C. and Mignonneau, L. (2015). Art as a Living inbuilt propensity towards natural forms and pat- The portraits are thus in constant flux; they con- System (Excerpts), In E. A. Shanken (ed.), Systems— terns, such as curvature, repetition, and symmetry struct and deconstruct, they are living systems2 and Documents of Contemporary Art Series (p. 172–175). because we are part of that same natural world. For Massachusetts: MIT Press, depend on interactions with the subjects.3 me art and science are inexplicitly linked. 3 Rancière, J. (2009). The Emancipated Spectator. Portrait on the Fly also exists in the form of a series London: Verso. http://www.keep-art.co.uk/

192 193 Nick Ervinck Nick Ervinck ART & SCIENCE VIUNAP Selected Works

AYAMONSK AYAMONSK is derived from vegetable structures and coated with a glossy varnish which in turn refers to the virtual genesis of this form. This sculpture seems rooted in the ground, and therefore focuses attention on what is invisible, but lurks beneath the surface. Photo: Luc Dewaele

ELBEETAD As ELBEETAD is a 3D print inspired by the volup- tuousness of the so-called “Rubens woman,” it brings into question the “skin” of the sculpture. Photo: Peter Verplancke

NIKEYSWODA AND GARFINOSWODA NIKEYSWODA and GARFINOSWODA (2011–2012) seem made out of two components but are printed as one entity. The blue smooth form almost embraces the yellow explosive structure. This com- bination evokes a dynamic, yet tense liaison, a sym- biotic wrestle fought to control the physical space. Photo: Peter Verplancke

The EGATONK project was developed for the exhibi- buildings. The cottages become figures with con- tion Horizon 8300 in Knokke, promoting new archi- notations to crabs and other sea animals that walk tecture for this Belgian seaside town. Zaha Hadid along the beach, resembling the impossible struc- presented a complete new vision for the train sta- tures in the engravings of the mathematician Escher tion that was in high contrast with the usual white (1898-1972). Their double identity, both building and cottage “obligations” in this town. animal, also relates to the well-known duck-rabbit Nick Ervinck was invited to contribute an artwork to image puzzle that challenges our way of seeing and the exhibition. As a starting point Nick Ervinck uses interpreting. VIUNAP is a 3D print of one absurd AGRIEBORZ traditional cottages, which he turns into absurd building initially presented as 2D wall print. For AGRIEBORZ, Nick Ervinck used imagery of Photo: Peter Verplancke human organs that he found in medical manuals as construction materials to create an organic form, a BORTOBY larynx (or voice box) “gone wild.” Though imaginary, BORTOBY is clearly animal-like, but is impossible to AGRIEBORZ seems to retain some familiarity due define well. One can see a lion-like body, crab-like to its visual connection to human organs, muscles, legs and devils, but also a transformer robot or a nerves, etc. monstrous creature. Photo: Luc Dewaele Photo: Luc Dewaele 194 195 ART & SCIENCE

Julian Melchiorri Silk Leaf

In a period where global carbon emission and urbanization are growing exponentially, the need for creating sustainable solutions for the indoor and outdoor urban environment arise. Melchiorri’s inter- est in natural phenomena and the recent scientific discoveries in biology and materials science enables him to explore the potential for creating photosyn- thetic materials aiming to bring the efficiency of nature into the man-made environment. Inspired Brian Harms by natural mechanisms and physical phenomena, Suspended Depositions Julian Melchiorri conducted laboratory experiments in order to explore the potential for making materi- Suspended Depositions is a novel rapid prototyp- ferent approach, by injecting a continuous stream als that photosynthesize, and their possible appli- ing approach that aims to blur the line between of UV-curable liquid resin into a viscous gel. With cations. Silk Leaf is the first result of this research. processes of design and fabrication. The ubiqui- this method, the support material is always present It is a modular device that photosynthesizes, made tous FDM (Fused Deposition Modeling) printing and never wasted. A “print” does not need to be of a biological material mostly composed of silk methods we are now so familiar with heavily rely formed layer-by-layer, and can instead be “drawn” protein and chloroplasts. It absorbs carbon diox- on the presence of support material. Constructed in 3D within the gel. In addition, any injected resin ide, major reason of global warming, and produce layer-by-layer, typically in the same material as the remains suspended in the gel in liquid form until it is oxygen only using water and light. Julian Melchiorri printed object, this support material is tediously cured with UV light. Because of this, the creation of develops socially and environmentally sustainable broken off bit by bit and thrown away as waste objects can be “un-done” by extracting resin before biological and reactive materials that improve and material. Suspended Depositions takes a very dif- the curing process. stimulate our lives, our indoor, and our outdoor http://nstrmnt.com/ urban environment. http:/www.julianmelchiorri.com/, http:/www.arboreia.io

FIELD Quasar

Dana Zelig Traces

The project explores the concept of programming everyday materials, a form of “physical program- ming”, where objects are “made to act” on some form following specific instructions. To explore this idea, Dana developed 12 processed-folding objects, using custom built software in processing and various physical techniques—printing, twist- ing, laser-cutting, knotting, and framing. Both the digital tools and the physical techniques were used systematically in order to explore spatial, structural Quasar explores visions of a near future and what it will mean to be human. & geometrical conditions, leading to the emergence of prototypes.

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exonemo Body Paint ZEISS Mixed media (Acrylic paint on LCD display, video imagery) ZEISS VR ONE

To us smartphone-addicted contemporaries, to con- in the same color paint—and the works evoke the The ZEISS VR ONE is an innovative device that allows With the VR ONE, the smartphone you carry in your nect to the Internet at all times and in all places is themes of ambiguity and confusion, and whether us to take our novel steps in the world of virtual pocket can take you to worlds of virtual and aug- to become a complete person. This work uses body the individual depicted is a human being or a pic- reality. Its lightweight design, high quality optics, mented reality. Compatible with many smartphones painting to examine our physical definitions, our ture of a human being. Apart from these formalistic and 100% portability make it the perfect companion and hundreds of apps made for mobile VR devices, physicality, in a world of networked information aspects, this work also deals with issues of “exis- for videos, games, and augmented reality. you can simply download and launch the app, lock devices. tence” within media. The human body has a fairly VR ONE is the first and only VR headset that is your smartphone in the VR ONE precision tray, and Each work in this portrait series features a person, well understood longevity horizon, but the longev- made with a leading-edge optical design and ZEISS slide it in the VR ONE. Experience VR games, videos, nude, shaved, and painted entirely in a single shade ity horizon for data, for paint, and for art remains precision optics. When you put on a set of VR gog- and amazing experiences that were never before of color, displayed on an LCD that has been entirely open to debate. The multiple time scales of body gles you get the premium experience you expect. possible. painted in the same color except for the human art, figurative painting, and media art engage with Text and photos: zeissvrone.tumblr.com, vrone.us subject on the screen. The boundaries between one another as the work seeks common ground for background and foreground are erased—a human the present, and for existence itself. body and an electronic display body are both covered Supported by Japan Foundation

198 199 Academy of Fine Arts Vienna / Institute of Art and Architecture ART & SCIENCE VIENNA 3000 Can you see the Superfuture?

Vienna 3000 was a 3rd year architectural design within an academic realm should allow for free- Cenk Güzelis studio run by Hannes Mayer and Daniela Herold at dom and optimism as an alternative to the outer Queer City the Institute of Art and Architecture, Academy of gloom. However, obsessed with the idea of turning What if our body would not have to limit itself to Fine Arts Vienna. Dissatisfied with the reality of our thoughts into buildings quickly, the reality of a specific time and space? Liberating the body: architecture as well as urban planning, the studio restrictive budgets permeates the criteria for design dissolving boundaries and limits, departure from was driven by the ambition to explore the radical reviews. Thus, a condition no one welcomes starts horizontal linearity. What are the consequences for uncertainty of the far future. Students were invited to define the future. “Adequate” and “appropriate” the urban fabric? What does the condition of “in to develop individual trajectories into the unknown become words of appraisal without clarifying their space” mean? and encouraged to develop design projects that reference. We should ask: If we judge our thoughts A vertical movement is introduced to the idea of embody the potential to question our beliefs and by the condition of today, are they adequate for the space and city, placing emphasis on the space in- standards of today. Funded entirely by the City of condition of tomorrow? between, the space where people meet and interact. Vienna, the studio placed great emphasis on plan- The City of Vienna defines its future of the built Dynamics of a future urban reality between order ning scenarios for the Austrian capital. environment on two levels: Its urban master plan and disorder. Frozen for display. For the 20th Century the year 2000 was synonymous called Step 2025 and its overarching strategy Smart with future, motivating daring thought. Yet little City Vienna with its target year 2050. Development time passed and the new millennium showed seri- and change are frequently defined by targets and ous signs of teething troubles. 9/11 exposed the percentages. Therefore, is 2050, being only 35 years vulnerability of the superpower of the 20th century, ahead of us, too close to break from the thinking in marking an end to experimentation and irony, her- increments? Whether 3% or 15% of all cars are elec- alding an age of renewed puritanism. The finan- tric and therefore emit neither noise nor pollutants cial crisis put further pressure on many Western makes a difference to the environment but little countries. More recently, promising signs of a turn difference to the built environment. But should all towards more liberal societies in the Arab world cars suddenly fall silent, the city will change. were replaced by civil wars and political oppression. While we can debate whether this will happen by Even the gold rush in China and the Emirates has 2050 we can be certain that the world will be a dif- lost its strong appeal, Russia has tumbled into iso- ferent one in the year 3000. Vienna of the far future lation. In Europe, German Sparsamkeit and English will always remain hidden to us. Yet, if we start to austerity have set the tone while the southern coun- speculate, no one will prove us wrong for the next tries are still on the brink of bankruptcy. 984 years. Enough freedom to go and make the While architecture is highly dependent on money, most out of our creative energy. conceptualizing both architecture and the city Text: Hannes Mayer

Clemens Aniser & Wolfgang Novotny Urban Stimulus Urban Stimulus is the description of an artificial paradise driven by the stimulation of senses and Anna Krumpholz sensations, envisioning an urban future based on A Land of Honey perception. The citizens of Vienna—naked and without posses- Urban Stimulus is recording and storing sensorial sions—live in honey shelters. The whole city fabric data, distributing information like radiant visu- consists of a semi-organic thread structure that als and vibrating sounds; vaporing essences of produces and evaporates honey plasma. The plasma aromatic memories via haze and mist; achieving exists in gaseous and gel form and accumulates tactile diversity through its ever changing surface softly on the body, responding to individual sleeping and skin, shifting from oily to rough, hairy to hard, patterns. Thus, Vienna is a city of constantly chang- constantly blurring the borders between object and ing shape, always growing and shrinking. subject until they merge and create a complex unity.

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Michael Glechner Enlightened Being Helvijs Savickis Vienna as an energetic dynamic reality Time Capsule—a nuclear waste Due to evolution human beings have developed information center abilities to handle energy more directly. They can In the year 3000 the safe storage of nuclear waste survive on absorbing energy that light and atmo- will remain a challenge even if the use of nuclear spheric vibrations emit. The properties of the city energy has stopped. To highlight the danger of have changed accordingly. Light has become the buried nuclear waste around the world a nuclear major driver of a constantly changing urban plan- waste information center is built in Vienna—seat of ning process. Consequently, architecture is adaptive the IAEA, International Atomic Energy Agency. An too. Matter and energy cannot be seen as separate impressive underground space functions as a time anymore. Like nature, architecture depends on light capsule whilst also open to the public—safeguarding conditions. Where there is light, there is life and the the continuity of knowledge about a major threat potential for urban development. to humanity.

Sasha Konovalov Memento The Memento project is dedicated to help find digital versions of reality that existed at some time in the past. These prior versions are called Mementos, and can be found in spatial archives or in systems that support versioning. Memento is a digital archaeol- ogy project that reconstructs virtual artifacts from Matea Ban the present time—in this case glitches from google Welfare State 3000 earth—mistakenly understood as the past reality by Welfare State 3000 displays a social housing unit for the future inhabitants of our planet. hybrids between animals and humans. It is built at a time when men and animals are all the same and DNA engineering has sufficient power to modify the human genome. People acquire major animal attri- butes like flying or a much-prolonged life span and require appropriate accommodation. Five cross spe- cies live in a hybrid habitat, the so-called “unity of Marlene Lübke-Ahrens architecture and landscape”. Hybrids between lady- Movements birds, elephants, anacondas, crocodiles, seagulls In the far future any need for action has disap- and humans reside in this housing estate. peared. Movement is pure leisure. Without the need for transportation infrastructure, the planning of the city is driven by notions of pleasure and expe- rience. The bicycle has a renaissance as the ideal object for a pleasure ride and to retain the wellbeing of an otherwise passive society.

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Art and Science Exhibition Part III Spaceship Earth

This exhibition consists of a scientific educational Spaceship Earth is a co-production by ESA and part showing some of the most beautiful satellite Ars Electronica Center. images of the Earth, curated by ESA, along with Additional content provided by: Catalysts, EOCD Co-curators: Robert Meisner, ESA; Kristina Maurer, some interactive terminals providing the scien- Ars Electronica tific background information. Several examples of Production managers: Kristina Maurer, Pascal Maresch, artistic works with satellite imaging and historical Stefan Rozporka references to the field comprise the second part of Educational program and text editing: Nicole Grüneis, Maria Pfeifer this exhibition. Exhibition design: Gerald Priewasser The artworks presented are among others: Implementation and production: Ars Electronica Solutions Special thanks to Christian Federspiel from Catalysts. G-Player, Jens Brand Watching the Watchers, James Bridle ARTSAT1:Invader, ARTSAT: Art and Satellite Project

Eyjafjallajoekull Ash Plume, Iceland, Envisat (MERIS), ESA

ESA—European Space Agency Ever since the first satellites were developed in the natural habitat. The European Space Agency has late 1950s, their watchful eyes have been providing made the monitoring of our planet one of its top us with information about the state of our planet. priorities through the Agency’s Earth Observation How fast are glaciers melting? When is the best Programme. The Sentinel satellite missions aim time for a farmer to plant and harvest his crops? to provide comprehensive, long-term insights into What can be done to improve civil security after a all aspects of our environment, while the Earth disaster like Fukushima or the recent earthquake Explorers are smaller missions dedicated to specific in Nepal? Modern Earth observation technology is research projects as well as tracking areas where even advanced enough to provide an extensive view certain environmental issues are of immediate con- of what’s going on beneath Earth’s surface, allowing cern. Meanwhile, the Meteosat weather satellites us to make predictions about geographical, geolog- are dedicated to gathering continuous meteorolog- ical and atmospheric developments. This informa- ical data of Europe, Africa and parts of the Atlantic tion can be used to steer us in the right direction and Indian Oceans. when making decisions that affect the state of our

204 205 ART & SCIENCE

ESA’s satellites help us in our everyday lives— with installations arranged on a system of ellipses whether it be predicting the weather, the contin- spread throughout the exhibition space. Large-scale, uous surveying of expanding urban areas, ocean movable prints of satellite images serve as the surface monitoring or the detection of wildfires. By introduction to the exhibit, confronting the visitor observing Earth from space, ESA aims for a better with beautiful, compelling, yet at the same time understanding of our environment in the long run, abstract and elusive pictures which evade immedi- as well as provides guidelines for implementing ate interpretation and whose subjects at first sight positive changes to the way we treat this planet don’t seem to correspond to any existent place on we call home. this planet. Interaction with a monitor in the vicinity The fine line between the marvel of seeing our provides detailed information about the print and world from above by way of a satellite images and offers examples of similar areas on Earth. Without the often devastating implications of these same disregarding the aesthetic qualities of the satellite stunning pictures—regarding issues such as defor- images, the exhibit forces the viewer to look beyond estation, spreading desertification, water and air this surface layer, showing how different aspects of pollution, radiation levels or melting glaciers—have our environment such as agriculture, forests, des- been the starting point of ESA’s prior exhibition erts, water bodies or urban areas are represented projects surrounding the topic of Earth observation. by satellites. For Ars Electronica, which since its birth in 1979 has An elevation model of Linz and Upper Austria, been concerned with the influence and impact of spreading all the way to the Alps and the Großglock- cutting-edge technologies on society and our every- ner area is also featured. A table of small 3D-printed day lives, cooperating with ESA on Spaceship Earth objects is connected to the model, the objects trig- opens up a discussion around the theme of satellite gering projections on landmarks of the area, traffic, observation. The festival audience, as well as visi- air quality and land cover. Rather than being centred tors to the Ars Electronica Center year round, gain on the aesthetic experience, the elevation model an insight into the benefits and research findings of focuses on the workings of the satellite in a much Earth observation which go beyond the widespread more concrete way, showcasing the functionality of conversation involving satellites, often centred on sensors such as infrared or radar, introducing the military surveillance, espionage or telecommunica- multispectral instrument and its varieties of optical tions. Examining the satellite as an evolution of ear- data, and showing how satellite data are used to lier techniques of mapping and cartography, Space- develop elevation models. ship Earth strives to underline the depth and wealth A global perspective on the theme of Earth obser- of information about soil moisture, crop yields, land vation then dominates the centrepiece of the exhi- Términos Lagoon, Yucatán Peninsula, Mexico Landsat-8, USGS/ESA cover, the ocean surface and coastal areas, water bition. Surrounding a representation of the main quality, air quality, ozone and solar radiation, cli- subject of the entire exhibit—a model of Earth in the mate change and vegetation monitoring, which can form of a large projection—monolithic revolving ste- be gathered by making use of the satellites’ unique les representing the continents place the satellite viewpoint and their ability to delve under Earth’s images on the map and provide more background surface with a multitude of high-tech instruments. information with thought-provoking questions and Spaceship Earth positions the satellite image at associating them to the story behind each picture. the core of its attention, focusing primarily on the What leads us to continuously develop these highly knowledge gained from interpreting these pictures advanced satellites and turn our attention firmly without disregarding the highly advanced machin- inwards, towards our own habitat, rather than out- ery used to procure them. The exhibit unfolds in wards toward the great unknown? Spaceship Earth a spatial concept meant to evoke satellite orbits, aims to provide answers to this very question. Mississippi River Delta, USA Landsat-8, USGS/ESA

206 207 EXHIBITIONS & PROJECTS THE NAKED VERITI PROJECT

Néstor Lizalde, Félix Luque & Íñigo Bilbao, Pablo Valbuena The NAKED VERITI Project Néstor Lizalde The NAKED VERITI project, realized by the Spanish a specific topic, each of them is absolutely free to Pii artists Néstor Lizalde, Félix Luque & Íñigo Bilbao, create their own individual work that expresses their and Pablo Valbuena, uses memory, interaction and own artistic language and materials. Pii relies on the development of an interactive sculp- to expand simulating an infinite spatial depth. The light, and composite and manufactured parts to ture by using sets of mirrors, matrices of light and combination of these analog and digital systems express feelings and thoughts about technological Project Manager, Producer: Javier Galán different types of sensors that analyze the environ- creates a variable and reactive sculpture. art at the Ars Electronica Festival 2015. The “naked Technical Chief: Gustavo Valera ment to computationally generate a light response, http://www.nestorlizalde.com/ truth” from the silent, painstaking and methodi- Exhibition Design: Anna Biedermann thereby creating a variable work that interacts cal work of representatives of the new creative and Supported by: Spanish Ministry of Culture, Education and with the audience and its environment. The work Sport, AC/E Acción Cultural Española, Ars Electronica artistic wave from Spain, who build a reality for a explores the aesthetic possibilities arising from the Builder and Developer: Guillermo Malón Co-Producers: ETOPIA Center of Art and Technology, Spain; Audio Samplers Composer: Kim Fasticks specified time frame and strive for permanence in Secteur Arts Numériques, Fédération Wallonie-Bruxelles, meeting between technological elements with ana- A production of the Spanish Ministry of Culture, Education the collective and critical memory. Not restricted by Belgium; Arcadi Île-de-France, France log visual effects achieved by controlled reflections and Sport. With the support of ETOPIA Center of Art & with calibrated mirrors, enabling the luminous body Technology, Zaragoza, Spain

Félix Luque & Íñigo Bilbao Memory Lane

Memory Lane is a series of sculptures and audiovisual moments, which, by having a visionary and dreamy works that depict the artists’ important childhood nature, awakened their interest in artistic creativity. places. Uptake by 3D scanners and data processing http://www.felixluque.com/ generate a fusion between real environments and http://ibl3d.com/ their virtual replicas, where some elements appear clearly defined, while others are blurred and merge; light behaves atypically, solid becomes incorporeal Design: Damien Gernay and the laws of physics are disrupted. Places are not Arduino programming: Vincent Evrard merely represented—for memories can be distorted— Mechanical design: Julien Maire A coproduction of the Spanish Ministry of Culture, and a surreal atmosphere exists. When reproducing Education and Sport; Secteur Arts Numériques, Fédération the sets of children’s games of the authors, the work Wallonie-Bruxelles, Belgium, and and Arcadi Île-de-France, seeks to recover the joy and excitement of those France. With the support of iMAL (FabLAB)

210 211 SUMMER SESSIONS

Summer Sessions Network / V2_Institute for the Unstable Media Summer Sessions Pop-up Exhibition and Event feat. Johannes Langkamp, Roel Roscam Abbing, Mate Pacsika, Carina Hesper

Summer Sessions are short-term residencies for By doing so, V2_Institute for the Unstable Media, young and emerging artists, organized by an inter- the initiating partner of the Summer Sessions net- national network of cultural organizations. Each work, wants to inform ambitious early-career artists summer, the partners that participate in this net- about the opportunities that the international net- work for talent development collaborate to offer work for talent development offers, and reaches out professional production support and expert feed- to other cultural organizations with an invitation to back to artists in the realization of a new artwork or join the network. Furthermore, the pop-up exhibi- design. Local talents from each partner’s geographic tion introduces the Ars Electronica Festival audi- region are scouted and selected for a residency ence to a selection of promising emerging artists abroad, where they are offered highly productive who have participated in the network. The event will atmospheres and specific kinds of expertise at one close with an informal drink to continue conversa- of the international partners in the international tions about the opportunities for young artists and network. This collaboration does not only result in cultural organizations within the Summer Sessions the development of a large number of new projects network for talent development. in a relatively short period, but also provides the This event will also form a meeting point to discuss Pablo Valbuena participating emerging artists with an international how to strategically further develop these inter- Time Tiling experience that helps them jumpstart their art and national opportunities for emerging and young Site-specific intervention, video-projection on architecture design practice. professionals amongst past and present partners The Summer Sessions pop-up exhibition at the Ars of the network, which include Chronus Art Center Electronica Festival 2015 shows a selection of out- (China), the National University of Tres de Febrero “Architecture is not a synchronic phenomenon film or music. The rules organizing both levels of comes realized through this international exchange (Argentina), the National Taiwan Museum of Fine but a successive one, made up of pictures add- order are equivalent, revealing links between still of emerging talents. While the pop-up exhibition Arts (Taiwan), PNEK (Norway), BALTAN Laboratories ing themselves one to the other, following each structures and the ones in motion. This site-spe- illustrates the kind of results that this pressure (the Netherlands), Revolver Galeria (Peru), LABoral other in time and space, like music.” cific project brings to light a tiled room exploring cooker residency format results in, the live event at (Spain), the Canadian Film Center (Canada), iMAL Le Corbusier. Modulor I. the intersection of architectural systems and time- the Ars Electronica Festival highlights the experi- (Belgium), TASML (China), SAT (Canada), and Har- based structures. ences that participants had abroad, and the effects vard Medical School (USA). Architecture is a prolific field for patterns in a diverse http://www.pablovalbuena.com/selectedwork/ these experiences have had on their early careers. This program is made possible with the generous support range of scales: street pavements, tiles, modulated time-tiling-stuk/ of the Creative Industries Fund NL. facades, standardized measures or city grids are http://www.pablovalbuena.com/ good examples of a certain sense of order. Order is A production of the Spanish Ministry of Culture, also present in time-based structures like language, Education and Sport.

212 213 SUMMER SESSIONS

Johannes Langkamp Carina Hesper Analog Sun Tracking Portrait Series

Johannes Langkamp developed Analog Sun Track- Portrait Series is a series of interactive portraits ing in 2013, during a Summer Sessions residency developed by Carina Hesper during the Summer at Chronus Art Center in Shanghai. The device he Sessions of 2012. The interactive portraits play with developed during his residency allows a camera to the gaze of viewers when looking at an androgynous mechanically track the path of the sun. The resulting model portrayed in a style reminiscent of portraiture video displays a 24 hours time-lapse of the optical in classic oil painting. Many of these paintings give movement of the sun. The video thereby reverses the viewer the impression that the character por- our point of view in relation to the sun: From our trayed is always looking at you; in Portrait Series normal point of view, the star at the center of our they actually do. solar system moves continuously, which is why we http://www.carinahesper.nl say it “rises” or “sets”, even though we understand that it is actually the earth that is moving around the sun. Analog Sun Tracking corrects this visual illusion we tend to accept on a daily basis. http://joway.eu

Roel Roscam Abbing Border Check

As one surfs the Internet, data packets are sent from the user’s computer to a target server, hopping from server to server until they reach the desired web- site. In each of the countries that the packets pass Máté Pacsika through, different laws and practices may apply to Vertigo System the data transferred, which influences whether or not authorities can inspect, store, or modify the Vertigo System is the 2014 Summer Sessions resi- tional impact, which is why it is widely used in film data. Border Check is a browser extension that maps dency project developed by Máté Pacsika at Chro- to emphasize the drama of events in a storyline. how your data moves across the Internet’s infra- nus Art Center, Shanghai. The project attempts to Automating this event translates this effect into structure while you surf the web. It shows through automate the cinematographic technique known as a real-time process, which suddenly transfers one which countries and networks a user ‘surfs’ when the Vertigo Effect, named after Hitchcock’s famous to a frightfully different reality that results in an browsing the Internet, thereby emphasizing the 1958 movie. The installation Vertigo Effect is a rel- elementary feeling of subconscious distress. physical character of the Internet and the political atively simple in-camera effect with a strong emo- http://www.kupiczacola.com realities that come with it. http://www.bordercheck.org http://joway.eu

214 215 NOPER + SAINT MACHINE Feed Me

Feed Me is an interactive multimedia project created only feed you back with hallow symbols. Around the in 2014 by Romanian artists NOPER (Radu Pop) and seven portals of Noper, Womb of Tra formed some SAINT MACHINE (Marilena Oprescu Singer). With a scar tissue, called Innerform, through which you can self-ironical approach, the project is calling the sub- communicate—a network of tubes that demand that jects of the monstrous and perpetually insatiable you feed it with your whispers and amplifies them. Tra to her feeding ritual. The entire exhibition takes In the middle of this organic world, lies the Sacred place in the Womb of Tra, a giant cocoon-shaped Egg, an interactive egg-shaped installation by SAINT sensorial capsule created by SAINT MACHINE, that MACHINE that invites you to offer your head, swal- can pulse, change color and give you sound feed- lows it, and feeds on your energy to return to life. back as you approach and enter it. Inside the womb After connecting your head to its orifice, you are everything moves and reacts to motion on a com- able to determine the actions of the artwork and

mon rhythm. Feeding Tra is very much like making become part of it. Insatiable Tra sucks your atten- Cristian Vasile a ritual journey; she swallows her visitors through tion through your head and only breathes as long as the input opening and vomits them, transformed, you stay connected, leaving you voided of individual through the output orifice. The exhibition space will and responding only to her needs, your body is structured in narrowing concentric circles, cre- hanging beheaded from the giant egg. ating worlds that include each other and cocoon http://www.feedmeritual.ro around a magical protection space, thus the public Concept and illustrations: NOPER (Radu Pop) & is activated on several levels. Once you immerse SAINT MACHINE (Marilena Oprescu Singer) into the womb, The Secret Memories of Noper, seven Music: Mitos Micleusanu 2.5D animation movies called The Fool, The Magi- 3D modeling and animation: Reniform (Sergiu Negulici) Animation: Tudor Calnegru cian, The Empress, The Emperor, The Hanged Man, Software engineer: Marius Farcas Death, and The Star, break the organic substance of the cocoon and urge you to pass through into Project created by Artmix Cultural Association with the support of: ARCUB – Bucharest Municipality Cultural an eerie world of repetitive sequences beyond time Centre; Romanian Cultural Centre; RKI WIEN – Romanian Vali Petridean Vali Cristian Vasile and space. However, the interaction with them is Cultural Institute Vienna; AFCN – Administration of the deceptive; while they feed on your attention, they National Cultural Fund Cristian Vasile

216 217 SO SIMILAR, SO DIFFERENT, SO EUROPEAN

So similar, so different, so European Under the title So similar, so different, so European the European Commission’s Directorate-General for Neighbourhood and Enlargement Negotiations initiated a campaign in order to foster intercultural exchange and raise awareness in the field of enlargement policies. The projects welcome you on a journey through the Western Balkans and Turkey.

Robert Pravda Monoid a.k.a. My New Speaker kinetic speaker installation

So similar so different so European Did you know that as The EU’s enlargement policy aims at preparing for a result of successive membership those European countries that aspire to join the EU. Albania, Bosnia and Herzegovina, the former Yugoslav enlargements the Republic of Macedonia, Kosovo*, Montenegro, Serbia and EU is the largest Turkey are candidates or potential candidates.

economy in the * This designation is without prejudice to positions on status, and is in line with UNSCR Monoid is a kinetic speaker installation based on properties of space and the kinetic properties of the world, with more 1244/1999 and the ICJ Opinion on the Kosovo Declaration of Independence. the construction principle of a gyroscope, with 360º installation are the basic ingredients of the com- freedom of rotation on three axes as a sound object position for this spatial-auditory experience. The than 500 million and a static microphone as the “ear” of the space. sonic experience of the space is characterized by the citizens? The relationship between the sound source—in this interference patterns of the projected sound waves, case the moving speaker as the sound object—and and the timbre (color) of the sound is determined by the space is explored in a form of a dialog. Noise the room itself and the speed of the sound source bursts, rising and falling pitched sound, and text movement. This sound installation is a part of an fragments taken from a poem by Brion Gysin are ongoing research project on sounding space and GROWING projected in all possible directions in the space. The spacing sound. TOGETHER microphone listens to the reflections of the sound Concept, composition, and design: Robert Pravda Want to know more? and feeds back information to the speaker, influ- Construction: Quirijn Smits, Niels Steigenga, Enlargement Negotiations ec.europa.eu/enlargement encing it and adjusting its behavior. This enhances/ and Robert Pravda alters the visitors’ spatial and sonic experience. The

150729_Anzeige_Ars Electronica_165x240_hw.indd 1 29.07.15 10:19 219 SO SIMILAR, SO DIFFERENT, SO EUROPEAN

Kokrra.tv Şirin Bahar Demirel Momentum Living with Leviathan Motion Graphics and Photography 2013 / Turkey / 11 min

The video portrays the journey of Albanian women play a key role in building a vital history for this “Because when ordinary people who share funny cat Gezi movement in Turkey, in the summer of 2013. in society, or rather, in the heart of the “organism” organism we call the people. More than 40 people videos on the social media start to spread informa- More of an open letter than a documentary, this of our people. From matriarchy 6,000 years ago to at TEDx Prishtina Women—an event that celebrated tion about what to do in case of being taken into movie tries to show how Turkish youth say “No!” to the idealization of women in Neolithic symbols and innovative women, great thinkers, taboo breakers, custody, it’s called state terrorism.” This is a per- the despotic regime and police brutality. Queen Teuta, the role of women in society dimin- and inspirational ideas—pledged to join the efforts sonal story about a nationwide uprising, the Occupy ished—almost sinking into oblivion. However, the to further social development. Albanian National Renaissance, Dora d’Istria, and Shote Galica have done much to restore the impor- Company: Kokrra.tv tance of women in our collective social lives. This Artist, Photographer: Leart Zogjani video highlights the crucial work of five women who Video made for: TEDx Prishtina Women

220 221 CAMPUS EXHIBITION—PARIS 8 UNIVERSITY

Bérénice Antoine, Clément Ducarteron, Gaël Labousse Le Désert de Sonora 3D CGI animated fi lm (2015)

Mescaline is a hallucinogenic substance produced by different cactus species, including the peyote cactus. Campus Exhibition Incilius Alvarius is a toad that secretes powerful toxins. These plant, animal- and mineral-based Paris 8 University psychotropic drugs all occur in the same location in the Sonoran Desert, near the Mexico–United States border. This video is an introspective journey into a microscopic universe. Three aesthetic visions of dif- The Campus Exhibition event organised by Paris 8 of hypertext and hypermedia both in France and ferent psychotropic drugs are brought face to face University presents thirty years of digital research abroad. The Pratiques Textuelles Numériques (PTN) in a digital triptych. Shapes, movements, structures, and creative work from pioneering artists and and Création et Edition Numériques (CEN) master’s materials and sounds bear witness to a recursive researchers in the early years as well as from young programs have now opened up their field of inquiry metaphysical journey. contemporary artists today. It is divided into five to include all information technologies, from mobile categories: film screenings in 3D CGI; interactive art devices to augmented reality, digital ergonomics, installations and experimental videogames; digital and human development. Woody Vasulka & SLIDERS_lab (F. Curien, J-M. Dallet) literature, such as hypertext novels and generative For the last five years, Paris 8 has offered a unique Digital Vocabulary poetry; virtual reality systems and augmented inter- framework and a privileged environment for research Experimental digital video Installation (2014) active books; and behavioural objects and sensorial initiatives: the “Laboratoire d’Excellence: Arts et prototypes. The exhibition perfectly coincides with Médiations Humaines (Labex Arts H2H)” and the The images illustrating the Digital Vocabulary, video the determination of Paris 8 to showcase its dyna- “Initiative d’Excellence en Formations Innovantes: art pioneer Woody Vasulka’s attempt to create a mism in the digital field by naming 2015 the year of Création et Technologies de l’Information et de grammar of digital technology in the 1970s, are here “Université 8.0: Le pari numérique!” (University 8.0: la Communication (Idefi CréaTIC)” are funded by revisited by SLIDERS_lab. Now placed in a virtual the digital challenge!) French government investment programs and are space, the sixteen illustrations are arranged side Since it was founded forty-five years ago, Paris 8 original transdisciplinary research and training ini- by side. A camera moves above them, getting closer University in Vincennes has asserted its central tiatives rooted firmly in the 21st century and focusing and moving further away, transforming what we see presence in artistic disciplines. A strong dynamic of on digital art as it relates to the human and social into a data landscape. This is all the more strik- interdisciplinary research has fostered a significant sciences. This rich panorama illustrates the exper- ing because at certain moments a phenomenon of body of artistic work and led to the emergence of tise and thinking of Paris 8 University in the field of extrusion produces an impression of depth, with research groups and teams particularly active in the Digital Art and New Media. black areas in the background and white areas in digital field. The Arts et Technologies de l’Image http://www.univ-paris8.fr the foreground. (ATI) department grew up around pioneers of com- http://linz2015.univ-paris8.fr Project supported by Labex Arts-H2H puter art in France—a somewhat “off-beat” devel- Translation: Martyn Back opment for the young university. As well as artistic Caroline Bernard, Damien Guichard Project manager, Campus Exhibition: Chu-Yin Chen and scientific experiments, the Image Numérique et Curator, Campus Exhibition: Jean-Luc Soret Journey: Fossils Réalité Virtuelle (INREV) team carries out research 3D prints (2010) Team coordinators: Marie-Hélène Tramus, Isabelle that opens up perspectives created by the emer- Moindrot, Alexandra Saemmer, Pauline Cellard, Ghislaine gence of interactive virtual stages. The Esthétique Azemard, Laure Leroy, Anne-Fleur Guillemin, Jean-Marie In Journey: Fossils, the image is no longer two-di- des Nouveaux Médias (EdNM) team worked on inter- Dallet, Philippe Bootz, Filipe Pais, Jean-François Jégo, mensional; it becomes an object that can be grasped. activity in art; now called Théorie Expérimentation Adèle Sicre. The objects printed in 3D relate to a sedimentation Arts Médias et Design (TEAMeD), it has extended Campus Exhibition 2015–Paris 8 University has received between living things and architecture, time and the scope of its research to include new relational support from: Ars Electronica, Kunst Universität Linz, space, camera motion and moving through the envi- modalities via the use, development, appropria- French Embassy in Vienna, YIIiSU, Université Paris 8: ronment. They reflect the space-time continuum as l’Année du Numérique, Service de la coopération et des tion and invention of mainly electronic and digital relations internationales, Labex Arts-H2H, Idefi CréaTIC, it was at the time the images were recorded, show- technology. The founders of the Paragraphe team the INRéV, TEAMeD and EansadLab teams, and the ATI, ing the desire to make reality and its recording into have taken part in the development of the concepts CEN, and PTN master’s programs. a single object undergoing transformation.

222 223 CAMPUS EXHIBITION—PARIS 8 UNIVERSITY

Jean-Louis Boissier Pékin pour mémoire Interactive installation with videodisc (1985–1986) Michel Bret Dynasenza In September 1985, a twelve-hour walk connected Interactive installation (2015) the temples of Peking, located at the four cardinal points: Earth, Sun, Sky, and Moon. One photo was Dynasenza is an interactive installation pro- taken per minute—the cameras printed the time on grammed by the artist, featuring small autono- the picture—to record the itinerary, and a second mous virtual-reality dancers controlled by neural camera recorded picturesque details. The videodisc networks, interpreting sounds emitted by a thumb was the precursor of programmed management for piano (sanza) played by the viewer. sets of images. The performance produces a logical diagram for this. It relies on minimalist interactivity: at the four corners of a square Chinese table, four buttons for the departure points and, at the center, a button for taking a photo.

Vivarium for Solar Insects Interactive sound installation (2015)

Sophie Daste, Karleen Groupierre, Adrien Mazaud Visitors are invited to use a flashlight to interact Miroir with “solar insects” housed in a vivarium. When Interactive augmented reality installation (2013) they light up their little solar cell wings, these “e-in- sects” emit a glow and sing to the light in impro- Miroir is an augmented reality installation that vised polyphony! refers to the world of fairground sideshows. It com- Made by first year Masters students in Arts et Tech- bines tricks of light with new technologies: imagine nologies de l’Image (ATI) Paris 8 University in the a mirror, in a mysterious Victorian setting, able to framework of the international Labex Arts-H2H transform you into a reflection. You can now interact initiative. Directed by Laurent Mignonneau, Christa with your anthropomorphic double. By entering the Sommerer, Chu-Yin CHEN, and Jean-François Jégo. strange world of Miroir, you have merged with the supernatural, and you are now part of its bestiary.

Chu-Yin CHEN Vitamorph II Michel Bret, Edmond Couchot Interactive installation (2012) Pissenlit Interactive installation (1988) Seeding virtual microfauna within marine flora… When the visitor touches or strokes a double-sided At the bottom of the screen connected to the com- touch screen, proteiform artificial life forms are born puter lies a dandelion clock. When you blow on the and move. We can grasp these virtual creatures image, thanks to a sensor fixed onto a transparent with our fingers and push them around to provoke plate, countless seeds are released and drift away encounters and reproduction... By pointing directly in the wind. Another version shows a little feather. at them, we make them stop moving; they emit When you blow, the feather rises at different speeds frightened cries and try to escape… This installation and in different ways depending on how hard and is comprised of two back-to-back screens, and the how long you blow. When you stop, the feather virtual creatures appear on them and migrate from floats back down, following a different complex one to the other. Visitors pursue them by moving trajectory every time. around the screens, in a game of hide-and-seek…

224 225 Philippe Bootz (1982 – 2015) 5 generations of digital literature

Masters and doctoral students in the ATI department A panorama of digital literature produced at Paris 8 Best animated image technology films covering the period 1982–2015 and showing the work 3D CGI Animated films (1985–2015) of 5 generations of researchers and students. This retrospective has three main angles: For almost thirty years, the Arts et Technologies • chronology, in other words the continuity of creative de l’Image (ATI) department at Paris 8 University work and the investigation of digital literature at has been giving broad-based training in computer Paris 8 since the early 1980s. graphics, providing openings in several creative • literary approaches, in other words text generation fields: animated films and special effects, videog- and animation, which are embodied here in gener- ames, virtual and augmented reality, and digital ated and/or animated poetry and generative and/or and interactive performance. Be they experimental interactive fiction. Philippe Bootz, Nicolas Bauffe – MIM Production projects made over several months or intensive proj- • the question of the medium, showing a wide range of Joue de la musique pour ects completed in just three weeks, the films in this digital works: closed works on computers, works pub- selection illustrate a teaching philosophy based on lished on line, applications for digital tablets, e-books mon poème (poème percutant) the acquisition of both artistic and technical skills. for e-readers, cross-media works using digital technol- A poem that is “uncomfortable to read”, exploring ogy and printed books, spatial installations. the question of Man being controlled by machines.

Alexandra Saemmer Böhmische Dörfer Hervé Huitric, Monique Nahas, Michel Saintourens, Digital Literature Performance Marie-Hélène Tramus Pygmalion Böhmische Dörfer by Alexandra Saemmer is a digital Facial animation (1988) literature performance. At the end of World War II, Music: Patrick Boujet Sudeten Germans were expelled from territories in Hervé Huitric and Monique Nahas Czechoslovakia where they had lived for several gen- Masques & Bergamasques erations. This marked the beginning of the deadly Facial animation; 16mm color film (1990) Long March, in which the author’s mother, then a Music: Gilbert Louet child, took part. The performance invites the viewer to circulate, in a necessarily fragmented way, within Since the 1980s Hervé Huitric and Monique Nahas this painful memory. have worked on facial animation using laser digi- talization of artificial, then real faces. Their works entitled Pygmalion (1988) and Masques & Berga- Lucile Haute, Alexandra Saemmer masques (1990), produced via programming using Conduit d‘Aération the RODIN software they developed, demonstrate Hypertext novel for tablets and e-readers (2015) the complexity of the task for computers at that time, and highlight the contribution of laser scan- Conduit d’Aération is a choral novel for tablets and ning with millimetric resolution, using Cartesian e-readers, freely inspired by a news item and narrated coordinates to represent a face in 3D with a degree by four of its protagonists. Their fragmented accounts of realism that was impossible back then. can be read independently to follow a single point of view of the mystery, or the reader can jump from one to the other to compare the different accounts. The story has several threads and interpretations. The “today” of the introduction is the vanishing point towards which the different storylines converge. Everything begins at the end: “A body is discovered”. Project supported by Labex Arts-H2H 226 227 CAMPUS EXHIBITION—PARIS 8 UNIVERSITY

Dominique Cunin, Mayumi Okura Cédric Ciebien Book Tales Dumping in the imagination Interactive book for iPad (2011-2012) Augmented reality system (2015)

Book Tales is a series of interactive artistic apps for Welcome to the world of Dumping in the imagina- iPad that challenges the omnipresence of the phys- tion, a project consisting of a book that features ical book, a set of bound pages that is consulted several images whose purpose is to allow you to by leafing through it, as a model for the design of discover a 3D world. This world is viewed on a mobile interfaces for e-book reading software. Why such device built into Google Cardboard glasses to pro- an analogy with the book on mobile devices, whose vide you with a total immersive experience. You can potential for interactive presentation remains then wander around these magical worlds while lis- largely unexplored? The answer is, Book Tales is tening to music. The connection between books and based on a simple design principle: photographs 3D images will no longer be a mystery to you. of physical books provide a pretext for interactive reading situations on mobile screens.

Corentin Bertho, Christine Lumineau, Parnian Haghbin, Ana Cristina Villegas Salma Chaabane, Ghaya Khemiri Pan! Chath’a: La danse de Carthage Augmented book (2014) Augmented reality installation (2014)

Pan! Is the result of an exploration of the relation- The project entitled Chat’ha: La danse de Carthage ship between paper and digital media in the context is an interactive Tunisian dance show viewed in of art. The challenge was to create a graphic artwork augmented reality on a tablet. The user interacts that explores the limitations of the digital format with virtual marionettes, acting as puppet master and the new possibilities it can offer in terms of nar- by moving his or her hand; these movements are ration, the reading process, and interaction with the detected using a Leap Motion system. Each move- reader. Pan! offers an interactive experience where ment executed by the dancer is controlled naturally the smartphone guides the reader as he or she dis- and intuitively by hand movements. covers an illustrated riddle. The two objects thus become complementary. Project supported by Idefi CréaTIC

Clémence Bugnicourt, Ulric Leprovost, Sophie Daste, Eric Nao Nguy Thomas Revidon, Laure Le Sidaner, Swann Martinez Parallèles – Moi, EZIO Immersio Interactive digital installation (2014) Interactive book (2015) The Parallèles project consists of interactive video This project involves a concept for an interactive screens. The parallel is created by the interaction book following the principle of the pop-up book. The of the viewer on the touch screen. The viewer plays viewer is invited to handle the book and discover the with the video to discover the zones of another world of a fairy tale on a screen, thanks to a camera. video, combining the two viewings in a single image. He or she can move freely in the world of the tale. Through an identical film frame, the videos show the This is thus a fun interactive book that involves the assassin from the video game Assassin’s Creed in an participation of the reader. imagined past shown in parallel with a view of the same places filmed in modern cities, while the body of the viewer replaces the avatar.

228 229 CAMPUS EXHIBITION—PARIS 8 UNIVERSITY

Kevin Bernard, Julien Capone, Charles Grillet-Courbières, Nicolas Gommez, Léo Menant Benoît Verjat Grizz Métre Métrologue Installation (2013) Touch-sensitive pedestrian navigation jacket (2015)

Currently, pedestrian navigation relies only on visual A large carpenter’s rule moves along, folding and signals (via smartphone), or sound signals (instruc- unfolding like an animal lost in the space where it tions transmitted via earphones). The Grizz project has been released, looking for what it must mea- is mainly designed for sight-impaired or blind peo- sure. Its motorized articulations are also sensors ple, but it could be extended for general use. Grizz sensitive to the resistance of the contours of the has three innovative features: it uses only touch for space. When this resistance is too strong, the pedestrian navigation, it doesn’t involve hearing, movement stops and gives way to another type of and it minimises the attention paid to the phone articulation. The object’s behavior is the result of a as you walk around. combination of its morphology and the sensitivity Project supported by Idefi CréaTIC of its articulations. Métre Métrologue was developed in the framework of The Behavior of Things project. Supported by Labex Arts-H2H. Samuel Bianchini, Didier Bouchon

Hors Cadre Cédric Plessiet, Salma Chaabane, Ghaya Khemiri Wall Installation (2014-2015) Lucky 2.0 A frame is hung on the wall. It is empty and plain: Virtual reality installation (2014) white, no content, no background, no moulding or decoration. But intermittently, it subtly moves, This project immerses the viewer in a virtual world twisting on itself. From time to time, its movements directly inspired by Beckett’s play Waiting For become more pronounced, even violent, as if it were Godot. Using a Kinect and a virtual reality helmet, twitching involuntarily like someone having a fit of anyone can put themselves in the virtual body of hysterics. one of the characters: Pozzo. Opposite him is Lucky, Hors Cadre was developed in the framework of The the other character, a kind of virtual slave tied to a Behavior of Things project. Supported by Labex Arts-H2H. rope. Thanks to a haptic system and a voice rec- ognition device, the interactor can give orders to Lucky and feel him pulling at the rope. The strange bond between the viewer and the virtual actor Lucky prompts us to take a new look at this play from the Reflective Interaction team great tradition of the Theatre of the Absurd. The MisB Kit Demonstration of a basic robotic toolkit (2013) Judith Guez, Guillaume Bertinet, Kevin Wagrez The MisB KIT was developed by the Reflective Inter- Lab’surd action team (Diip / EnsadLab) headed by Samuel Virtual Reality installation (2014) Bianchini, Didier Bouchon, Cécile Bucher, Martin Gautron, Benoît Verjat, and Alexandre Saunier, in “Sit in front of the table, put on the headset, take the framework of The Behavior of Things project, the glass in front of you and let yourself be taken coordinated by Emanuele Quinz for Labex Arts-H2H. into a waking dream”. Lab’surd is an individual expe- The research area Behaviors focuses on objects that rience that uses the Oculus Rift DK2 virtual reality display behavior, and investigates how we can cre- objects have a personality that allows them to initi- headset: an immersive and interactive installation ate animate objects with simple abstract or every- ate actions and decide to do things themselves? We that invites the viewer to gradually enter a world of day forms (a table, an ashtray, a utensil, a dustbin, have created a toolkit (hardware and software) that magic and supervirtuality, challenging our habitual etc.), whose movements give them a particular makes it possible to quickly prototype and experi- perceptions through illusions halfway between the behavior. How can we give the impression that such ment with such objects. real and the virtual.

230 231 CAMPUS EXHIBITION—PARIS 8 UNIVERSITY Christina Chrysanthopoulou Cauchemar, le jeu Virtual Reality installation (2014) Alain Lioret Cauchemar, le jeu (Nightmare, the game) is a proj- Painting Beings ect created by Christina Chrysanthopoulou, for the Installation (2005) Greek-French master’s degree “Art, Virtual Real- ity and Multi-User systems of Artistic Expression”. The Painting Beings project focuses on art created The goal of the project is to immerse the player/ by new techniques using several methods of imple- user in a virtual environment where the presence mentation that combine the rules of construction of the Shadow (the Jungian archetype: the darker of cellular machines and L-Systems with genet- side of the unconscious) is dominant. The expe- ics, neural networks, couplings, and translation of rience begins with the player wearing the Oculus in the virtual world, a mirror reflects a vague and codes. These methods result in the morphogenesis Rift, standing in darkness. The Shadow approaches shady representation of the player. The mirror then of bodies, as well as their structure (shape) and their and touches the player on the shoulder (a physical starts asking the player questions. Depending on functional aspect (neural networks with sensory gesture in the real world). By turning around though, the answers, the player has different nightmares. neurons, balance, etc.). It is part of what we can call “a new kind of art”, and we can see here how Painting Beings emerge.

Judith Guez, Jean-François Jégo, Dimitrios Batras, Rémy Sohier, and Collectif Alinéaire Marie-Hélène Tramus Super! InterACTE Art video game (2014) Interactive installation (2015)

Super! is a videogame installation with a small The interactive installation entitled InterACTE screen and an oversized joystick. The installation makes it possible to improvise with a virtual charac- is deliberately odd to create a sense of self-mock- ter whose gestures are generated by a genetic algo- ery and acceptance of failure. The game consists rithm based on expressive and linguistic gestures of finding one’s way out of games that reflect the captured on real actors (a mime, a poet, a linguist, major categories of video games (beat them all, race, and a choir leader). The installation presents a vari- puzzle, rpg, platform, etc.). ety of avatars and virtual worlds. InterACTE was developed in the framework of CIGALE project supported by Labex Arts-H2H

Chu-Yin Chen, Jean-François Jégo, Dimitrios Batras Piers Bishop Super Giant Robots Deaf Poetry: saying everything Art video game (2015) without speaking Interactive installation (2015) Super Giant Robots is a videogame project in the Here, hands don’t beat the drum. Instead the drum form of an interactive installation. The work is speaks with its hands, projected onto its skin. They designed to look as if it was designed and made by interact and create poems in sign language, spe- a child. It allows the user to build and then control a cially for the deaf and the hearing impaired, because giant robot using a control panel made of cardboard, the drum has acquired the expressive and prosodic sticky tape, and tinfoil. gestures of deaf poets. Deaf Poetry was developed in the framework of CIGALE project supported by Labex Arts-H2H.

232 233 CAMPUS—INTERFACE CULTURES Post-Post University of Art and Design Linz, Interface Cultures Faculty: Christa Sommerer, Laurent Mignonneau, Martin Kaltenbrunner, Michaela Ortner, Reinhard Gupfinger, Marlene Brandstätter

Post-media, post-web and post-digital are the new tion, the Interface Cultures student exhibition is buzzwords of our times. Media are now available located at the former headquarters of the Austrian anytime and anyplace; in fact, it is becoming diffi- postal service close to Linz Main Square. Last year cult to switch them off and remain “off-grid.” Smart Austrian Post moved out and this year the Interface devices, geo media and surveillance systems are Cultures students have moved in. Here, 23 interna- spinning a dense panoptic web all around us1. The tional students are exhibiting art works that they physical world is becoming increasingly infiltrated realized during the past year of studies. Inspired TimeBasedGhosts, Ivan Petkov by digital technologies, while social networks have by the Games Workshop, Nathan Guo developed turned us into “smart mobs” whose behavior can be his project Wanderlust, which utilizes the digital foreseen and pre-calculated. It has become the norm dartboard system as an agent of a Google map nav- to have almost all facets of our lives augmented by igator. Patricia Margarit Castelló produced a collec- media. “Post-media” merely means that media are tive videogame called Eisenbahnbrücke’s nightmare now an integral part of our technological lifestyle. (The Nightmare of the Railroad Bridge), that has Herlander Elias states that in this post-media world to do with urban development and shows us how nothing is ever finished and “update is the default historical buildings are currently being treated. The setting2.” According to him, our screen civilization lecture in media archeology probably influenced the is so accustomed to interaction and connectivity installation OHP III, which was created by Davide that interfaces have become invisible; we do not Bevilacqua and Clemens Bauder. They use overhead even notice them. But there is a downside to all projectors with additional film rolls in a manner that OPH_III, Davide Bevilacqua, Clemens Bauder The gesture of drawing light with a body movement, of these increased interactions and connections: turns them into alternative cinematic devices. By Isidora Ficovic we need to constantly pull, save, collect, publish, hacking objects Yen Tzu Chang develops her series edit and connect, but we are also beginning to real- of works called Transplanting. She originally comes ize that all of this is not really necessary. A kind of from Taiwan and has noticed a difference between protest movement is emerging in this “post-Goo- how frequently many everyday objects are used in gle” and “post-Snowden” world, where the old is Austria and in her home country. This observation the new new and being passive and critical is the inspired her to develop electronic products and com- new trend. So how about being post-post, instead bine them with parts of the human body. In Jure Fin- of being post-media? Being beyond something else gust’s project Take your time, a common traffic light is a sign of progress, but what about being beyond is used in a totally different context to the usual being beyond? Are we really there yet? This year’s one. Daniel Samperio and Gisela Nunes are two Interface Cultures student project exhibition consti- exchange students from the University of Minho in tutes a provocative answer to the new post-media Guimarães, Portugal. They made use of their resi- OPH_III, Davide Bevilacqua, Clemens Bauder The gesture of drawing light with a body movement, trends. The projects presented are futuristic, retro, dency at Interface Cultures to develop their current Isidora Ficovic post-, pre-, post-post or just art. While we of course projects. Gisela Nunes’ installation Break the Ice need to be aware of new technological and societal invites the visitors to participate. It asks them to trends and to reflect on them, we do not need to step on a sheet of ice and see what happens! Dan- military and the police to control agitated crowds, of Drawing Light with a Body Movement, Form 24. feel obliged to follow all of them. Being post-post iel Samperio developed the artwork Medium Stan- as an organ of speech for the voices of protest from There, a digital camera becomes the object, which is our artistic answer. dard together with Mario Costa. In the collaborative all over the world. Nina Mengin’s critical statement displays abstract graphics that are digitally pro- space it defines, three tangible objects—coins, dry on the usage of social platforms is called #inners- duced in the course of an interactive performance. Interface Cultures — Campus Exhibition leaves and a Newton’s cradle—control the multi-me- tagram. She questions the widespread belief that Movement or not? That is the question posed by The location of this year’s student exhibition in dia environment in real-time. The critical use of every single moment of our life is worthy of being three art projects that are presented in the exhi- Interface Cultures is interesting: Whereas the Ars technological developments is the basis of LARD captured with a mobile phone. Pictures of a differ- bition. Martin Nadal’s Death of Things (DoT) is a Electronica Festival is taking place at the former by Oliver Lehner. He employs long range acoustic ent kind represent the point of departure for Isi- series of moving figures representing public perso- Austrian Post logistics center close to the train sta- devices (LARDs), which are normally used by the dora Ficovic´s exhibit, which is called The Gesture nas. What they do depends on whether the people

234 235 CAMPUS—INTERFACE CULTURES

LARD, Oliver Lehner Death of Things (DoT), Martín Nadal Interfight, César Escudero Andaluz

Netz, Jens Vetter

Pop the movie, Carina Lindmeier, Federico Tasso Break the ice, Gisela Nunes

vermine, Viktor Delev, Didi Bruckmayr Bull shut app, Marta Perez Campos, Tassilo Posegga

Wanderl_st, Nathan Guo Take your Time, Jure Fingust Eisenbahnbrücke’s nightmare, #innerstagram, Nina Mengin Medium Standard, Daniel Guerra Samperio, Mario Costa Patricia Margarit Castello

236 237 CAMPUS—INTERFACE CULTURES

they represent are still alive. While the pictures in Laurent Mignonneau. They also reflect on the topic Ivan Petkov´s installation Time Based Ghosts are of post media and interface criticism from an artistic switched off, you won’t see any content. Shapes point of view. Herlander Elias, for example, talks seem to emerge from irregularly blinking points about technological changes that impact contem- until the video is stopped. The installation Pop the porary society and have resulted in the formation Movies by Carina Lindmeier and Federico Tasso is of a “post-computer” and “post-Internet” person. based on a popcorn machine which activates the He explains the characteristics of this new type of movies. Every time a piece of popcorn pops, the person, whom he calls “Homo Cypiens”—a combina- movie moves forward by one frame. tion of both “Intelligence” (Sapiens) and the “cyber- What if, in real life, we were able to make a connec- spatial” or “digital” (Cyber)—while Stahl Stenslie tion with a conversational topic instead of a person? reflects on “Prêt-à-Post: Joy, Fear and Ecstasy.” He BullShut App is a mobile phone application which argues that dead technologies, dead communities, attempts to make it possible to avoid awkward dead life or any other post-condition are a new form moments at all kinds of social events. The goal of Prêt-à-Porter, custom fit to your custom written

of the project which Marta P. Campos and Tassilo game-of-life. Ryszard W. Kluszczyński talks about by Armin Schellmann Sketches Posegga present is to create a conversational space relations between new media art and the art@sci- that connects two individuals for a brief period of ence phenomenon. In his paper Towards the Third time. An interaction of a total different kind is the Culture he writes that the @ symbol linking both basis of Interfight by César Escudero Andaluz. He sides highlights that in the newest practices which 100 Percent Mobility uses an Android app, which he developed by dupli- combine art and science the digital and media cating the Android GUI. In it, desktop icons are made technologies play a very important role3. Using as In 2015 the Austrian Motorist and Touring Club It was thereby taken for granted that the balance to behave like animals and react aggressively to examples works by artists such as Ken Feingold ÖAMTC approached the University of Art and Design between work and life would assume greater impor- the physical interface. Another project of a more or Guy Ben-Ary, he discusses the thesis that art@ Linz, asking students and teaching staff members tance and that mobility would have even greater applied nature was developed by a group of Indus- science is a post-media chapter in the history of to reflect on how mobility will change in the future. relevance than it currently does. The Motorist and trial Design and Interface Cultures students. In it, new media art. Christa Sommerer and Laurent In a joint project students from the scionic® Depart- Touring Club ÖAMTC would therefore have to be they elaborate future scenarios for car breakdowns Mignonneau from the University of Art and Design ment of Industrial Design and Interface Cultures able to support its members by managing complex in 2050. In their collaboration with the Austrian Linz talk about their latest project Portrait on the envisioned future scenarios for car breakdown mobility situations with the help of simple and ÖAMTC, they discuss service issues such as “What Fly where interactive portraits of media experts services in 2050. These were presented within the efficient procedures for guaranteeing mobility. The will mobility be like in 2050”? Jens Vetter devel- and scholars are converted into plotter drawings. context of visions which the students elaborated students, for example, envisioned flying drones oped the Netz, a net of flexible rubber tubes which The aim of this post-media strategy is to conserve for future smart cities and networked rural areas, that would send spare parts to the site of the car is suspended in a room. In the middle of it, there is images of historic figures involved in media art—an including novel types of infrastructures, distributed breakdown, as well as new types of smart interfaces a speaker. Touching or stretching the net generates ephemeral field that is obsessed with novelty and networks and services, self-driving vehicles, renew- that would enhance communication with the central a sound that it will play back. As we see, this year’s change. Machiko Kusahara talks about post-media able energy sources, new forms of vehicle ownership control unit at the ÖAMTC headquarters. They also student projects really do move freely between the tendencies in Japanese Device Art, e.g. the Post-Pet as well as personalized and customizable support agreed that there should be a large palette of avail- different media: digital, analog retro, new and old. projects by Kazuhiko Hachiya, where artists con- solutions. able mobility options for ÖAMTC members, who They are composed of media, post-media and post- sciously commercialize their artistic products. Erkki would be able to select which type of vehicle they post media. Huhtamo reflects on “Post-O—Media Archaeologies wanted to use at any specific time and in any sit- of Imitation and Innovation” and the significance of uation. Within the framework of discussion topics Interface Cultures — Seminar the post label in media culture through the concept on vehicle ownership and responsibility, self-driving Besides featuring the student projects, we also hold Post-O which he recently launched. capabilities and new and adapted means of trans- a small international seminar. There, scholars and portation, students and faculty members elabo- artists such as Herlander Elias from the University 1 Elias, Herlander (2012). Post Web-The Continuous rated various future scenarios for the Motorist and of Beira Interior in Portugal, Machiko Kusahara from Geography of Digital Media (p.20). Lisbon: Formalpress. Touring Club ÖAMTC, which would guarantee 100 Waseda University in Tokyo, Erkki Huhtamo from 2 i.d., (p.31). percent mobility to its members 35 years from today. 3 Kluszczyński, Ryszard W. (2011). art@science. About UCLA in the USA, Ryszard W. Kluszczyński from Relations between Art and Science. In R.W. Kluszczyński Partners: Austrian Motorist and Touring Club ÖAMTC, the University of Lodz in Poland, and Stahl Stenslie (ed.), Towards the Third Culture. The Co-Existence of Art, University of Art and Design Linz, Department of Industrial from Aalborg University in Denmark discuss the lat- Science and Technology (p.33). Gdansk: CCA. Design scionic® (Elke Bachlmair, Florian Nimmervoll), and est trends in media art with Christa Sommerer and Sketch by Christopher Hable Interface Cultures (Christa Sommerer, Michaela Ortner)

238 239 STWST48 Crashing the information in 48 hours

Convert yourself into E-waste, ferment yourself, tion, taking in contingency randomness in the pro- chase honeybees for weather report, launch fungi cess of encoding unique information, looking deeper into outer space, send your mobile on a slow boat to into concepts of decision-making and conclusion. China, set your electric sheep free range, grow your From STWST cultural space to Am Winterhafen android plants, tune in to ghostradio, stream in the where Messschiff Eleonore is anchored, along the <<>> by aTxE & La Pelos Ferment Lab by Agnieszka Pokrywka orchestra, piss off to compute, eat your data raw, Danube, across the continents, STWST48—crashing read your pulse loud, make your own bed, make love the information in 48 hours brings together events/ to your tattoo, hand over your hangover, take a dip non-events, information/non-information, hack/ infoDETOX features three Eleonore summer <<>> by aTxE & La Pelos. Bio-toxic per- in the Danube, check into the underwater eel hotel, fab labs, reality/dreams, unfiltered/raw/random/ 2015 residency projects: formance with tattoo machines scratching in anger. admit yourself to a world without compromise, a mined/cooked/processed infodata. The 48-hour Bee Frequency Farming by Bioni Samp. Sounding Ferment Lab by Agnieszka Pokrywka. Feast on fer- world whose dreams greet reality, and technology programs are organized under the four headlines: loud protest with bee frequency log hive electronic mented food with tales of bacteria’s micro life. is treated with great caution. · infoLAB, apiary. In 2015, Stadtwerkstatt, the nerve central of Linz’ · infoDETOX, free/open culture takes up “the nature of informa- · infoCRACH, and tion” as matters of inquiry and launches informa- · Nightline’s CRASH THE FUTURE. infoCRASH features nine projects. tion LAB to house its many ongoing information Piss(on)Logic by Martin Howse and Jonathan Kemp. research projects. For Stadtwerkstatt, which always infoLAB features three projects: Pissoir flow as operating system for a citywide leaky presents a reference to the established system, an The Eel Hotel by Donautik. An underwater research computational architecture. information laboratory is a challenge of the pres- buoy with webcam streams for homebound eels. NSA -( ritical) Networked Streaming Action by ence. While the world of natural sciences updates myco-logick by taro. Fungal spores bound for strato- APO33. Cut-ups of web radio in flux, doomed crash and releases information through logical conclu- sphere travel in weather balloons. of information overload. sions, information LAB retrieves seemingly mean- Ghostradio by Markus Decker, Pamela Neuwirth and GIASO (Great International Audio Streaming Orches- ingless information data without seeking conclusive Franz Xaver. A second order cybernetic mechanism tra) by APO33. A distributed orchestra mixing multi- arguments. It is about the interplay between reality generating random numbers by chance. ple audio-streams through a spatial diffusion. and information, about the observation of observa- Makery. Around the world of labs in 48 hours by makery.info. An information marathon on labs her-

alding the worldwide maker movement. NSA -( ritical) Networked Streaming Actionn by APO33. River Studies by Michael Aschauer. Durational video loops featuring rivers as carrier of cultural land- scapes and identities. Pulse project by Michelle Lewis–King. Listen to the CRASH THE FUTURE—Nightline programs interior space of the body through pulse reading Among others, KIKERIKI, COMMAND YOUR SOUL, and notation. OWL RAVE, MS. MUTT, ELEKTRO GUZZI take over Mirror Party Sisters’ Play by sister0 with sisters’. the deep nights and crash the future, unabashedly Who will execute relayed codes, free from the lion’s loud and danceable. share of toxins? http://stwst.at Plantoid by Primavera de Filippi, David Bovill, Vin- cent Roudaut, and Sara Renaud. STWST48 is a Stadtwerkstatt project. Curation: Shu Lea Cheang, Franz Xaver A blockchain-based autopoietic plantoid, self Nightline programming: Richie Herbst owned and financed, reproduces itself. Production: Andreas Heissl, Felix Vierlinger, Jörg Parnreiter Electromagnetic Dimension by Erin Sexton. Per- Art & Web design: Veronika Seyr myco-logick by taro The Eel Hotel by Donautik Ghostradio by Markus Decker, forming a series of spatiotemporal experiments Sound engineer: Christian Viteka Catering: Cafe Strom Pamela Neuwirth, and Franz Xaver with radio, objects, and an antenna.

240 241 Ars Electronica Rosi Grillmair Art Curating in the Digital Age exhy a curation service For the first time Ars Electronica will offer a program This year, the Korea Arts Management Service is especially for curators during this year’s Festival. sending five up-and-coming young Korean curators A lineup of workshops, talks and lectures over the to Linz. They’ll be working together with Ars Elec- course of three days will provide diverse settings to tronica staffers and selected Festival participants to discuss issues and challenges curators are facing work on eight themes within three days. today. Staging this conclave in conjunction with the • Ars Electronica—Curating digital art: challenges Festival is also designed to enable professionals and possibilities in this field to engage in meet & greet with their • New audiences—Curators as translators mediat- colleagues. The Festival as a hub for exchange ing between artists, their works and the public among people and projects thus has the potential to • Ars Electronica Festival – Demands in curating a become an effective springboard for curators aiming festival and exhibitions to expand their networks. Also high on our agenda • Ars Electronica Futurelab—Curating processes: is facilitating up-close-and-personal encounters Curation at the intersection of art and science with artists so that curators can gain insights into • What kind of curators does an institution like the substantive questions and production & imple- the Ars Electronica Center need? mentation challenges that artists are facing today • Curating in Asia and Europe—A comparative and the positive contributions curators can make. case study exhy curates exhibitions—automatically. The cura- From a user’s perspective, the service works quickly Furthermore, we understand curatorial work as an • Curating art in the Digital Age tion service offers to organize art events from find- and efficiently—in a similar way to finding goods on investigative process; accordingly, we look forward • Curatorial metamorphism—From concept to ing a topic and a title to putting together a group Amazon and ebay. to getting acquainted with emerging talents on the media to digital art: A historical approach show and arranging the works of art in the gallery “If you like that artwork, you might also like this verge of their breakthrough as well as to Q&A with Text: Manuela Naveau space. The selection of art works is of course not a one“—the artsy.net art classification and recommen- seasoned veterans and, in the process, reconsider- random assembly. Each show is a unique experience dation system. ing our own curatorial activities. involving the visitor in relationships, juxtapositions or contrasts that are being reflected by works and The artsy.net art recommendation system tries to themes of art history and contemporary develop- define the users’ taste in art and suggests works ments—like any well curated group show, but it they might like. Each work of art is defined by spe- comes without the heavy workload for the curators. cific characteristics. exhy filters similar works on the You may entrust exhy with your project not only basis of these characteristics and generates a list because it knows over 15,000 artists—more than a of artworks. By following the artsy.net path, it will human mind could ever comprehend, but because find the next most similar work. The list of featured it also draws lines between artists who are active in artists, the specific title, and the exhibition text are very specific fields—an arts researcher may not have generated by using the information collected during come across the connection in years. this process. At Ars Electronica the visitor can be exhy is based on the huge database of artsy.net, an part of art events curated by this algorithm. Every online art gallery. It comprises thousands of artist other hour there will be an exhibition opening and profiles that are linked by the logic of the Art the room will be filled with new art. Genome Project. Development: Manuel Berger, David Brüll, Florian Jennett, Sebastian Oschatz, David Theil, Gregor Woschitz. Supported by: Art University Linz, Artsy.net, Meso Digital Interiors, Kepler Salon Linz Florian Voggeneder exhy—a curation service, Rosi Grillmair

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Anatol Bogendorfer, Peter Androsch (Hörstadt) Diaspora Machine

“No matter how he pouts his lips, we push him away are forbidden to decide on matters of their most with our elbow, but however much we push him fundamental interests give eloquent testimony to away, back he comes.” how they’ve been made deaf and dumb in neo-feu- Franz Kafka dal Europe. Parliaments are morphing from deliber- It could be a sound wave that Kafka’s talking about. ative assemblies to places for tacit complicity. Here A sound wave propagating in a space in which it we stand, stunned, aghast, beholding the abject encounters resistance in the form of a hard surface. failure of politicians who permit thousands of ref- We perceive the delayed reflection as an echo. ugees to drown at sea, condemn huge segments What the author is actually alluding to in the last of the European populace to unemployment and sentence of his short story “Fellowship” is the way poverty, permit the unbridled speculation of finan- a community deals with strangers. “We don’t know ciers, and labor assiduously on deregulation and the him and don’t want him to join us. (...) He doesn’t dismantling of social solidarity. do us any harm but he annoys us, and that is harm And this is the destination into which masses of ref- enough.” The five persons in Kafka’s “Fellowship” ugees from Syria, Iraq, and North Africa are crowd- aren’t even sure if they actually know one another, ing. Fleeing poverty, they’re spreading out an (inter) but they’re positive that they don’t want to get urban diasporic network, interweaving and inter- acquainted with the sixth one, the stranger. The layering it into a different Europe. New cities are image that Kafka draws of an unsettled majority the result. Amongst African or Armenian diasporas society is easy to recognize in the discussion that’s (Ancient Greek: διασπορά, dispersion), new strata— been going on for years about the integration of Syrian, Iraqi, Kosovar networks—are accreting. foreigners. Now, we’re gradually beginning to com- The Diaspora Machine is dedicated to the phe- prehend what disastrous consequences this form nomenon of scattering, diffusing, disseminating of rejection of “the other” can have for a city—and (διασπείρειν diaspeírein, strewing about). The gigan- for the global community, for that matter—as cit- tic spiral packet chutes in the former Postal Service ies worldwide become battlefields in asymmetri- logistics center on the grounds of Linz’s main train cal wars. The rejection of outsiders means nothing station stand like a pre-modern mechanical signal other than the very same rejection being reflexively warning of these diasporas. As a huge organon, it cast back upon us. The resulting feedback effect in distributes voices, sounds, light and objects that are the form of violence and terror is a destructive force. smuggled in through channels with plenty of twists The description of future cities will continue to be and turns, and arrive and dock at various places an account of immigrants and the process of dealing where they announce their presence. Singers, trum- with them. Human migration is enlarging cities, not peters, choruses, musicians, loudspeakers, and light, only their spatial dimensions but also their impor- physically occupy the chutes. They seep through the tance for the transnational global community. More machine, are dispersed and spat out. They make the than ever, the city is becoming a reflexive place of machine quake, resound, and groan. political, economic and social developments. Text: Anatol Bogendorfer The post-democratic sphere has developed—that is, gotten bigger—even more rapidly in reality Diaspora Machine is realized with the collaboration of than those who foresaw its emergence had feared. the Landestheater Linz’s Children and Youth Choir and Anton Bruckner Privatuniversität in cooperation with According to Slavoj Žižek, “contemporary capitalism Landesmusikschulwerk OÖ. With the participation of

delimits democracy.” Peoples and democracies who Hard-Chor Linz. AEC, Martin Hieslmair

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Anarchy Dance Theatre X Ultra Combos Second Body Ro-hsuan Chen Ro-hsuan Cheng Ching-Ju

The concept of Second Body comes from the expe- body itself. In addition, the knowledge of the struc- rience of driving cars. If I want to steer the wheel, ture of exercise is used to represent what we know to brake, to step on the gas, I don’t need to con- of our own first bodies in the moment. Afterwards, a sciously think, yet the car can still go ahead, turn, fully functional body starts to build up, then change and park at the correct spot according to my will. the environment for itself. Gradually, the environ- Moreover, when I am driving, I know how big my car ment starts to change the body as well. The follow- is when I weave through narrow alleys, and I know ing section is a 360º full body-length projection that where the four wheels are as the car proceeds in enters the picture to create a non-natural second its tracks. Maneuvering a car is an experience done body, which creates an experience of movement almost entirely out of reflex, without the need for distinct from the movements of the first body. We the brain to actively think. This reminds me of the are re-learning this new body. Adaptation? Conflict? way we move our hands and feet, which move nat- Do we, during the conversion between these two, urally without the need for us to think. When we produce new knowledge to define our bodies with are infants, we learn how to use our own bodies: the change in our viewing perspective? Furthermore, we learn to stand on our feet, move, and run, and how does the second body replace the definition gradually learn to exercise our bodies as we want. and existence of the first body in the process? We even learn how to use our bodies to the max in Concept/Choreography: Chieh-hua HSIEH certain sports and exercises. In sum, the accumula- Software Architecture/Video Design/Music Design: Ultra tion of knowledge, concepts and training allows us Combos to use our bodies without conscious thought, mak- Music Design: Yannick Dauby Lighting Design: We Do Group ing the use of our bodies an extension of the nat- Custom Design: Yu-teh Yang ural, physical body itself. The same happens when Visual Operator: Hsiang-ting Teng learning to drive, so that driving becomes a process Dancer: Shao-chin Hung achieved without thinking, with the car becoming Project Support: QA Ring an extension of the body. Project Mentor: Justine Beaujouan Project Consultant: Kevin Cunningham The present work starts from establishing the pres- Commissioned by the Ministry of Culture, Taiwan and ence of the body, while learning the structure of the Quanta Arts Foundation natural body through setting up knowledge of the Sponsored by Quanta Computer Inc.

248 Cheng Ching-Ju 249 Music on the Move EVENTS & CONCERTS From there we walk through the kind of ravine With the next piece composed and performed by The Big Concert Night 2015 formed between the Post City building and the Wolfgang “Fadi” Dorninger, the long stretch of the nearby parking garage, which—for this evening—is rail hall is converted into a spatial sound experience. not home to cars but to multichannel sound equip- Maki Namekawa will perform some of the piano ment that will create some fine sound environment etudes from Philip Glass on a freight train wagon which guides people towards the backyard of the converted into a stage. Post City. There, surrounded by rails and trains, a And the spectacular three stories high spiral mail small stage is setup for the third act of this evening. chutes will be the stage for the concert perfor- Next step is the big stage inside the rail hall of the mance project Diaspora Machine by Bogendorfer big Post City building where the Bruckner Orchestra and Androsch and for the final piece of the concert will perform three pieces. night, the massive Soundfalls performance by Karl Ritter, Wolfgang C. Kuthan, and Herwig Bachmann. Music on the Move, Light design: Rainer Jessl

The orchestra pieces

Music for a Great City Ge Xu—Antiphony Aaron Copland Chen Yi Performed by Bruckner Orchester Linz / Performed by Bruckner Orchester Linz / Dennis Russell Davies Dennis Russell Davies Music for a Great City was commissioned by the Lon- Ge Xu—Antiphony was commissioned in 1993 by the don Symphony Orchestra in celebration of its six- Women’s Philharmonic, San Francisco, and pre- tieth anniversary season and was first performed in miered in January 1995. In the early 1980s, Chen, 1964. Aaron Copland composed the score based on then a student at the China Central Conservatory the music he wrote in 1961 for the movie Something of Music, visited Southwest China’s ethnic regions Wild and said about it: ”The nature of the music to collect folk music. She found that to celebrate in the film seemed to me to justify extended con- the Chinese Lunar New Year and the Mid-Autumn Program cert treatment. No attempt was made to follow the Festival, Zhuang ethnic people often gathered in For many years now The Big Concert Night is one of The program starts with a musical intervention at cinematic action. The four movements of the work fields and sang songs in solo, choir or antiphonal the very popular and unique elements of the fes- the famous “ABC Buffet” in front of the big bus ter- alternate between evocations of big city life with its forms. In the antiphonal singing, distinct groups tival program. Thanks to the wonderful collabora- minal next to the Post City. This used to be a pub external stimuli, and the more personal reactions or individuals make up the texts in the style of tion with Dennis Russell Davies and the Bruckner in the typical 1950s style, which was still running in of any sensitive nature to the varied experiences antithetical couplets, simulating a competition Orchester, these special concert settings are offer- its original interior design until it was demolished associated with urban living. Music for a Great City between the two. The vivid scenes inspired her to ing unique journeys between quite different musical about a year ago. reflects both these aspects of the contemporary write music for keeping people in high spirits. The styles and even more different types of performing scene.“ pitch and rhythms in the piece are taken from folk the music—from the big orchestra instrumentation Aaron Copland (1900– 1990) was an American composer, songs and dance music of Zhuang, Miao, Yi and to the digital sound processing of slick laptops. In composition teacher, writer, and later in his career a con- Bouyei ethnic groups. ductor of his own and other American music. Instrumental addition visual artists are invited every year to inter- Chen Yi, born 1953, in Guangzhou, China, is an American in forging a distinctly American style of composition, in composer of mostly orchestral, chamber, choral, and piano pret the music with real-time computer-generated his later years he was often referred to as “the Dean of works that have been performed throughout the world. graphics. American Composers.” This year it won’t be just a journey through musical styles, but a physical one as well, since the various performances are spread throughout the vast area of the Post City.

ABC Buffett, Linz

250 Symphony in G# Minor EVENTS & CONCERTS Elliot Goldenthal Performed by Bruckner Orchester Linz / Dennis Russell Davies The Symphony in G# Minor was written for the that using the unusual key of G-sharp minor was events and ear-piercing sounds can also temporarily Pacific Symphony and its Music Director Carl St. personal and intentional. He had always felt a con- take place. This new, urban attitude towards life Clair as part of the orchestra’s 2014 American Com- nection to the timbre in the note G-sharp, as well gives the people and communities the possibility to posers Festival. The piece consists of two move- as an attraction to the key of A-flat. It is a unique develop a sound culture, aural cultures of remem- ments: Moderato con Moto and Rondo Agitato. The choice, as there are few other pieces in history to be brance and acoustic landmarks. Post City—An Aural first movement encompasses a four-note motive written in this key. Fiction consists of four movements: Before—Now—A spoken from the bassoon and a five-note phrase in Elliot Goldenthal, born 1954, is an American composer of soundwalk—Time stands still. The piece is made up the oboe section. These motives happen against a contemporary classical music. He was a student of Aaron of field recordings, sound design, and composed “rocking gentle percolation” on the harp and violas, Copland and John Corigliano, and is best known for his elements. It is conceptualized for subwoofer, loud- and the four-note motive is stated boldly at the distinctive style and ability to blend various musical styles speaker, horns, and hypersonic speaker, as a concer- and techniques in original and inventive ways. He is also end of the first movement before being repeated tante sound installation. In Post City it is not simply a composer of film music, and won the Academy Award in diminution form in the second movement. In the for Best Original Score in 2002 for his score to the motion a question of less or being against something, but program notes of the premiere, Goldenthal explains picture Frida. being for something radically new. Post City—An Aural Fiction Music and Sound Design: Wolfgang Dorninger Wolfgang Dorninger Sound stands at the center of Wolfgang Dorninger’s artistic work, as the operator of the experimental music There is no more noise in the Post City. It is so quiet label base, performer, composer of theater and film music, sound designer, sound artist or lecturer at the University that the inhabitants have to add sounds. This hap- of Art and Design Linz. Two diametrically opposed sound pens through the settlement of animals, wind-op- worlds dominate the work, which is located between erated sound sculptures, the creation of water- digital sound generation and concrete ambient noises. The courses and cascades, but also through designed arrays range from concertante space-sound-installations, soundscapes and zones in which noise, very loud multimedia performances, and acoustic presentations to theater music and techno.

Selbsttonfilm Example of “Un chien andalou” [An Andalusian Dog] by Luis Buñuel and Salvador Dalí (1929) Music on the Move is the latest step in the success- Dennis Russell Davies’ activities as opera and concert Peter Karrer ful collaboration of Bruckner Orchester Linz under conductor, pianist and chamber musician are character- ized by an extensive repertoire ranging from Baroque to Dennis Russell Davies and Ars Electronica. Their aim a soundtrack on that basis. The film sets itself to contemporary modern works, by fascinating and brilliantly is to test innovative ways of combining music and conceived programs. Since 2002, Dennis Russell Davies has music, so to speak, and the synchronized playback new visual forms of expression. The possibility of been chief conductor of the Bruckner Orchester Linz and of the appropriately matched up images and sounds taking the initial experiment (2003) to a profound opera director at Landestheater Linz. provides a fascinating audiovisual experience. level was fostered by the constellation of Ars Elec- The history of the Bruckner Orchester Linz spans 200 This work is a composition of excerpts from “Un tronica, the Bruckner Orchester and its conductor, years of tradition and excellence. In the last three decades, chien andalou.” From these film clips, Selbsttonfilm Dennis Russell Davies, and their shared interest it has won an international reputation as one of the generated tones and assigned them to 12 orches- leading orchestras of Central Europe. Consisting of 130 in unconventional transdisciplinary performance tral instruments. Excerpts from this material were musicians, the orchestra is not only the concert orchestra practices. for the state of Upper Austria but also the opera orchestra then arranged in such a way that the generated at the Landestheater Linz, and participates in the Bruckner sound coalesced into a musical work. The film clips Festival, the Ars Electronica Festival and the Linzer Klang- are screened together with their respective sound wolke. The Bruckner Orchester Linz has performed exten- phrases and arrayed in 12 fields corresponding to sively in the United States (2005, 2009), Germany, Spain, and Italy under Chief Conductor Dennis Russell Davies and their respective instruments. This musical interpre- had appearances in Japan and France. tation of the on-screen action isn’t a live orchestra’s artistry; it’s the output of software reacting to the Curators Music on the Move: Dennis Russell Davies, Heribert Schröder, Gerfried Stocker The sound doesn’t make the music; the film does! visual content. Selbsttonfilm analyzes existing video material University of Art and Design, Linz, Time-based and according to a prescribed set of rules and generates Interactive Media program

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Diaspora Machine Anatol Bogendorfer, Peter Androsch (Hörstadt) The Diaspora Machine is dedicated to the phe- places where they announce their presence. Sing- nomenon of scattering, diffusing, disseminating ers, trumpeters, choruses, musicians, loudspeakers, (διασπείρειν diaspeírein, strewing about). The and light, physically occupy the chutes. They seep gigantic spiral packet chutes in the former Postal through the machine, are dispersed and spat out. Service logistics center on the grounds of Linz’s They make the machine quake, resound and groan. main train station stand like a pre-modern mechan- ical signal warning of the diasporas. As a huge orga- Diaspora Machine is realized with the collaboration of the Landestheater Linz’s Children and Youth Choir and non, it distributes voices, sounds, light and objects Anton Bruckner Privatuniversität in cooperation with that are smuggled in through channels with plenty Landesmusikschulwerk OÖ. With the participation of of twists and turns, and arrive and dock at various Hard-Chor Linz. Pianographique—a performance of selected piano etudes from Philip Glass performed by Maki Namekawa, real-time visualization by Cori O’lan The 20 piano etudes were begun in the mid 90s and Maki Namekawa’s recent engagements include the Royal Soundfalls new music was added to this collection until 2013. Concertgebouw Orkest Amsterdam, Munich Philharmonic, Karl Ritter, Wolfgang C. Kuthan, Herwig Bachmann Philip Glass writes about them: ”Their purpose was Munich Chamber Orchestra with the Ligeti Piano Concerto, Dresden Philharmonie, the Stuttgart Chamber Orches- two-fold. First, to provide new music for my solo tra, and Bruckner Orchester Linz. Namekawa performed piano concerts. And second, for me to expand mv Hovhaness’s Lousadzak with Seattle Symphony Orchestra piano technique with music that would enhance conducted by Dennis Russell Davies. In 2013 Namekawa and challenge my playing. Hence, the name Etudes, performed the world premiere of the Complete Etudes for or “studies.” The result is a body of work that has a Piano by Philip Glass at the Perth International Arts Festi- val with Philip Glass. Together with Dennis Russell Davies, broad range of dynamic and tempo. The second set she has been collaborating with the Ars Electronica Festi- of 10 Etudes (now referred to as Book 2) has turned val for many years to realize a series of live performances out quite differently. Just as Etudes 1-10 (Book 1) for piano with real-time computer-generated visuals. took up the technical matters of piano playing, Book 2 is an extension of a musical journey undertaken in the last 10 years. The subsequent Etudes have been about the language of music itself—developing new strategies regarding rhythmic and harmonic movement. The last Etude (No. 20) was composed just after Godfrey Reggio’s latest film, Visitors, and follows closely its music.“ Soundfalls features the three protagonists of the to the spectrum of primary colors. The reduced LED SoundRitual project performing in the imposing visualization evokes barcodes and thereby alludes heart of the Post City venue, where they’ll display to the postcode system via the parcel distribution their tonal artistry on the spiral packet chutes in infrastructure that’s now so conspicuously obsolete. this former Postal Service logistics center. As in http://www.soundritual.com previous SoundRitual performances—from Vienna’s St. Stephen’s Cathedral to Grundlsee, a pristine The exceptional guitarist Karl Ritter has long ranked as Alpine lake—the essence of the matter is energetic one of Austria’s most innovative, experimental musicians and his constant search for new musical challenges led tone painting with fascinating drone compositions him to reduce the sound spectrum to a subtly formed consisting of stratified guitar feedbacks. “Musical monotone. Since 2011 he has been collaborating on the pieces that draw the listener inside, that, through- development of the artistic project SoundRitual with out their entire duration, are based on the same bass Wolfgang C. Kuthan, originally from Austria, who is a French multi-talent—director, author and photographer— drone tone and nevertheless reveal a multilayered who worked as an art director in the Paris fashion scene microcosm deep within.” (Der Standard) The com- for twenty years. The two artists teamed up with visual plex oscillations of the basic keys also correspond communication expert Herwig Bachmann on this project.

254 255 EVENTS & CONCERTS Participants

Oleg Makarov is a composer, Sergey Kasich is an experimen- sound artist, media artist, tal musician, multimedia artist, hardware/software interactive composer and interdisciplinary systems and instrument maker. researcher. Since 2008 he has He composes various kinds of been creating interactive and music—chamber, instrumental, generative sound and multime- vocal, and electroacoustic, and dia art installations and pieces has been composing music for radio plays for Radio alone and in various collaborations, providing inter- Russia and Radio Culture since 2006. Since 2004 he action design, sound and visual design, creative has participated in international festivals and exhi- coding, development, engineering and consulting. bitions of modern art as a composer, author of mul- He also works as a composer and a sound producer timedia interactive installations and performances, for theaters, performances and in other spheres, multi-channel algorithmic audio installations. He including pop-music projects. Sergey is the founder regularly performs his electroacoustic pieces, both and curator of Moscow Sound Art Gallery SA))_gal- composed and improvised, in various art centers, lery and Moscow Sound Art Studio SA))_studio. and makes experiments in cross-media fields of Born in Sevastopol (Crimea), he is currently based arts, electronics, programming etc. He researches in Moscow. algorithms of sound, movement and video inter- http://www.soundartist.ru/kasich/ actions using interactive graphical programming environments. http://olegmakarov.ru/ Viktor Chernenko (aka Acous- matist) is a composer and pro- Patrick K.-H. is a sound / video grammer. Styles: experimental artist, working with live and electronic, contemporary com- Russian Sound Art Showcase written acousmatic sound position for symphonic and Curated by Sergey Kasich installations, graphical collage chamber orchestra. He gradu- and animation. He has been a ated from the Theremin Center Atonal Architectonics: Postroenie resident of the Theremin Center, at the Moscow State Conservatory. He is assistant Russian Sound Art Showcase is a standardized envi- construction”. It has the same roots as the word Moscow since 1999 and Diapa- professor in the Moscow Studio for Experimental ronment for presenting multichannel sound works “nastroyenie” (Engl.: “mood”) and could be read as a son gallery for sound art (NYC, 2008). Art director of Sound and Multimedia Technologies and a member by the residents of the recently emerged Russian play on words—“post-nastroyenie” (like post-mood). Media Studio in Alexandrinsky Theater, co-founder of the Laptop Orchestra “CybOrk”. sound art community centered around SoundArtist. Atonal Architectonics: postroenie is a collective of Floating Sound Gallery for spatial sound (cur- http://www.soundartist.ru/projects/acousmatist/ ru (aka SA)) ). The concept of the Russian Sound exhibition of multichannel sound works in a stan- rently St. Petersburg). http://drawnsound.org Art Showcase is derived from the SA))_Q-O sound dardized environment. The exhibition shows recent http://soundartgallery.ru/ Alex Pleninger is composer, art framework, developed by SA))_residents in 2014 pieces by several sound artists from the post-Soviet electronic musician, and synth with the support of ANO ZA ART foundation and the region. All the pieces are somehow or other related ::vtol:: aka Dmitry Morozov is developer. He started work in Russian Ministry of Culture. to architecture or urban mood of post-Soviet cit- a Moscow based media art- the 80s as a computer composer Atonal Architectonics (AA) is a series of artworks, ies. Some of the works are specially produced for ist, musician and engineer of and developer of sound patches based on communication between sound and archi- the showcase at Ars Electronica 2015 Post City. strange-sounding mechanisms. for commercial synthesizers and tecture. The artworks are provided by SA))_residents The works use different techniques: some of them In the mid 00s Dmitry started now focuses on Buchla 200e and and their colleagues and friends. The Atonal Archi- are recorded audio, some are generative software actively using his DIY and cir- custom developments for musical and visual perfor- tectonics started in 2014 with an interactive perfor- adapted to the system. Custom algorithm is used cuit-bent instruments for his mances. He is one of the main figures in the new mance, sonificating architecture of the NCCA build- to show the works one after another, producing this own music projects, as well as making instruments Russian synth-making movement, being a co-au- ing (Moscow) at the Podgotovlenniye Sredy festival. way a kind of “parade / order” and at the same time for other musicians and media artists. He is the first thor behind sputnik-modular, traffkin & associates Postroenie is Russian for “building” as well as sound “construction / composition”. The exhibition batch producer of music and video synthesizers in and other developers for modular systems. In 2015 “parade / turn / order” as well as “composition / is fully automated. the post-Soviet area. Besides making music and he co-curated the СИНТЕЗ (Engl.: SYNTHESIS) exhi- http://www.SoundArtist.ru instruments, Dmitry creates audiovisual art instal- bition in Moscow’s GROUND gallery together with lations and promotes circuit bending and DIY elec- Andrei Smirnov. Alex is currently based in Moscow. tronics in Russia through lectures and workshops. http://vtol.cc/

256 257 Sergey Filatov is artist, musi- Vlad Dobrovolski was born in cian, composer, sound artist, Russia in 1974 and is a sound video artist, author and devel- artist. He has released music oper of electro-acoustic musi- and impromptu recordings cal instruments. He is a mem- under the Fitz Ellarald moniker ber of the Union of Artists of for the Tokyo-based experimen- Russia and the International tal music label Amorfon. In 2003 Association of Fine Arts UNESCO. He studied Fine he started to perform improvised music as a part of Art and Graphic Design at Kuban State University the Las Kalugas quartet. For getting basic drone and has been actively exhibiting his works as well as sound supporting improvisation, he often used vin- organizing a number of creative projects, personal tage Russian analog systems. The improvisation and collaborative, including festivals of experimen- style has been influenced from traditional Okinawa tal music since 2000. He is the author and creator of island music. Dobrovolski is also a band member of Neti Neti sound theatre. The artist’s works can be kurvenschreiber, a tape duo S A D participant and found in private and corporate collections in Russia, Cyland Audio Archive curator. India, Canada, Switzerland, and the USA. He lives http://dobrovolski.net/ and works in St. Petersburg. Michael Mayr http://sergeyfilatov.com/ Boris Shershenkov is an engi- neer and sound artist from St. Petersburg, and curator of Spatial ElectroAcoustics Labo- Chris Bruckmayr & Dobrivoje Milijanovic aka raum.null ratory SEAL (former LEMESG) at the St. Petersburg Sound The Sixth Wave of Mass Extinction Museum. His sphere of inter- ests includes applied media archaeology, musique Future visions of the Post City are often dark sce- to a designed world affect our (collective) psyche? concrète, electro-acoustic improvisation, spatial narios of polluted regions, full of people, vehicles, Does it sadden us or have humans, in the meantime, Polina Dronyaeva and Alexander Senko were both born sound installation, musical instrument making and robots, and darkened architecture—contaminated evolved beyond the deeply ingrained life in the wil- in Moscow, and live between Moscow and Barcelona. modification. https://vimeo.com/shebos through pollution, shadowed through dirty clouds. derness? What remains of the human animal we all They have been exhibiting together since 2008 with Thus, artists, scientists, and researchers from all stem from? The performance aims at the amygdala various soundscapes and interactive projects. Their fields work hard to design the best possible future of our post-modern societies by revealing a view to main research interest is the interplay of inner and for Post Cities, perfectly smart environments, the core of our collective fears. Sonically and visually outer worlds of human beings. flooded with light on the perfectly designed green it will unearth the hidden unease that we all might www.acousticimages.net areas and with beautifully constructed technology harbor, faced by the sixth wave of mass extinction. that facilitates all aspects of life. In this plan of a We pretend to feel safe, believing that society’s Post City, nature as wilderness is preserved on the amygdala is protected by smart technologies and outskirts in small protected areas—and at the same 21st century policing systems. But the silent ghosts Eugene Cherny & Gleb Rogozinsky are young experi- time we are losing species every day through the of all extinct species are still with us, and who is mental musicians and sound and media artists from scientifically proven accelerated modern human-in- next? St. Petersburg, and professional programmers who duced sixth wave of mass extinction (see Ceballos Sound: Chris Bruckmayr & Dobrivoje Milijanovic work with self-developed computer algorithms. et al., 2015). So will the Post City be a smooth and aka raum.null http://raumnull.tumblr.com/ Their activity includes working on web-based proj- perfectly smart environment where the influence of Voice: Didi Bruckmayr aka Fuckhead ects, as well as recent multi-media theatrical pro- wilderness and its soundscape are a concept of a lost http://www.fuckhead.at/ Visuals: Veronika Pauser aka VeroVisual ductions for Alexandrinsky Theater. past? As a sequel to last year’s Quadrature that an- http://www.verovisual.com, Peter Holzkorn aka voidsignal http://oscii.ru/ nounced something dark coming, this year we http://voidsignal.com, and Florian Berger aka Flockaroo reflect upon how the seemingly unnoticed mass Producer: Claudia Schnugg extinction affects city dwellers. How does the loss Ceballos et al. (2015). http://advances.sciencemag.org/ of species affect city inhabitants? Does the change content/1/5/e1400253.full from an environment influenced by the wilderness

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Robert Lippok and Wolfgang Fuchs Listening Post

Ars Electronica and LENTOS Kunstmuseum Linz Passagen series constitute the basis for further have been jointly showcasing contemporary media intensive encounters with soundart at the LENTOS art for years now. The 2015 Festival’s program fea- Art Museum Linz. tures a project curated by Markus Hofmüller: Lis- The point of departure of Robert Lippok’s composi- tening Post by artists Robert Lippok and Wolfgang tion was The River Flows and All Is Well by his band Fuchs. Listening Post deals with auditory percep- To Rococo Rot. Pina Bausch used this piece for her tion. Its experiential horizon extends from the city- production Vollmond. Inspired by this work, Lippok scape into the museum. The works by Robert Lip- conceived 10 sound miniatures for the LENTOS. pok (in the LENTOS Reading Room) and Wolfgang Wolfgang Fuchs engenders a novel sonospheric Fuchs (Main Staircase) are situated at the nexus experience. Methods used to listen to music in isola- of interior and exterior, and thus furnish percep- tion or in private—wearing headphones, for instance— tion concentrated on the auditory level. Listening are thwarted by turning the volume way up. Post, Expedition Sonar, and the works in their Sound Listening Post is a cooperation between Ars Electronica and LENTOS Kunstmuseum Linz

Otto Saxinger Höhenrausch 2015 metamusic alien productions

In an expansive aviary especially constructed for birds react to acoustic stimulation and accordingly Höhenrausch 2015 The Secrets of Birds in the voes- develop instruments with which the animals them- talpine open space, a group of nineteen grey parrots selves can actively produce sounds. In the course of and two Amazon parrots have taken up residence this, the parrots are neither trained nor conditioned, for the entire duration of the exhibition. Together but instead cooperate voluntarily. Whether the par- with the artists and caretakers they playfully rots actually become “musically” active of their own explore mechanical and electronic instruments and volition and what this “animal music” might sound sound devices. These have been especially designed like, are topics that are investigated in the project. for them and are continually modified and further Translation: Aileen Derieg developed. In addition, the artists perform with Höhenrausch 2015 The Secrets of Birds is a production by their feathered partners—partly together with OK Center for Contemporary Art, Linz. guests—in a special concert series. Like the entire metamusic: idea, artistic direction, and instruments: metamusic project, alien productions regard this alien productions (Breindl, Math, Sodomka) installation and the concerts as a long-term artistic Commissioned by OK Offenes Kulturhaus. With the kind support of voestalpine AG in Linz. research project with and for a group of grey par- rots. The artists have been working with the birds metamusic was the winning project of the ECAS Artist in Residence 2012 in conjunction with the project Networking since 2012, strictly observing animal protection reg- Tomorrow’s Art for an Unknown Future, Working Phase 2, ulations and in close collaboration with zoologists on the theme Networks of Advanced Sound and Related LENTOS Art Haider Museum Linz / Reinhard LENTOS and biologists from the parrot protection organiza- Arts—Bridging cultural sectors and different media, RAUM LENTOS / Listening Post—View of the installation tion ARGE Papageienschutz. They observe how the and enabling citizen innovation, and was awarded the CYNETART ARTE Creative Commission 2015.

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voestalpine Klangwolke 2015 HOCHWALD Dance of the Trees in Donaupark by Lawine Torrèn

Adalbert Stifter’s tale Der Hochwald as Alfresco Urban Theatrical Take on Paradise and Its Loss HOCHWALD [High Forest] is a love story set during several dozen trees dancing—a veritable evergreen the Thirty Years’ War. In the Bohemian Forest, a forest tripping the light fantastic around a cabin in father fears for the safety of his two daughters, so the woods. The soundtrack updates marching music he brings them to a secluded cabin in the woods. and the elaborate polyphony of the Late Renais- Despite its secluded, pristine location, their hiding sance into the context of contemporary electronic place is discovered by a young man, who falls in love music and musical drama in the style of a moving with one of the girls. narrative film score. Before the background of a story about the forest, The banks of the Danube and the entire visible city- innocence and longing for security, this production scape will be perceived as a moving natural land- deals with the future of nature. In the words of scape in which a winged creature tenderly hovers director Hubert Lepka: “We’re busy giving thought above a piece of demolition equipment. to the development of cities in the 21st century, but http://www.torren.at we’ve failed to establish an agenda for the future of those natural landscapes that have long since This is the third time that Lawine Torrèn is producing the ceased to be independent of human beings. All the Linzer Klangwolke. The previous productions were Teilung forests in Europe are man-made. So then, how do am Fluss (2005) and Baby Jet (2010). we plan to go about fabricating nature so that it’s The 2015 voestalpine Klangwolke is presented by LINZ AG Design: Lawine Torrèn worth living in?” Concept and director: Hubert Lepka In other words: the Bohemian Forest today is the Libretto and adaption: Joey Wimplinger site of commercial forestry. Huge old trees and cul- Music: Peter Valentin tivated nature, on the other hand, are to be found Lighting: Frank Lischka only in city parks and English gardens. Architecture: Wolfgang Czihak Video: Stefan Aglassinger The show’s libretto translates Stifter’s romantic Photography: Magdalena Lepka 1842 tale into the urban landscape & cityscape of Graphic design: Eric Pratter the City of Linz in 2015. Since neither the Danube Head of production: Klaudia Gründl de Keijzer nor the downtown buildings can come to the forest, Pyrotechnics: Christian Czech Artistic director LIVA: Hans-Joachim Frey the forest has to come to Linz. In this colossal cho- Business manager LIVA: Wolfgang Lehner reography, backhoes, forklifts, trucks, and ships get Project director LIVA: Wolfgang Scheibner HOCHWALD Daniela Faria © Bernhard Müller Daniela Faria HOCHWALD

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Living as holistic organic interaction The Mobile Ö1 Atelier

(texts) sought, found and documented things worth tribution Horst Hörtner, director of Ars Electron- hearing: the foreign-sounding German spoken by the ica Futurelab will present selected projects from Yenish people; a Carinthian junkyard; blasting at the Futurelab. His presentation will be broadcast live Erzberg open-pit iron mine; a walk-through concrete to Café Europa. (See p. 362) egg in Bregenzerwald; an Art Nouveau rest room in Another program special on its way to becoming a the heart of old Vienna; and the last indigo dyer in tradition will take place on Saturday night: After Burgenland. These are distinctive, typical and every- the Klangwolke show in Donaupark on the banks day emitters of auditory phenomena, scene makers, of the Danube, Electronic Theater will start at Main sound sources. The result was a series entitled Land Square—a screening of the top ten Computer Anima- und Laute. Hörenswürdigkeiten aus Österreich—a tion winners at Prix Ars Electronica 2015. joint production by the ORF—Austrian Broadcasting (See p. 286) Company’s radio station Ö1 and Hörstadt, broadcast in July and August 2015, Monday through Thursday, http://oe1.ORF.at/mobilesatelier Staging the Mobile Ö1 Atelier in the heart of the of the Alps that backdrop the wide railway track 4:55 to 5 PM on Ö1. Now, festivalgoers can enjoy it http://www.pneumocell.com city has become something of a tradition for the system. Microphones in these urban traffic struc- in the Mobile Ö1 Atelier. http://www.aquaponic-austria.at Ars Electronica Festival and cooperation partner Ö1, tures capture sounds that are relayed to Post City. One special event will take place on Friday evening. http://oe1.orf.at/landundlaute Austria’s cultural radio station. 2015 the Ö1 Mobile Media artist Peter Karrer offers a unique live sonic Mons 2015, one of this year’s European Capitals of http://www.hoerstadt.at Atelier is designed by Pneumocell, Vienna-based experience with an acousmatic interpretation of the Culture, has “Austrian Week” in its program. Aus- architect Thomas Herzig. Facing the bright, semi- visual reality that will be transmitted from Post City trian artists present their work at “Café Europa” in The Mobile Ö1 Atelier is produced jointly by Radio transparent Pavillion, constructed out of inflatable to the Mobile Ö1 Atelier. the Belgian city of Mons. As Ars Electronica’s con- Österreich 1 and the Ars Electronica Festival. building elements, it reminds one of biological cell Another project in the Mobile Ö1 Atelier is Aquaponic- structures. It’s both an information point and a proj- Austria’s aquaponic system—a circulatory system in ect exhibition venue throughout the festival, and which vegetables and fish prosper naturally. is linked to the decentral, but pulsing, “Post City”. Another acoustic project investigates the question: There’s the interactive, organic media installation How does Austria sound? While the “Digital Leben” A tree tweets. A tree reacts by Japanese ISI-Dentsu, (digital life) series was on summer break, a joint Ltd. Open Innovation Lab, which connects visitors to venture by Ö1 (production) and Hörstadt (concept, the Mobile Ö1 Atelier at Linz Main Square with the recordings, scripts) limned Austria’s acoustic land- Post City Knowledge Capital. Anyone standing under scape and then broadcast 36 selected audible tid- the tree in this installation may be surprised by the bits picked up somewhere in this tonally exceptional tree’s perceptive reaction to their mood. land. Over the course of a 3,500-kilometer aural An acoustic installation can be experienced in Post reconnaissance tour, Hörstadt Linz staffers Anatol City’s glass-fronted hall that offers a stunning view Bogendorfer (sound, photos) and Florian Sedmak

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Post-city-sounds. The non-symbolic as non-emblematic interaction priate, adaptive survival behavior. Sound is thus The sounds of diversity post plurality through language will first be expanded slowly information about a moved condition in a space through the communicative bodily expression—first and its arousal value. Sound gestures are commu- It will be soundscapes that allow the connection being with nature, without having to indicate a dif- as an instrumental gesture, then gradually as an nicative ways of behavior, the consolidation of this of these three terms to be associated; acoustic ferent theoretic reference as that of the phylogenetic emotional expression. In both cases music, as a col- perception as a tracing of its movement imagination covers, sound spheres as the products of sound development of hearing. The writings about sound- lective shaping and as a formalization of the emo- and the “reaction” of the body to it (Jauk, 2014); waves through movement in an environment and scapes, like the soundscape compositions, worship tional, the physical as well as the correlating tonal concrete sounds are communicated in the form of a their amplifying or weakening physical character- a natural relation and lament the nature-supplant- expression, will be a paradigm of this development “mimicking” (Godøy, 2006), the iconic reproduction istics. Although originating from architecture, the ing cultural relation between body and environment. in the media arts. of the indexical quality. approachable composition of this term has drawn Although generally an urban culture that transfers What began with telematic concerts as a city-con- Sound is a medium of information about movement upon the environment sound, the “field recording” the rural into the city, that lives the urban forms necting switching of public communication media in the environment and arouses / activates a behav- in the city and the country, but also under water of life precisely in hip-hop and techno, some music is possible everyday via touchable and handle-able ior, which in turn communicates other bodies as a (Winderen, 2011), and has found a theoretical rein- coming from the pop avant-gardes and the ambient mobile devices for “every body” without giving rise sound movement of the perceiving body—to raise forcement of its doing therein: to store concrete music anchored in techno is marked with the char- to the awareness of a global city—it is lived. What the survival value of the perception. In that respect, sounds and to forge these in a compositional pro- acter of urban flight. is everyday reality with face-time, the solely tech- sound is socially interactive and communicative. cess directly on the sound (but oriented to the par- This understanding is basally shaped by a nature- nically possible acoustic overlaying of soundscapes Social interaction is, according to this, an adaptive adigm of composition, of the collocation, of codes bound and, in derivation of the observance of our from distant places, was avant-garde exploration behavior—the city, the formalization of the com- for sounds) into a distinct dynamic form. Musique nature through our bodies (Levy, 2000), by a mecha- and enlightening realization in the 1980s—sound munization in different stadia of cultural develop- concrète as a composition with environment sounds nistic world picture. It will be the sciences of human bridges between geographically remote, culturally ment. Sound of the city is not only the sound of is ultimately committed to the idea of the work to communication and their extensions into the media “near” port cities (Fontana, 1987). moved nature, but of communicative behavior, of design an abstract composition in which the index- arts that transfer this world picture into a commu- The derivation of ecological soundscape research the sound gestures and their mediatization, of the ical reference of sounds to their physical source is nication-theoretical one; first committed to the from the human perception of physical sounds of mobility of the perceivers. removed; the technoid music of the 1990s will first attempt of the cybernetic description / explanation the environment—based on the psychological knowl- As a social system, the city is connected with power “use” the sound in the setting of hedonic lifestyles of the information transmission in information the- edge of interaction in communicative processes of relationships, as an expression of gouvernemental- as a stimulation of physical arousal and thus break ory and increasingly to the hedonistic determination the 1950s and in the knowledge of perception as an ité (Foucault, 2004). In sovereignty systems, the away from the understanding reception. What the of “getting together,” which sees its “reasoning” in intentional body-environment interaction and the city adoringly forms itself around the devotion-pro- theory of musique concrète formulated, its prac- a biologically-based life form. function of sound thereby—can today be observed voking seat of power as a high sanctum, in sanc- tice saw freer; sounds of landscapes are mixed and After the heyday of the rational observance of per- “extendedly” in connection with the mediatization tion systems around the fortification of the seat remixed not as citation-like usage, but as a contex- ception in cognition, it will be the anthropological of perception and hence the mediatization of the of power demanding absolute subjection. Trade tualizing game; in the end, the perception of medial notions of perception that essentially bring in the environment as an adaptive process, too. instead of self-subsistence produces an “informa- soundscapes creates “reality” that arises through “emotional” aspects in perception as an interac- Derived from survival acts, the anthropological tion”-exchanging interconnectedness that uses the the technical transmission (Fontana, 1987), resp., tion process of the body with the environment. view allows additional adaptations to be carried out geographical “ways,” rivers and natural roads. The storage without appropriate physical existence. In artistic research it is the communication arts through extended perception, through the technical insurmountable closes itself off to this communi- Adopted by Murray Schafer in 1977 and established that explore the extension of interaction first in mediatization of perception. cation and creates cultural islands like those still as a field between art and science, soundscapes are the form of mechanical information transmission What is this anthropological approach based on? expressing themselves today in the Swiss valleys investigated with the means of “art-based research” as telematics, which increasingly see the narrow- Sound is the artifact of a movement and is prop- as language and life culture. Industrialization makes (as McNiff, 2008, would have considered this), with ness of this understanding and see the frequently agated through the compression and expansion of the seat of the city dependent on resources, the qualitative methods of the clustering of percep- non-symbolically determined interaction as com- the surrounding air as a spherical wave to our ears. city forms itself around the production facilities, tions. The perception of perception connects both munication. Here the theory construction in the Sound thus informs us about its cause, a movement. the power relationships are becoming increasingly the art and the science. The perception of sound- communication arts clearly makes reference to This perception of the sound is one that is all around liberal, the internalization of the promise of hap- scapes is carried out, so to speak, on three spatial experimental studies and theories of social psy- us. Physical differences in both ears convey to us piness through the medium of “possession,” as an and hence perceptual levels: the not always con- chology, of dynamic group behavior, which leads the direction of the moved sound source; through incentive for the acceptance of neoliberal power sciously heard keynote sounds in the (back)ground, to collective design and designing collectivization the damping and reflection of the partial tones of a relationships. the signals and the soundmarks, figures in the con- through interaction. Unreflective of their existence sound spectrum we learn to experience the distance The centers of such cities are different place struc- scious foreground. and their origin, these terms and mechanisms will and the characteristics of the surrounding space as tures. Houses of the sovereign, the churches, are In soundscape ecology, however, a descriptive be demanded as defining processes of net art: the implicit (Polyani,1958, 1966) body knowledge (Jauk, surrounded by an open environment commanding approach without (ideological) requirements is collective and collectivizing interaction (D. de Ker- 2015a). Moreover, sound particularly informs us distance and respect, their inner spaces are an seldom found. Labeled as ecology, the conduct of ckhove, 1995)—behavior that leads from interaction about the meaning of the movement for the body; it enshrouding sound-location of the gathering and nature is indebted to the interaction of the human to a “communis.” creates arousal in the body, which leads to an appro- melding of individuals with the authority, where

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sound builds itself up as hypnotic uniformity; the through signal and orientation sounds is lost, the Now this mediatized landscape shows itself as a munication-theoretical, hedonistically determined reverberant situation is musically utilized, for activation of those perceiving is high, their manner communication form that is, apart from the sound, world picture—the selection from the arousal-based instance, in polyphony by melding decussating of reaction is permanently aroused—but no longer apart from the oral sound, increasingly based on analysis of the existent makes way for an auditory melody progressions into an internally moved, sta- executable. As a consequence of the machiniza- the written word, the iconic illustration / depiction. behavior. Previously described behaviors of the tionary sound texture which benefits the emotional tion of industrialization, this situation would lead The spoken word as an interaction between acting soundscape of the Net, as an auditory space, follow reception structure. Houses of those who impose to lo-fi soundscapes (Schafer, 1977). persons is reduced to the introduction; the initia- this hedonic “use” of what is available. sanctions have bounded places in front of them Global cities as post-cities are other centers, cen- tion of the communication—other spoken words are Without the ideological gesture of Barry Truax, that resoundingly amplify the imperious word of ters of the administration of globally distributed uttered by artificial voices and do not intonate the soundscapes are feasible and not implicit or explic- the “Führer” spoken from above and, like in stadia, labor and of finances—the communication via the gestures of the emotional expressivity (Wallbott, itly constructed results of urban spaces. City-sound- lead to a physiological regeneration in immersive Net makes this possible as a global life form, irre- 1998)—is reduced to information transfer; there is no scapes are made, not as an artifact of structural perceptual situations. Places in liberal trading cit- spective of space and time—global cities are more “fundamental tone” of such soundscapes that could physics, but as spaces of occurrences by the open ies are often “open” places of (product / informa- shaped by this function than by the adaptation mean the context of the information; lamentations staging of the interrelation of the non-verbal as tion) exchange; they are permeable places that are to the immediate surroundings. Work happens in about the atrophy of paralinguistic communication sound-gestural interactions in social space, as marked by entrances and exits, they sound wide (mostly reverently high) “boxes” of steel and glass forms are becoming loud. “social sound design” (Jauk, 2014)—not as a con- and fluid—against Schafer’s fear of the loss of width or via mobile devices in public space—global cities Mobile devices make global cities as nodes of the crete guideline, but as potentiality. In this way, sensitivity in hearing because of the city. sound like multiple identity—rushing in diversity, communication and administration culture super- soundscapes are variable and adapt themselves to All these cities sound different—soundscapes first but not intensively. The ostinato-like internal sound fluous and transfer into the post-city—the city human interactions and not the other way around. tend to the natural aspects, the physical move- movement of the mechanical industrial city is over- becomes a virtual event space. The set of regulations of such adaptive soundscapes ments mostly coming from nature, their modifi- come, just like the global village—for its part the In the process, the protective cover of the body, the that ultimately lead to spatial imaginations lie in cation through the city as a body, as a resonating conquest of the Gutenberg galaxy—thought of in cultural space of the clothing, personal enclosure, mood management (Hargreaves, 1999), an empiri- space of the housing boxes and / or the spatia, the the Sixties as collective identity with a “tribal” base will be taken back as the beginning of the belliger- cally-supported theory of media behavior based on spaces between them, which function as reverber- (McLuhan, 1995) leading to a grass roots democracy; ent distinction (McLuhan, 1995), the body is directly, anthropologically psychological mechanisms that ating devices (Jauk, 2008). The events clearly set in contrast, the global city as the avant-garde of the expressively brought to sound with “wearables”— take on the striving of a homeostatically balanced themselves apart from each other; they are clas- post-city appears as a plural identity. What appears soundspheres of intimacy become public, the iHome arousal level and the avoidance of extreme arous- sifiable as light movements; their localization is in the social form of hi-fi soundscapes as audible (Jauk, 2015b) is in the all-at-onceness; conversely, als—both lead to corresponding stimulus selection easily decodable; the arousal value refers to the figure-ground structuring, but possibly also as auto- public soundscapes are private ones. Designed behavior in interactions with the environment; both movement itself; adaptive behavior adequately cratic orientation, is, in the plurality of the intercon- according to an arousal-based sequence of grains ultimately construct personal, emotional iHomes reacts to this. It will be mobile devices that, in “par- nected individual, the noise of the lo-fi soundscape, in the form of cue lists as music-making activity (Jauk 2015b) and, in their interaction, environments couring” through the city, transform the sounds of possibly the emancipation of democratic égalité; (Nakamura, 2012), intimacy sounds are imposed as social design—adaptive (social) life, optimizing the mechanical movement of objects into a sen- the “decline of figure and rise of the ground” (Tagg, upon the public space, but also shared with this. hedonically motivated lust or also purposefully sual form in the Mogees project (Zamborlin, 2015). 1994) of technoid, urban and interconnected music With the increasing availability of technologies, this functional as a guide system (Jauk, 2014). While It will also be mobile devices which interlink the culture is, in that respect, the social soundscape of mix of personal and public spaces lives apart from architecture, committed to the stone building, tends sounds of the current surroundings (also provided the Net-city-life. any exhibitionism, on the one hand, apart from to the erection of soundscapes as corporeally viable with geographic localization data) and create a If places of the mobile age were permanent com- annoying badgering, on the other hand. landscapes, derived from physical constructions and global city-sound-ambient without having intended munication nodes, the WWW is a interconnected The notions of “own” and “foreign” (Waldenfels, their sounding details, alternative approaches pen- this—lived by a digital native generation which sim- system of place where information available every- 1997) possibly disappear in such cities; a sensiti- etrate from the sound studies into the design of ply adopts this as technologically existent. A new where and at any time, not a space in which com- zation for the problem of marginalization possibly medial landscapes, into virtual landscaping, which amateurism in music and arts arises thereby (Jauk, munication takes place, but rather a sample space occurs as a result, probably with effects in both no longer distinguishes between city and country, 2009/Prior, 2010); a turn from the high, distinguish- which dynamically and variably arises through directions (Gill, 2008). between I and we, into the design of post-cities. ing culture to “people’s” culture for everybody. communication. The Net is the space of the “all-at- This description of various types of soundscapes as Beside and in all these thoughts on soundscapes is It is machines that overlay the impulsive single onceness” (McLuhan, 1995) and an auditory space references of sound and city is first archiving and the analysis or synthesis of communication as the “figure” sounds; machines which, due to constant in which dynamic events move like sounds around exploratory in a longitudinal section—always with creative power of spaces of occurrences, of sound- energy input, lead to movements with flat sound the listener, whose selection happens through the the pointing finger on the transgression of nature scapes, that which constitutes the post-city as an waves, to constant sounds of different frequency, or mechanically passive, but hedonically active body: because of cultural developments: the industri- unlocated space. The mechanical transport world to rhythmized sounds as an artifact of rhythmized events moving around the body such as sounds alization, the mobility and, more recently in their of trade and its city networking precedes the inter- part production practices, strung together to osti- will be adopted on account of their arousal qual- inversions, the “manufacturing” of virtuality and action medium of the digital world and leads into nato sounds in loops. Their variety can no longer ity—although there is little sound in it, it is thereby the omnipresent availability in the virtual land- the global cities; the exchange of letters precedes be heard as a figure; they coalesce into a stream of paradigmatically a sonic space, a soundscape of scape. This mechanical culture image makes way the verbally placeless communication—the post as a sound of higher consistent intensity—orientation hedonically analyzable events. with increasing non-material mobility for a com- distribution medium of cool “things” and hot “loves”

268 269 EVENTS & CONCERTS will be reflected in the first communication arts; it Jauk, W. (2014). Intuitive gestural interfaces/adaptive is a meta-form of spaces / of occurrences following environments and mobile devices/apps. Playing music and the musical work as a role model for personalized gestural the being “post” of the global city. Werner Jauk interaction in social environments. ICMWT International Post-cities follow the paradigm of communication— Conference on Mobile& Wireless Technology Congress Book, emotional communication as music does formalize Beijing, 280-284. iHome sound as a stimulus of interaction of the body with Jauk, W. (2015a). Basic instincts ... Kultivierung / # personal home & “diverse” cities physical and social environments—but, freeing the Kulturen des auditiven Körperwissens. Auditives Wissen – implizites Körperwissen aus der Erfahrung des body from any independence of these environments, körperlichen Hörens bewegter Natur zur Orientierung in creates its own living space, its iHome (Jauk 2015b). physikalischen und virtuellen dynamischen Umwelten. In reference to what the term “personal” denotes of the body following the paradigm of music to for- Music is the paradigm of this kind of “diverse” emo- Auditive Wissenskulturen. Eds. B. Brabec de Mori, M. in the age of command language as an interaction malize the hedonic interaction of the body with an tional communication. Music is nothing but creating Winter. Springer-Verlag (in print). medium of wo-men-machine, as an echo of what environment—finally creating a virtual environment, Jauk, W. (2015b). Personal Home / iHome. Kulturelle Über- cultural spaces, common living spaces just by creat- schreitungen durch Unterschreitung der Wahrnehmung. the “i” in the age of intuitive interfaces connotes, the “Werk,” by the relations of tension-relaxation. ing its soundscape. Because being controlled by the Überschreitungen II. Projektentwürfe und performative iHome / personal home wants to be the continu- Transferred from film and especially music recep- basic human body-regulation-system, “diversity” Beiträge, 110-123. Ed. Heimo Ranzenbacher. Wien/ ation in the gesture-interaction of human beings tion, mood management means the regulation goes along with being “communis” for every body in Judenburg: Liquid Music. with spaces, to a life with partner-like living spaces. of the body’s state of arousal in different moods Kerckhove, D. de (1995). Kunst im World Wide Web. Prix this process of “getting together.” Interacting with Being based on the body-self-regulation-system by towards an optimally pleasant sense of well-being. Ars Electronica 95, 37-49. Eds. H. Leopoldseder, C. Schöpf. sound indicating occurrences around every body just Vienna: Österreichischer Rundfunk. arousal, on the social domain, creating these iHomes In the process, good moods are generally affirmed to gain the optimal arousal, the best mood, struc- Lévy, P. (2000). Die Metapher des Hypertextes [1990]. Kurs- does not collectivize the “I” but individualize the by good feelings, bad feelings are compensated by tures sound to common music and, at the same buch Medienkultur. Die maßgeblichen Theorien von Brecht “we”—“diverse” social “places” are coming up. good feelings, but sad moods in particular are also time, occurrences to common living spaces. Imma- bis Baudrillard, 525-528. Eds. C. Pias et al. Stuttgart: DVA. It is not about the automated mechanical control of “lived out” through the reception of sadness-induc- McLuhan, M. (1995). The global village: der Weg der teriality of the digital code allows this to be done by Mediengesellschaft ins 21. Jahrhundert (Translation: C. P. spatial conditions that are regarded as variable in ing media in the form of the meta-emotion. People will, despite being done just by nature. While in the Leonhardt, Introduction: D. Baake). Paderborn: spatial design architecture, the light and its mood or generally prefer the boosting or compensating type material world the body adapts to the environment Junfermann. the multi-media entertainment program consisting of mood regulation. in virtual post-cities, the environment adapts to the McNiff, S. (2008). Art-Based Research. London: Jessica of word, sound, image … it is about the emotional, Like the choice of partners happens according to Kingsley Publishers. bodies. Creating iHomes this way, post-cities are Nakajima, S. (2012). Prosumption in Art. American whole body interaction with a multi-sensory envi- the similarity or supplementation to one’s own per- cities not only of (postmodern) plural communities, Behavioral Scientist 56, 550-569. ronment, about mood management, it is about an sonality, that is, according to the strengthening or but of social “places” of human diversity—post-cities Polanyi, M.(1958). Personal Knowledge. Chicago: adaption of the environment to the hedonic needs compensation of one’s own personality, this selec- sound individually and collectively for every body. The University of Chicago Press. tion is also necessary for the mood management Translation: Brian Dorsey Polanyi, M.(1966). The Tacit Dimension. Chicago: of the iHome. This then adjusts itself to the needs The University of Chicago Press. of the human being—on the musical paradigm it Prior, N. (2010). The rise of the new amateurs: Popular References music, digital technology and the fate of cultural regulates the sound of the space and para-sonically Foucault, M. (2004). Geschichte der Gouvernementalität production. Handbook of Cultural Sociology, 398-407. the light, the smell, the tactually felt air movement (I, II). Frankfurt am Main: Suhrkamp. Eds. John R. Hall, Linda Grindstaff, Ming-cheng Lo. in the space … The iHome recognizes the mood of Gibson, J. J. (1982). Wahrnehmung und Umwelt. Munich: London: Routledge. the person by his/her gestural, whole-body expres- Urban & Schwarzenberg. Schafer, Murray. (1977). The Tuning of the World. New York: Gill, R. (2008). Empowerment/sexism: Figuring female Knopf. sion, which primarily communicates arousal, and sexual agency in contemporary advertising. Feminism Tagg, P. (1994). The Decline of Figure and the Rise of adaptively learns to homeostatically optimize the & Psychology 18(1), 35-60. Ground. Popular Music 13/2, 209-222. state of arousal according to the respective behav- Gill, R., Scharff, C. (2011). New femininities: Post- Waldenfels, Bernhard (1997). Topographie des Fremden. ioral change—iHome is thereby an extension of feminism, neoliberalism and subjectivity. New York: Pal- Studien zur Phänomenologie des Fremden, Bd. 1, the hedonic body and leads this way to the social grave Macmillan. Frankfurt/M.: Suhrkamp. Godøy, R. I. et al. (2006). Exploring music-related gestures Wallbott, H. G. (1998). Bodily expression of emotion. Euro- domain: it creates common places for every body, by sound-tracking: A preliminary study. Proceedings of the pean Journal of Social Psychology 28, 879-896. it structures “diverse” post-cities. COST287-ConGAS 2nd International Symposium on Gesture Interfaces for Multimedia Systems (GIMS2006), 27-32. Sound Works Translation: Brian Dorsey Available from www.iscrim.org.uk/gims. Fontana, B. (1987). Soundbridge - Köln / San Francisco.

Julian Jauk iHome is based on the University of Graz’s sound-gesture Hargreaves, D. J. and North, A.C. (1999). The Functions Jauk, W., Wicher, M.(2008). sampling the spaces, Rethink- research experiments and art-based research in the field of Music in Everyday Life: Redefining the Social in Music ing the “infinite potentialities”. In Homage to Luigi Nono, of sound-gesture interaction in the social realm of “social Psychology. Psychology of Music 27(1), 71-83. 11. Mostra Internazionale d’Architettura. La Biennale di The mechanical human being is the measure of all sound design.” Jauk, W. (2009). pop/music+medien/kunst. Der Venezia. things—the hedonic human being is the measure of musikalisierte Alltag der digital culture. Osnabrücker Beit- Schaeffer, P. (1948). Étude aux chemins de fer. all dynamic virtualities. räge zur Systematischen Musikwissenschaft 13. Ed. Bernd Winderen, Jana (2011). Energy Field. Enders. Osnabruck: Universität Osnabrück. Zamborlin, B. (2015). Mogees Project.

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u19 – CREATE YOUR WORLD Future Festival of the Next Generation 2015

The festival within a festival is celebrating its fifth anniversary! This is a conclave for kids and young people as well as for grown-ups to convene and give some thought to the world of tomorrow. This year’s playground encompassing open labs, events and exhibits is a jumbo-format biosphere, a living room for the future. Once again, an open space invites lateral thinkers and actionist tinkerers, those thirsty for knowledge and hungry for experience, to take the plunge into an invigorating environment full of alternative models for modern real life. This anniversary edition is also kicking off a newly developed format. Selected festival projects will Florian Voggeneder AEC, now be touring Austria, which means that what began in 2011 as a spinoff of the Prix Ars Electron- What are the long-term consequences of mass exo- ica’s u19 category is now a year-round initiative dus from rural areas to cities? staging workshops designed to propagate new Kids and young people are invited to contribute technologies, media and socially relevant projects ideas and models dealing with this development. in their latest stage of development, and to support This year’s featured theme, Music and Sound, schools in rapidly integrating them into classroom focuses on how noise affects human coexistence. instruction. What will the sounds of the future be like? How much noise can we actually withstand? Plus, the POST CITY staff of a project entitled UnterDemBeton (under u19 – CREATE YOUR WORLD is a showcase of pro- concrete) will be looking into what life will soon be jects having to do with sustainability, developing a like in our cities and on our streets. What will be sense of responsibility for the world of tomorrow, the upshots of covering our planet with concrete? and lots of novel, creative ideas about how to con- figure the development of our future (digital) hab- HEAR WHERE? itats. How will human beings coexist in 20 years? Sound has a particular advantage that’s also a dis- advantage: We can’t turn off our sense of hearing. Ever! Nonetheless, our surroundings are getting louder and louder, and the need for silence and tranquility in everyday life is becoming increasingly prevalent. Excessive noise causes stress and sick- ness. How can we combat incessant noise pollution? What sounds are conducive to wellness, and which make people feel uneasy? sound:city:lab, a youth exchange event, will scrutinize many different fes- tival projects in terms of their tonal qualities and report their results in a post:city documentation, a sound performance in which youngsters will present what they consider to be novel, possible acoustic

AEC, Florian Voggeneder AEC, realms.

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Industrie zum Anfassen BRP Powertrain Apprentice Workshop BRP-Rotax apprentices simulate working in an Kids’ Research Laboratory industrial environment and demonstrate an inno- Open City Lab Ars Electronica vative model of future production. In Industry 4.0, Otelo Network Linz and Vorchdorf In order to effectively prepare young people for the their own agenda of issues, and then, in cooperation apprentices let visitors experience the possibilities As a means of fostering playful experimentation, realities of life in these times and the near future, with grown-ups, select methods, tools and sources of how production could function in the future. Plus, Otelo is erecting the construction site of the future. it’s essential to begin exposing kids to technology, appropriate to deal with them. visitors can try out a 3D printer to see how it works. There’s a place for everyone on this job and lots of science and art at an early age. At this year’s Ars Through the application of the laws of physics in Get a fascinating, close-up look at how things will room for design creativity. Also going up is a work- Electronica Festival, we want to inquire into how a lab situation, youngsters experience themselves be produced someday soon. ing & living lab as a prototype of futuristic habitats. best to configure very elementary encounters in as effective individuals within a gigantic organism Otelos are settings for open encounters that open these areas. In this spirit, this year’s u19 – CREATE of elements, and can position themselves in this people’s minds. They’re places for interrelation- YOUR WORLD Festival provides the Kids’ Research complex matrix. This engenders self-confidence and ships to emerge. How could a whole city become a Laboratory with a spacious setting in which kids can thus furnishes the basis for innovative, achieve- place like this someday? The watchwords: Hands-on be exposed to materials designed to stimulate their ment-oriented men and women equipped with the experience, collaborative experimentation, and sensory perception and thereby encourage them to tools it takes to shape the future. enthusiastic celebration! undertake independent investigations. Running Could it be that our children will show us their way one’s fingers across sand, feeling the friction of into the future?! the rough grains on one’s skin, strewing a handful of sand into a container full of water and observing the resulting changes—all of these are unmediated experiences that convey to children a fundamental TableTalks – Kids’ Symposium Analog Network comprehension of volume, density, cause and effect. Ars Electronica Ars Electronica Loopex In such processes, children demonstrate intuitive TableTalks is the name of this year’s conversation A huge network of tin-can telephones spreads scientific understanding. They count, measure and & symposium format bringing together kids, young Plastics for Life across the festival village like a supersized spider categorize forms and patterns. They willingly exert people, Prix prizewinners, festivalgoers, artists, Apprentice Training Center of the Greiner Group, web. Who’s talking; who’s listening? themselves, and can focus more intensively on what visionaries of all ages and people with a lust for life Alexander Brenner, Nicolas Groß, Matthias Thym they’re doing at the moment. They’re far removed in the future. We’ll also furnish various tables, each Real art(ificial) material is created here! This open from what was and what will be. They’re simply one with a different theme, people and ideas. And, lab turns all sorts of plastic products into a filament in a state of flow, in a zone in which everything of course, all sorts of tasty food will be served. In that can be fed directly into one or more 3D printers. is possible. The Kids’ Research Laboratory takes short: the perfect setting for participants and fes- The 3D Printing Lab is conducted by apprentices of advantage of this fruitful state and enables kids to tivalgoers to discuss their various experiences, proj- the Greiner Group, which plans to emphasize this take a playful approach to developing an individual ects and visions. The guest list including a colorful technology in future apprentice training programs. area in which they’re interested. The kids show us lineup of experts, and the assorted menu served up what their generation is into. They ask their own by Snack:Lab will make these TableTalks a real feast questions, not ours. Kids are permitted to present for the mind as well as the palate!

274 275 Science Shows Kids’ College Upper Austria Kids are proud, and love to talk about learning some- thing new or making a discovery. A Science Show PELARS “learning + making” provides a stage for this enthusiasm. In these brief The PELARS Project performances, youngsters age 7-14 offer insights PELARS “learning + making” is an experimental into their approaches to research and elaborate on learning environment that aims to support teach- their findings in graphic detail. ers and learners understand what’s going on when This is a project of Kids’ College Upper Austria, where they do hands-on technology, science and math in young people can encounter material from various the classroom. PELARS “learning + making” opens scientific disciplines, do experiments in workshops up new ways of learning with Arduino components with experts, and acquire new knowledge. Stadt(t)räume [Urban DreamSpaces] for learners of all ages—without the need to sol- actinGreen der and program. u19 – CREATE YOUR WORLD will Andrea Jindra Don’t we all want to feel well in the city in which present for the first time a novel Arduino kit that we live? The cityscape is configurable—every corner, allows participants to explore concepts of physical holis market Sehnomaten every square can be reconceived, and the resulting computing in a playful way. By plugging together When “tomatoes have seen more of the world than Doris Scharfetter-Vogelsberger concept can become a reality! actinGreen takes a simple modules, you can build simple games and you have” and, oddly, fresh, organic fruits and veg- Wherever innovation and change are summoned proactive approach to conceptualization. We utilize immediately play them. etables come packed in plastic, then smoke starts forth is where Sehnomaten (Yearn-o-mats) are the methods of the theater to creatively explore and The innovative learning space, especially designed to be emitted by the brains of people who advocate called for. These devices are the results of imagi- portray our wishes, to discover what an ingenious for learning activities, consists of an interactive using resources sustainably. Shopping at holis mar- native paper-folding; multilayered and intertwined, city of the future could offer us. What’s your urban workstation and a novel physical computing kit and ket isn’t only to check off your grocery list; it’s also a they’re conceived as tables. They underscore the “dreamspace” like? development environment. This space is linked to great way to provide for your wellbeing, enrich your complexity of visions and evoke associations. But a learning analytics system that can track how and life, and deal considerately with resources and the they’re not just showpieces; they’re also showplaces what learners are doing, and presents feedback environment. of communication. Just like a table is furniture for about ongoing learning activities to both the learn- people to gather around, Sehnomaten offer a set- ers and teachers in real time—e.g. helping you pro- ting in which to engage in exchange, negotiation, gram and build, or recommending applicable games. laughing, celebration and mourning. They impart The PELARS Project is a European research project funded impetus to the process of give-and-take. through the FP7 framework. The tables are set spinning and flooded with pro- jections. Similar to Tibetan prayer wheels, concepts are first put into concrete terms on objects; then they’re folded together, and the rotating movement enables the ideas to unfold. perpetuum choir Sound:city:lab – virtual visuals Jerobeam Fenderson, Ars Electronica Network of European Multimedia Competitions social composing for Young People: u19 – CREATE YOUR WORLD, Snack:Lab This participative sound installation offers visitors German Multimedia Prize MB21, C3<19, bugnplay Alfred Pointner, Gelbes Krokodil the opportunity to influence a 8-voice loop and be Tonal experiments, new recording techniques and Ever since “Morning Meal” at the 2013 Festival, part of a five-day festival symphony. Acoustic hel- a sound collage composed of 2015 Ars Electronica we’re aware of the benefits of a warm, healthy mets distributed throughout the Festival Village Festival projects blend into an extraordinary sound breakfast: We’re in a better mood and lots of stuff let participants add their voices to the “organiza- performance. These comprehensive explorations comes a lot easier. In short, we feel better. And that tional model.” How will each individual contribution will be staged under the aegis of sound:city:lab, this has a big impact on how things go at school—urban, fit in? Special loop algorithms repeatedly redefine year’s international youth exchange event. Acoustic rural, suburban, whatever. Snack:Lab represents this social composing project. researchers will jointly engender visual imagery and post:city’s take on how a healthy school snack can recollections that sounds evoke in our minds, and already begin at home … self-warming lunchboxes,

Actin GreenActin investigate how noise, sounds and music can posi- exotic dishes as well as old favorites. This is a prov- tively or negatively influence our life. ing ground for lunch ideas for the school year and A Youth Exchange event subsidized by Erasmus+ everyday life!

276 277 u19 – CREATE YOUR WORLD Young Animations The Ars Electronica Animation Festival’s Young Animations lineup features outstanding animated films produced by young people. They’re screened in the Moviemento art house cinema. The program was curated by Sirikit Amann. Barrier-free Play Gerhard Nussbaum, Information Technology Competence Network to Foster Integration of People with Handicaps (KI-I) Barrier-free gaming in the real world? Playing with toys without using your hands? Overcoming limits and discovering new horizons? The KI-Information GrünStadtBeton Technology Competence Network and its partners Simon Lukas Haunschmid, Adam Herz-Breitfuß , use prototypes to demonstrate all that’s possible Isabella Panhofer, Linda Sommer, Sarah Weile in gaming nowadays to facilitate the integration of Greening bare walls with moss and other suitable people with disabilities. All you need is just a bit of plants is the aim of this GrünStadtBeton (Green- imagination, creativity, technology and knowhow. CityConcrete) project based in Vienna, Innsbruck, Immerse yourself into a differently-abled world and and Linz. The moss is applied to a wall with the try it out yourself! help of stencils in the desired form. Within a few weeks, it starts to grow. The moss is autarkic—it extracts everything it needs to survive directly from the air. Plus, there are positive side-effects: the tiny u19 Exhibition leaves remove large quantities of harmful particu- CREATE YOUR WORLD showcases the prizewinning late matter from the air, and moss, like every plant, projects in the Prix Ars Electronica’s u19 category as converts carbon dioxide into oxygen. The project’s well as a selection of other especially impressive, mission is to improve urban air quality and beautify exciting, creative or technically sophisticated works. the cityscape simply by making it greener. This expanded u19 Exhibition is thus an overview of the fascinating diversity of this year’s u19 entries.

Forschungsstation Wal Kerstin Nowotny, Debora Däubl Over the course of the festival, this Whale Research Station project will produce an object that resem- bles a whale and evokes many other associations and inspirations. Design of the interior space and its interesting array of imaginative seating fixtures will proceed simultaneously to work on the exterior

shell. This construction work is meant to stimulate Pühringe Reinhard exchange among the practitioners of artistry and handicrafts. The whale symbolizes the social and creative space that forms during the five-day festival. The par- ticipants’ many individual ideas that influence the whale’s emergence as well as the plankton that nourish it manifest themselves in the form it takes.

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Wir drehen! Students at Verein der Kreuzschwestern and HLW für Kommunikations- und Mediendesign, Fabrice Jucquois, Clemens Huber “Wir drehen!” speaks with the voice of digital natives

AEC, Florian Voggeneder AEC, whose daily lives are saturated with reality, both the real and the virtual ones. They speak of friend- ships, gaming, and commercial & open networks City movements Kinderstadt that embody new relationships. They openly ques- Verein FAB u19 CREATE YOUR WORLD tion which is more real, their virtual lives or their Urban development offers a wealth of opportunities Kids’ City focuses on the development of an alter- daily lives. Students from the elementary school at for inclusion and participation. With their diverse native system and takes a playful, tongue-in-cheek Verein der Kreuzschwestern, aged 6 to 10 years, are competences, people with disabilities can partake approach to assessing currently prevailing institu- the active actors and creators in their own narratives, of city life in a variety of ways. Virtual Office partici- tions. For example, in a futuristic unemployment performed with choreography and media. Their pants invite festivalgoers to navigate a wheelchair office, jobseekers can design their own position, and mentors guide the student’s creativity and imag- obstacle course and to take a guided tour of the in tomorrow’s post office, you can send mail to your ination through dance, performance, and everyday neighborhood around the train station to experience former self. media production methods that interconnect and how important barrier-free design is to quality of spin narratives as a series of collaborative projects. life (www.vo-fab.at). Everyone can participate in the Wir drehen! is a multiform project that contains the audio editing of Sound der Stadt, which impressively voice of an emerging generation. Listen as they spin demonstrates how music and sound relativize phys- Laser Harp their stories! ical and social differences. The City Sound will be Leo Betinelli produced on site in cooperation with the musician The harp intones when installation visitors pierce PANAH. a two-dimensional latticework of 16 laser beams. https://www.facebook.com/officialpanah Invisibly produced sounds become audible. Whoever does a little dance with the bundled rays of light can even play a melody via body language! Street Tailor Shop Trotec This year’s post city street tailor shop features jumbo-format laser cutters that produce stencils Velo USB Charger to adorn all sorts of backgrounds and habitats. Use Effi Tanner, Marc Widmer, Dymaxion & SGMK– DIY techniques to create simple patterns and con- Swiss Society of Mechatronic Art veniently cut out models. Charge your cell phone with power you generate yourself and do something for your fitness in the process! In the Velo USB Charger Workshop, CREATE YOUR WORLD festivalgoers can make a gadget to do so. A few components and a dynamo is all the Swiss Society for Mechatronic Art needs to build

AEC, Florian Voggeneder AEC, a personal, bike-powered mini-generator. A little tinkering is all it takes to charge your smartphone while pedaling!

EffiTanner AEC, Florian Voggeneder AEC,

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The CREATE YOUR WORLD Tour Reality Levels—VIRTUREAL More and more young people are making the u19 In cooperation with Mons 2015 European Capital The under [my] control research project was launched Form of Therapy – CREATE YOUR WORLD Festival and the Ars Elec- of Culture, the CREATE YOUR WORLD TOUR con- by an Expert Group in 2013; now, it’s being reprised Aside from the fun factor for gamers, the project tronica Center the focal points of their ongoing stitutes a Europe-wide best-practice example for in conjunction with a project named Reality Levels. could potentially provide a therapy option or a form efforts to develop their ideas and hone their skills in direct, uncomplicated supplementary educational This is a matter of pop-ups that appear during com- of aid for those at risk of gaming addiction and dealing with leading-edge technologies and media. offerings designed to foster integration of new puter games and challenge the player to complete a members of their family. There’s a growing num- But lots of kids have a hard time getting to the Fes- technologies. task in the real world. Once you accomplish the task, ber of people having an increasingly difficult time tival and the Museum of the Future, which is why you obtain a code or a tracking that enables you dealing with the “always on” problem, and Reality we’ve launched a new educational project. Invented, discovered, used … but not learned to (more easily) continue the virtual game or gain Levels are meant to offer them an alternative to At selected schools and institutions, we’re offering New technologies proliferate so rapidly in our soci- access to secret levels or certain gimmicks. Associ- so-called withdrawal camps. a program of workshops to integrate content and ety these days that it’s no longer even possible to ations, institutions and individuals can offer Reality ideas from u19 – CREATE YOUR WORLD into every- implement them promptly throughout an educa- Levels, and gamers can decide which ones they want The Minecraft AEC Pilot day classroom instruction. The tour is meant to offer tional system. Furthermore, the technologies and to include in their computer game. By supporting A Reality Level for the game Minecraft has been pupils and faculty members means to access alter- media that teachers learn over the course of their this project, Ars Electronica aims to establish a offered since April 2015 in conjunction with the native learning & teaching methods and to playfully pedagogical training probably aren’t even current link between gaming und social institutions, public Highlights Tour of the Ars Electronica Center every lay the foundation for new ideas and projects in anymore when the time comes to utilize them in a places and private individuals, whereby the contin- Thursday at 6:30 PM. schools. An assortment of workshops is designed classroom situation. uation of the game in the real world puts the accent Tour group members gain knowledge of a secret to get a broad spectrum of pupils acquainted with This is where the CREATE YOUR WORLD TOUR on social contacts by gamers. The project’s long- location where they can obtain access codes for the educational alternatives and thus pave the way to comes in. Artists—whose job isn’t primarily to term goal is a social media app conducive to the Ars Electronica Center’s Minecraft level. This virtual integrating them into the curriculum. Plus, the tour come up with a didactic concept for a particular formation of a community consisting of gamers and AEC will be featured at this year’s Festival. features regional artists adept at passing along their project—moderate a workshop attended by pupils non-gamers alike, and thus the establishment of an creative ideas directly to students and teachers. and teacher at which the artist presents the latest important level of communication in the usage and Further Development and Research applications and the professional use of the par- social development of digital media. A Vienna-based youth culture research institu- Mobile education ticular new technology, and focuses on conveying tion will ascertain the extent to which youngsters The selection of projects is highly diverse. Thanks to this information substantively. Pupils thus get new take advantage of this new offer. This qualitative Ars Electronica’s extensive experience implement- input they can work further with on an everyday research will commence in September 2015 in con- ing a wide array of projects, each tour stop can be basis in school, and teachers can create an adapted junction with the u19 – CREATE YOUR WORLD Fes- custom-tailored to the specific needs of each school. didactic concept that increasingly brings the latest tival. Evaluation and publication are set for Sep- A visit by the CREATE YOUR WORLD TOUR sus- technologies into practical use in classroom instruc- tember 2016. tainably enhances pupils’ academic performance. tion. This can result in the development of a module On one hand, this transparent form of knowledge that yields a win-win-win situation—pupils learn to transfer is highly motivational; on the other hand, deal more effectively with new technologies; teach- having fun and hands-on learning top the agenda ers are presented with a continuing professional here, which creates the necessary distance to con- education opportunity right in their workplace; and ventional classroom instruction and thereby height- artists benefit from a new occupational model. ens youngsters’ capacity to absorb and retain the Text: Hans Christian Merten material they’re exposed to.

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Jürgen Hagler Expanded Animation Deviations and Anomalies at the Intersection of Art and Technology

The Expanded Animation symposium that’s been held them into a three-dimensional stereoscopic world The alternative—or subversive, as it were—use of Speakers: Alex Verhaest (Golden Nica, Prix Ars annually since 2013 is a setting for an exchange of imagery. Here, stereoscopy assumes a different technology has been omnipresent ever since in Electronica 2015), Pascal Floerks (Award of Distinction, of ideas among an international community of function, in that Goshima takes moving, two-di- computer animation. Two of this approach’s defin- Prix Ars Electronica 2015), Sebastian Buerkner, Mark Chavez, Ina Conradi, Devine Lu Linvega, Erick Oh, students, teachers, artists and theorists. It’s all mensional shadow pictures and creates spatial ing characteristics are the violation of norms and Anezka Sebek, Romain Tardy about the dissolution of boundaries, fringe areas, constructions out of them. Instead of replaying imperfection. Playing and experimenting with ani- current trends, and future prospects in the field the images with a spatial impression of depth of mation and technology is diverse. Animation can Expanded Animation is a collaboration between the Hagenberg Campus of the University of Applied Sciences of computer animation. Highlights include screen- field as is typical of stereoscopy, the results are be reflexive and take as its subject its own mate- Upper Austria, the Ars Electronica Festival and Central ings and discussions of experimental and hybrid new spatial images that didn’t exist in the real riality and substance. Animation software and Linz, organized by: Jeremiah Diephuis, Jürgen Hagler, forms in the broad interdisciplinary field at the world in this form. equipment can be modified and used in ways other Michael Lankes, Patrick Proier, Christoph Schaufler, nexus of art, industry, research, and science. than those intended by the manufacturer. Flaws Alexander Wilhelm / University of Applied Sciences A fundamental theme in media art is the interac- What’s the connection among art, technology and artifacts of established techniques aren’t con- Upper Austria, Hagenberg Campus | Department Digital Media tion of art and technology. A selection of relevant and animation? cealed, they’re showcased! And motion-capture recent works that were singled out for recognition Two fundamental forms of interplay can be iden- data aren’t applied to characters, as is commonly http://www.fh-ooe.at http://www.expandedanimation.com by the Prix Ars Electronica are now on display in tified in animation: on one hand, technology is practiced, but rather to abstract forms. Technē—The Interplay of Art and Technology 1, an custom-developed for special applications and 1 Technē—The Interplay of Art and Technology rd exhibition at the Ars Electronica Center. One of the utilized accordingly; on the other hand, technolog- The 3 Expanded Animation symposium is set for http://www.aec.at/center/en/ausstellungen/techne/ September 4-5. The theme: Deviations and Anomalies at 2 https://vimeo.com/botndolly core issues it treats: How can, on one hand, tech- ical innovations of all sorts provide the impetus for the Intersection of Art and Technology. Once again, the 3 http://www.goshiman.com nology and/or science influence artistic processes, new experimental approaches, are modified and focus will be on tracking developments on the fringe of 4 Franke, Herbert W. (1971). Computergraphik and, on the other hand, how can artistic research used in new ways, or even destroyed, so to speak, computer animation, with special emphasis on the Computerkunst. Munich: Bruckmann and experimentation advance technological and or misused. The boundaries between these two reciprocal effects of animation and technology. 5 https://design.osu.edu/carlson/history/lesson2.html scientific development? strategies are fluid, just like the lines of demar- Recent examples of these reciprocities are pro- cation separating art, research and science. The vided by the two works honored with Awards of artist is a researcher and vice versa, and both use Distinction in the Computer Animation / Film / and develop technologies. VFX category in 2014. Box (2013)2 by Bot & Dolly Animation—and especially computer animation— is a demonstration film for an innovative anima- is closely linked to technology. The first work of tion technology and shows a combination of 3-D computer animation was the result of a research animation, robotics and projection mapping. 3-D project, the purpose of which was to simulate a animation software makes it possible to control satellite orbiting a planet.4 Many milestones fol- industrial robots that move jumbo-format screens lowed in the ongoing effort to further develop onto which, in turn, animated images are projected. computer animation. The first artistic work of This type of animation brings forth unprecedented computer animation launched what has since worlds of imagery such as those that astounded become a sort of proud tradition: the re-use of audiences in Alfonso Cuarón’s prizewinning 2013 a previously existing technology, in this case a film Gravity. piece of military equipment. John Whitney Sr. and Shadowland (2013)3 by Kazuhiro Goshima is a text- his brother James modified jet fighters’ steering book example of artistic experimentation with mechanisms and combined them with cameras technology. Goshima works in a totally new way to thereby produce abstract computer animation with a technology invented in the early 19th cen- sequences. Thus, a technology developed for the tury: stereoscopy. Using a conventional video cam- military was readapted to serve as the first artistic era, he captures moving shadows and transfers animation equipment.5

284 285 Ars Electronica ARS ELECTRONICA ANIMATION and formal criteria. Thus, the Ars Electronica Ani- as a linear representation; it’s also “playable” via Animation Festival 2015 mation Festival isn’t just a showcase of excellence; platforms that can be navigated online. it also spotlights current trends in the production The eight individual programs that make up this of digital films. year’s Ars Electronica Animation Festival were com- The Ars Electronica Animation Festival is a compi- over three days at the Ars Electronica Center in Linz, A growing trend towards the expansion of anima- posed from among the above-mentioned 126 films. lation of the best of 722 works from 58 countries the five jurors—Sabine Hirtes, Gaëlle Denis, Joe Ger- tion has been evident in recent years. Works are We’re also screening a Young Animation lineup submitted for prize consideration to the 2015 Prix hard, Erick Oh and Rob O’Neill—got together with no longer strictly screen-based; many are shown in consisting of films submitted to the Prix Ars Elec- Ars Electronica. It offers a fascinating overview of Jürgen Hagler and Christine Schöpf, the curators “open-air” settings, and there are more and more tronica’s u19 – CREATE YOUR WORLD category for what’s happening right now in the world of digital of the Animation Festival, to make pre-selections museum-based forms of presentation that open up young people in Austria under age 19. Young Ani- moving images and the variety of cultural posi- and thereby reduce the number of candidates to and expand the restricted realm of the movie screen. mation showcases some of the best of the growing tions emerging in this genre. A total of 13 programs 126. This pre-selection process provided the pool of Mapping, jumbo-scale projections, landscapes that number of films submitted for prize consideration invite festivalgoers to behold, scrutinize and come works for the Ars Electronica Animation Festival. are extensions of buildings—these visual formats in this category. to terms with new visual creations from across the The selections were made on the basis of the follow- have now established a solid place for themselves Plus, we’ll be featuring a selection of prizewinning expressive spectrum. The screened works are the ing factors: aesthetics, originality, innovation, con- in event culture. films from last year’s Japan Media Arts Festival, output of artists’ studios, scientific labs, commer- cept, the quality of the storytelling, as well as inno- Another development manifested by the submis- Campus Genius Award, The International Students cial institutions and university departments. vative design & technical aspects. The individual sions to the 2015 Prix Ars Electronica is interactivity. Creative Award (ISCA) and a special entitled IN Before the Prix jury’s actual deliberations took place programs were compiled according to substantive Computer animation is no longer conceived strictly PERSONA: Erick Oh. Curation and Text: Christine Schöpf, Jürgen Hagler

Experimental A phone call brings to life a family portrait painted in the style of the Late Middle Ages; an installation programmed by Golan Levin manipulates hands in real time; animation at the nexus of the Web (David OReilly) and gaming—this program brings out inno- vative routes computer animation filmmakers have been taking lately.

frequencies (light quanta), Nicolas Bernier

Ghosts World, Jérôme Boulbès This may not be a movie, Kazuhiro Goshima

286 Left page: Temps Mort / Idle Times, Alex Verhaest, Golden Nica Prix Ars Electronica 2015 287 ARS ELECTRONICA ANIMATION

Abstraction In this lineup, animation takes leave of the screen. It’s played out in public spaces, façades and land- scapes, reconfiguring them in the process. It’s also Comedy projected onto human bodies to thereby open up A beastly-bizarre discourse on the food chain in a undreamt-of new perspectives. Impressive spatial highly cultivated TV studio discussion setting; the experiences and bizarre illuminated landscapes most adventuresome, totally awry, topsy-turvy emerge before our eyes. Christmas you can imagine; advertising that cele- brates its origins—this is a lineup full of fun, satire Inside Me (Nils Frahm—Me Rework), Dmitry Zakharov and irony. Border, plan78 animation studio

Time Of Flight, Michael Pelletier [BRDG020] Lilium, Yu Miyashita, Kenichi Yoneda, BRDG Missing one player, Lei Lei Who will pay the bill?, Daniel Nocke (Studio Film Bilder)

Narration Not only representing reality but also giving accounts of “other stories” whose boundaries exist Music Video only in their narrators’ imagination as well as in the Videos are a mainstay of the music industry. A wide act of storytelling itself have been characteristic of array of styles and techniques are used in current artists’ approaches to computer animation. This productions: 3-D and 2-D animation, stop motion, program contains personal matters, amusing plots hand-drawn & generative animation as well as and a healthy portion of satire. mixed media. Bär, Pascal Floerks Chase Me, Gilles-Alexandre Deschaud

Rabbit and Deer (Nyuszi és Őz), Péter Vácz (MOME) Tulkou, Sami Guellai, Mohamed Falilou Fadera Islands of Glass, Polynoid Build the Cities, Raven Kwok

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Position & Messages The formulation of political statements has a long tradition in computer animation. Some filmmakers elaborate on current political issues; others go into Dark Stories the mental and intellectual wounds inflicted and An action-packed program full of suspense, stories dredged up by real events. about friendship, challenge, threat and sacrifice, struggles for survival with and against nature—ener- gies expressed in images of impressive visual power. Le labyrinthe, Mathieu Labaye (Camera-etc) Le Gouffre, Carl Beauchemin

La fenêtre, La fenêtre (ESMA) Black tape, Michelle and Uri Kranot Isolated, Tomas Vergara (Peak Pictures) Mycelium, Mycelium (ESMA)

Mental States IN PERSONA: Erick Oh The films in this lineup describe situations at the Erick Oh is one of today’s most interesting anima- edge of psychosis—personal perceptions, couples’ tors and filmmakers. The native of Korea studied art conflicts, therapeutic processes, breakups that in Seoul (BFA) and at UCLA (MFA). His films have make it seem like the whole world is breaking down. been screened at the world’s most important ani- First and foremost, these are matters of individual mation film festivals and honored with numerous perception. awards. He’s been an animator at Pixar since 2010.

Remember, Shunsaku Hayashi The Dam Keeper, Robert Kondo, Daisuke ‘Dice’ Tsutsumi

Meanwhile, Stephen McNally PiPo, Eliott Deshusses (Filmakademie Heart, Erick Oh Günther, Erick Oh Baden-Württemberg)

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Young Animations Witty, off-beat, subtle, tragic and serious ani- mated work produced by young filmmakers will be screened during the Festival Ars Electronica. Every year, gifted young filmmakers submit their movies to u19 – CREATE YOUR WORLD (Austria), bugnplay (Switzerland), MB21 (Germany) and C3<19 (Hungary). The greatest hits will be featured in Young Anima- tions. 3D-Murmelbahn-Animation, Anna Schneeberger

a reflection of one´s mind, KOHEI Nakaya Brother, wakuwa

Campus Genius Award The Campus Genius Award (Gakusei CG Contest) range of diverse genres. Many past award-winners honors digital artworks created by students. The have also won high acclaim at Ars Electronica, the continuity of this contest, which is being held for Berlin International Film Festival Berlinale and the the 21st time this year, underpins its important role Japan Media Arts Festival and conduct their activi- in Japanese Media Arts. Incorporating expression ties at the first line of several creative fields of soci- forms of new media and technology that change ety such as art, design and entertainment. In this with the times, the contest forms a gateway not year’s Ars Electronica, a series of animated short GESTERN HEUTE MORGEN, Lucas Goto, Cornelia Watched, Richard Forstmann (mb21) only for computer graphic artworks, but a wide films will be screened. Mairinger, Tina Naderer, Veronika Walter

ISCA—The International Students Japan Media Arts Festival Selection Creative Award The Japan Media Arts Festival honors outstanding The International Students Creative Award is an works from a wide range of media in four award international arts and information media compe- categories: Art, Entertainment, Animation, and tition sponsored by Knowledge Capital Association. Manga. It also serves as a platform that celebrates It’s for Japanese and international university, grad- the winners of awards and outstanding creative uate school, and vocational school students. works of art. https://kc-i.jp/en/award/isca/about/ 5D ARCHIVE DEPT., KATSUKI Kohichi 6:45 a.m. SUN 31 August 2014, Eri Ando

Man on the chair, JEONG Dahee The Wound, Anna BUDANOVA Rabbit and Deer, Péter Vácz Treo Fiskur, Noemie Cauvin

292 293 Ars Electronica In addition to annually producing and staging a major festival—its elaborate program is described in this volume—Ars Electronica is involved in a wide array of activities at the nexus of art, technology and society. They include the exhibitions and didactic programs offered by the Ars Electronica Center in fulfillment of its public educational mandate, as well as the Ars Electronica Futurelab’s R&D work, product development by Ars Electronica Solutions, and the international exhibitions, workshops and events produced by Ars Electronica Export. The revenues generated by these activities make a substantial contribution to Ars Electronica’s entire budget and thus support this organization in carrying out its public service mission in art and education. The following section gives an overview of the activities and projects conducted over AEC, Martin Hieslmair AEC, the past year.

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Ars Electronica Center Ars Electronica Museum of the Future

Ars Electronica is always on the lookout for some- beyond that and striving to actively participate in This is a time of transition for the institution known Leading protagonists in this interactive process are thing new. However, the focus is never solely on art, these transformation processes—this is the core as a museum. Since its very inception in 1996, the the Infotrainers, who regard the exhibitions as their technology or society, but on the complex relation- concept around which a sort of ecosystem has devel- Ars Electronica Center has been addressing the instruments and use stimulating stories and flashes ships and interaction between them. oped. Fostering creative thinking, nurturing and question of what a Museum of the Future ought of inspiration to get visitors involved in what they’re During the 36 years since it was founded, Ars Elec- enabling artistic productions, hosting a wide array to be like. Right from the start, the Ars Electronica beholding and to link it up to their everyday lives, tronica has developed into a cultural center, edu- of educational offerings, carrying out R&D projects Center has considered itself an experimental lab- local surroundings and personal experiences. Info- cational institution and R&D facility with a diverse commissioned by private-sector clients—what has oratory to learn how imparting educational mate- trainers get into a conversation with the members range of pursuits. The Ars Electronica Festival, Prix emerged is an organic chain that ultimately recon- rial can function in an information-based society. of the tour groups they guide, help them to for- Ars Electronica, Ars Electronica Center, Ars Electron- nects with its first link, in that the enormous possi- Since its architectural makeover and reopening on mulate questions related to our shared future and ica Futurelab, Ars Electronica Solutions, and Ars bilities engendered thereby yield investments right January 1, 2009, more than a million people have offer them potential answers to consider on their Electronica Export are the divisions of this enter- where it all began: in art and creativity. visited the exhibitions and attended the events held own. In going about this, Infotrainers can reference prise, which also maintains a huge archive. Includ- Despite all these successful endeavors, the broad in Linz’s Ars Electronica Center. A key component of current trends and configure the interaction with ing the management service staff, Ars Electronica spectrum of educational and cultural offerings Ars its success has been the concept of situating open laypeople as a form of give-and-take among peers— employs about 190 men and women. Electronica stages would be impossible without a labs amidst the exhibits, and of creating a museum after all, the Infotrainers themselves come from a The watchwords—Art, Technology and Society— public-sector mandate and financing. We wish to that makes carrying on a dialog with human beings wide variety of backgrounds and have acquired their remain just as valid today as when they were used express our gratitude, above all, to the City of Linz the core of its mission. Change is another essential know-how from a broad spectrum of fields including to describe the first Festival in 1979. Utilizing artis- as proprietor, and to the Province of Upper Austria element of the Museum of the Future, an institu- biotechnology, sociology, art, design, teaching, and tic means to understand the manifold impacts and the ministries of the Republic of Austria for the tion that reinvents itself on an ongoing basis while psychology. The Museum of the Future is one of new technologies and scientific breakthroughs are support they make available on an ongoing basis. remaining true to its basic principles of dealing the cornerstones of Linz’s cultural landscape. It’s making on our society and culture, and even going with the interplay of art, technology and society, a museum that’s paying attention to what people and establishing a public setting for participation, are saying. conversation, and fascinating discussions.

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Ars Electronica Center New Educational Formats

The International Council of Museums defines a cational facility beloved throughout the region, and museum as “a non-profit, permanent institution is constantly conceiving new formats designed to in the service of society and its development, open appeal to people interested in issues at the nexus of to the public, which acquires, conserves, researches, art, technology and society. For example, the Kids’ communicates and exhibits the tangible and intan- Research Laboratory targets 4-8-year-olds, kinder- gible heritage of humanity and its environment for garten & afterschool care groups as well as young the purposes of education, study and enjoyment.” families who want to enable their kids to take a The Ars Electronica Center has made a name for playful approach to research, discovery, and under- itself worldwide with a dialog-based concept for standing. Formats such as My Future Workshop and mediating visitors’ encounters with content, and Go Future! Apprentice Day are designed for young deploying Infotrainers to provide on-the-spot verbal people to discover their creative skills and establish guidance. Educational formats custom-tailored to potential career goals. The Land of My Grandparents age groups beginning with 4-year-olds is another is a pilot project that fosters both media compe- instance of the Museum of the Future acting in tence and intergenerational dialog. Guided tours accordance with the ICOM’s internationally accepted for people with impaired vision and hearing get fre- definition as well as redefining what a museum is. quently disadvantaged communities involved in the More than 31,000 pupils took advantage of the conversation, and the Anatomy for All series of talks extensive educational offerings of the Ars Elec- is part of Ars Electronica’s long-term commitment tronica’s well-established school program in 2014. to the popularization of science. It’s time to exper- The Center has developed into an extramural edu- iment with new educational formats! Text: Martin Hieslmair AEC, Florian Voggeneder, Martin Hieslmair Florian Voggeneder, AEC,

298 299 ARS ELECTRONICA CENTER Kids’ Research Laboratory for kids aged 4 to 8 Start: January 27, 2015

“Play is the highest form of research.” Albert Einstein Exhibits: The Kids’ Research Laboratory at the Ars Electronica Cubelets, Modular Robotics Center is a setting for experimentation with motor, Incident Light Microscope, Firfly Global mental and social skills. The principle on which this Otamatone, Maywa Denki approach is based is the concept of homo ludens— MagicShifter, Florian Bittner / Hackerspace Wien investigating, discovering and comprehending via BeeBot, Terrapin Software game playing. OTOTO, Dentaku There’s no prescribed path through the exhibits; Sticker Modeller, Ars Electronica instead, kids move about the space freely, guided Disassembly Station, Otelo by their own interests. Hands-on encounters with Makey Makey, JoyLabz LLC unusual devices and fascinating experimental la Pâte à Son, lecielestbleu installations are the young explorers’ gateways to Freqtic Drum, Tetsuaki Baba discovery across Ars Electronica’s entire thematic spectrum: the interplay of the virtual and the real world, the enchantment of light and shadow, what goes on inside high-tech gadgets, construction & programming, and the human-machine relationship. Naturally, there’s lots of fun stuff to try out and play around with, but there’s also much to observe, to consider and to discuss. After all, that’s the whole point of a research lab—giving some thought to extraordinary phenomena, recognizing interre- lationships, testing new possibilities and deriving insights that will be useful in the future. This also applies to the young researchers’ activities in the Ars Electronica Center. Text: Kathrin Meyer AEC, Martin Hieslmair AEC,

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My Future Workshop

Endowing future prospects, demonstrating possi- were anything but conventional. 3D printing in bilities, taking a hands-on approach to discovering FabLab, sound design in SoundLab, programming one’s own talents—My Future Workshop, initiated in RoboLab and producing your own films—there by Regional Minister Michael Strugl in cooperation was a pretty fair chance of identifying undiscov- with the Province of Upper Austria and set in the ered talents and enjoying being creative. Teamwork Ars Electronica Center, is a project that focuses was called for in the My Future Workshop; so were on unemployed young people in training projects. independently coming up with strategies to solve In May 2015, the first 20 young people spent a problems, and public speaking in front of a small week touring the Museum of the Future. In the audience. Provided with tablets, youngsters had the Martin Hieslmair AEC, Ars Electronica Center’s labs, they got acquainted opportunity to record their experiences on a blog with various promising new areas of employment and thus refer to them later in preparation for future and the tools of those trades. Plus, these young- job interviews. sters met interesting people, some of whose CVs Text: Martin Hieslmair

The Land of my Grandparents

Where do I come from? Where am I at home, and First, the class members decided on their theme and what does the term “homeland” even mean, for on publishing their results as a virtual diary. Then, that matter? These are the key questions young the Ars Electronica Center brought in its expertise people confront when they look back at their own in art, technology and society. The agenda included family history. In cooperation with class 3c of Linz’s discussions about online security and privacy on Kollegium Aloisianum college preparatory school the Web, as well as video workshops that dealt and with funding from the Culture Connected initia- with technical aspects such as shooting and editing tive, the Ars Electronica Center organized The Land video, interviewing techniques and various lighting of my Grandparents to give 12-14-year-old students options. The students also got access to the Fab- the opportunity to spend a semester dealing in a Lab’s infrastructure including a laser cutter and 3D very personal way with the subjects of homeland printer. This successful pilot project is now ready to and migration. Here, the accent was on tracing one’s proceed to the next level as an ongoing format that roots, asking questions, acquiring media skills and the Ars Electronica Center can offer to other schools. doing creative work as independently as possible. Text: Martin Hieslmair AEC, Florian Voggeneder AEC,

302 303 Guided Tours for People with Hearing or Vision Impairment

Technology is essential to our communication, our All of these one-hour tours were developed in medical care, our workplace and much more. Since cooperation with people with sensory impairments. 2015, the Ars Electronica Center has offered guided Moreover, tours for the deaf are conducted in Aus- tours for people with vision or hearing impairment trian sign language by specially trained deaf people. in order to enable men and women with special In addition to imparting to these deaf guides the needs to take part in the discussion about these same substantive knowledge that the Infotrainers various technological developments and their man- working at the Ars Electronica Center get, the train- ifold consequences in everyday life, and to consider ing focused above all on the development of didactic them through the lens of art. This is especially evi- methods suited to deaf visitors. We received plenty dent in medical technology and the development of suggestions and feedback from the deaf com- of increasingly effective devices to benefit the deaf. munity. Text: Martin Hieslmair

AEC, Florian Voggeneder AEC, Anatomy for All

Modern imaging procedures like ultrasound, com- the study of medicine. New Views of Humankind, puter tomography and magnetic resonance imaging the permanent exhibition in the Ars Electronica are constantly improving—delivering deeper, more Center’s Main Gallery, has showcased these new detailed and more fascinating insights into what imaging procedures and the insights they yield since goes on inside the human body. And the field of vir- 2009. And even before The Universe Within, the new tual anatomy is becoming increasingly important in program for Deep Space 8K, was even conceived, the physicians’ training & continuing professional edu- Ars Electronica Futurelab’s transdisciplinary staff cation as a means of speedily comprehending and had already been collaborating with Dr. Franz Fell- learning human anatomy and coming up with inno- ner, director of the Department of Radiology at Linz vative treatment methods. This was acknowledged General Hospital and president of the Upper Aus- by the faculty of the University of Linz’s medical trian Medical Society. Deep Space LIVE: Anatomy for school that was founded in autumn 2014. In con- All is an ongoing series of talks that has provided junction with their grand opening celebration, they the ideal platform to make available to the general took advantage of the competence and infrastruc- public visualizations of the human body created ture available at Ars Electronica and invited the first through the post-processing of previously made 3-D students in the school’s Human Medicine program cross-sectional images. to convene in Deep Space for a look at the future of Text: Martin Hieslmair

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TIME OUT Time-based and Interactive Media meets Ars Electronica

TIME OUT—Time-based and Interactive Media Meets projects. For those whose works are selected, the Ars Electronica has been produced jointly by Ars next assignment is to transform functioning proto- Electronica and Linz Art University’s Time-based types into exhibition objects capable of withstand- and Interactive Media bachelor’s degree program for ing several months of intensive use by visitors. For two years now. The TIME OUT exhibition series gives the young artists, these are important experiences outstanding students the opportunity to display that you can only get in real-world situations. works of interactive media art at the Ars Electronica The fourth exhibition included a presentation in Center and thus present them to museum visitors Deep Space of interactive, spatially oriented works as well as international audiences. that were produced in conjunction with a course Now that four exhibitions have been staged, it cer- held in cooperation with the Futurelab. tainly is fair to talk about TIME OUT in terms of a The TIME OUT series organized by the Ars Electronica success story and a win-win-win situation for the Center and the City of Linz demonstrates that the students, the Ars Electronica Center, and the City local scene can give rise to exciting projects capable of Linz. For up-and-coming media artists, it is, of of holding their own in an international context. At course, a great experience being showcased in a the end of the current show’s run, several of the venue with a worldwide reputation. The prospect works will be integrated into the Center’s ongoing of displaying their work at the Ars Electronica Center themed exhibitions or the Ars Electronica Festival’s motivates students as they go about producing their lineup, or become part of traveling exhibitions. Text: Gerhard Funk Nicolas Ferrando, Lois Lammerhuber Lois Ferrando, Nicolas

TIME OUT .03 Ars Electronica Center AEC, Martin Hieslmair March 14, 2015 – June 14, 2015 Julian Reil Exhibitions Bottleneck Like a conventional message-in-a-bottle, Bottle- With its colorful mix of permanent and temporary a stage on which fascinating comparisons, links, neck has a communiqué securely sealed inside. It exhibitions, the Ars Electronica Center continually food for thought, and insights meet and, above all, floats along in the hope of being washed up on responds to highly topical technological issues and questions emerge. Traditional educational institu- land somewhere and then being found and read by their impact on art, society, and each and every one tions are welcome at this extracurricular place of someone. The big difference: The digital message of us. Here, the themes of the future are the exhi- learning with its exceptional infrastructure. inside this bottle can be composed in retrospect. bitions of today. Dialogue and the exchange of ideas To do it, simply send an SMS to a cell phone num- have top priority at the Museum of the Future. Long Term exhibits ber. All the requisite technology including Arduino The exhibits morph into narratives about current New Views of Humankind microcontroller and GSM module is built into the social developments, which the Infotrainers relate Out of Control—What the Web Knows about You custom-designed, hand-blown, watertight bottle. and draw people’s attention to. The exhibitions are GeoPulse Bottleneck is thus the confluence of two communi- cation channels from two different epochs. All the same, just like in bygone days, the messages reach only those persons who happen to be in the vicinity of the bottle transporting them. julianreil.at

306 307 Dawid Liftinger FLASHLIGHTINSTALLATION #1 AEC, Florian Voggeneder AEC, Florian Voggeneder AEC,

Stefan Tiefengraber How do flashes of light affect our perception? This inside the installation space. The noise the capac- WM_EX10 WM_A28 TCM_200DV BK26 installation space equipped with 64 electronic flash itors make while the units are charging—steadily units from disposable cameras invites visitors to higher-pitched and softer—and the popping sound In this sound performance, conventional and fully bine with the switches’ electronic components to experience the effects of randomly flashing light that each one makes when a flash is triggered are functional electronic devices such as a Walkman, a produce the various sounds. Cathode-ray screens impulses on their own bodies. Step inside, and integral elements of the overall experience. Dictaphone, and a keyboard are transformed into simultaneously visualize the signal as a flickering decide for yourself how long you wish to remain. dawidliftinger.com novel instruments. Using his moistened fingers, art- pattern of abstract forms and lines. The title of this These visual stimuli aren’t the only sensory inputs ist Stefan Tiefengraber strokes the devices’ exposed work consists of the model numbers of the devices circuit boards to play them. The skin’s characteris- employed. tics and the conductivity of the human body com- stefantiefengraber.com TIME OUT .04 June 17, 2015 – September 30, 2015

Verena Mayrhofer Christina Dellemeschnig Draw:er T-TWEE What images come to mind when a person who’s The more internet companies like Facebook and never been to Austria thinks about this country? Twitter gather, analyze and sell their users’ data, This cabinet, designed to conveniently store food the more money they earn. T-TWEE deals with pre- staples, categorizes answers given by people from cisely this interrelationship characterized by recip- different regions of the world—as recited by speak- rocal dependence, one involving personal data and ers of various Austrian dialects. Where do these global financial flows. In doing so, T-TWEE also images come from? Are stereotypes in constant builds a bridge between a digital and an analog transition or are they quite difficult to modify? And medium. Randomly selected tweets—short mes- how much room for individuality is there in com- sages published at www.twitter.com—are punched, partments like these? Open as many drawers as you character for character, into a paper tape and then like and decide for yourself which preconceptions of made audible by feeding the tape through an analog Austria you prefer to hear. music box. Depending on the current price of Twitter verenamayrhofer.at Inc.’s stock (which is visible on the small display), AEC, Martin Hieslmair the music box’s motor is set in motion. AEC, Florian Voggeneder christina-dellemeschnig.com

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Lukas Jakob Löcker Peter Karrer Tape Delay Selbsttonfilm This is a matter of interacting with the installation, The sound doesn’t make the music; the film does! with the architecture of the space, and ultimately Selbsttonfilm analyzes existing video material with yourself. Tape Delay is an analog setup that according to a prescribed set of rules and generates invites you to experiment with sounds, noise and a soundtrack on that basis. The film sets itself to your own voice. Since the 1950s, the sound effect of music, so to speak, and the synchronized playback the same name as this work by Lukas Jakob Löcker of the appropriately matched up images and sounds has been an essential element in many musical provides a fascinating audiovisual experience. In genres. To achieve it, audio signals are recorded to this modern-day take on the live accompaniment an audiotape and played back after a specified time of silent films that was commonplace in theaters delay. Since both ends of the audio tape are spliced and the first movie houses beginning in the late 19th to each other, the tape forms a loop so that the century, the piano once again plays the starring role. sounds audible in the installation space are played But this musical interpretation of the on-screen back again by the same audiotape. This analog tech- action isn’t a live pianist’s artistry; it’s the output nology thus enables users to listen in to the past Robertba AEC, of software reacting to the visual content. and to leave behind temporary tonal traces. http://www.backlab.at/artist/eliot

AEC, Robertba AEC, Works presented in or created for Deep Space

TIME OUT .04, the fourth showcase of works by movie puzzle, Katharina Gruber young Linz-based media, is also featuring the first Sinus, Simon Krenn applications to come out of the course “Ars Elec- Untitled (Geometric Soundscape), Clemens Niel Andreas Trixl tronica Center Deep Space.” Under the guidance of solar system, Moritz Rathke Siblings of Frank Ars Electronica Futurelab staff experts the students TS19 (Video), Ferenc Hirt got to use Deep Space as their own personal work- Texts: Martin Hieslmair Do you feel like you’re being observed? Evidently, shop of sorts and to take advantage of its marvel- we’ve already gotten used to the fact that surveil- ous technical possibilities specifically for their own lance cameras are constantly monitoring what’s artistic works. going on in public places from a variety of perspec- tives and capturing people’s actions for analysis at a later time. On the other hand, direct eye contact with the lenses that are keeping an eye on us evokes a rather uneasy feeling. With the help of a Kinect camera and OpenTSPS software, Siblings of Frank recognizes persons and objects in the installation space and reports their position to a program that controls the projections of the artificial eyes. Which eye focuses on which objective is allocated at ran-

dom. If they don’t recognize anything, they close Martin Hieslmair AEC, their eyelids. AEC, Florian Voggeneder AEC,

movie puzzle, Katharina Gruber Untitled (Geometric Soundscape), Clemens Niel

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35 Years ORF TELETEXT January 17, 2015 – April 15, 2015

On January 21, 1980, Austria’s ORF became the third ica Center featured selected works from two Inter- public broadcasting company in Europe to provide national Teletext Art Festivals: ITAF 2013 and 2014. teletext. Ars Electronica marked this anniversary It was launched by Finnish art cooperative FixC. The with an exhibition in the Center’s Lobby: 35 Years of works have been featured on ORF TELETEXT, ARD ORF TELETEXT. Simultaneously, the glowing media Text (Germany), Schweizer TELETEXT (Switzerland), facade of the museum of the future turned into an and arte Teletext (Europe). Minimalism as a chal- ORF TELETEXT sculpture consisting of animated lenge; reduction as an incentive—in the teletext patterns and colors of the ORF TELETEXT. format, creative artists have a mere 24 lines of 39 Despite the many prophesies that the proliferation characters each at their disposal. Moreover, there of the internet would mean the death of teletext, are only six colors available in addition to black and this medium is still going strong. The ORF has more white. But it’s precisely this retro aspect—teletext’s AEC, Martin Hieslmair AEC, than a two-thirds share of all teletext usage time concentration on individual pixels and limited tech- in Austria. On a weekly basis, 1.9 million users take nical possibilities—which, amidst today’s high-defi- advantage of the ORF’s teletext offerings, which nition world of viewing, exerts a particularly strong technē – The Interplay of Art and Technology constitutes a reach of 25.7% (Austrian TV viewers visual appeal. Thus, elements of the teletext aes- January 17, 2015 – September 30, 2015 over age 12). TV viewers access an average of 18.4 thetic can be found in many other settings, such as million ORF TELETEXT pages daily. building walls and graffiti, in videos and animated The technē—The Interplay of Art and Technology The ways and means they employ thereby are the In addition to a review of this medium’s highlights films, and on the internet. exhibition on display throughout several levels of same as those used in technical and scientific devel- over the past 35 years, the show at the Ars Electron- Text: Martin Hieslmair the Museum starting at the lobby consists of works opments, but they deal with other ideas and issues, that shed light in a particularly incisive way on an and do so from their own artistic perspective. overarching theme of Ars Electronica: The interplay technē—The Interplay of Art and Technology, and reciprocal effects of art and technology. The Ancient Greek concept of technē has had a for- Works mative influence on Western philosophers’ under- A Million Seasons, Shinseungback Kimyonghun (KR) standing of art, science and technology right up to CAPTCHA Tweet, Shinseungback Kimyonghun (KR) this day. Technē does not differentiate between art Captives, Quayola (IT/UK) and technology. It can be approximately rendered as Cat or Human, Shinseungback Kimyonghun (KR) skill, craftsmanship, artisanal ability, and technique. Cloud Face, Shinseungback Kimyonghun (KR) Art and technology were inseparably connected in Face to Facebook, Paolo Cirio, Alessandro Ludovico antiquity, but in subsequent centuries the effort (IT) was made to isolate them from one another as FADTCHA, Shinseungback Kimyonghun (KR) much as possible. In the meantime, however, inter- Iris, Chloe Cheuk, Kenny Wong (HK) disciplinary thinking and working are once again Landscape Abbreviated, Nova Jiang (NZ) taken completely for granted. And with technology Lapillus Bug, Kono Michinari, Takayuki Hoshi, progressively pervading our world, they have even Yasuaki Kakehi (JP) become a necessity. Looks Like Music, Yuri Suzuki (JP) The artists whose works have been gathered Loophole for All, Paolo Cirio (IT/US) together in this exhibition not only reflect upon Nonfacial Mirror, Shinseungback Kimyonghun (KR) technological developments and their impact; they Portrait, Shinseungback Kimyonghun (KR) also use technology as a tool. The artists them- Real Imaginary Objects, Daniel Crooks (AU) selves acquire the technical competence they need, Street Ghosts, Paolo Cirio (IT/US) and they also work in teams whose members bring The God’s Script, Shinseungback Kimyonghun (KR)

various qualifications and specialties to the table. Text: Kathrin Meyer Martin Hieslmair AEC,

312 313 Deep Space 8K The Next Generation of Visualization Technology

314 315 ARS ELECTRONICA CENTER—DEEP SPACE 8K AEC, Martin Hieslmair AEC, Andreas Bauer Florian Voggeneder, Martin Hieslmair, AEC,

Ever since the first Ars Electronica Center opened in ery, a journey through outer space and a downhill The data is delivered to each one by four parallel The graphic output is produced by two quartets of 1996, virtual reality has been a core component of run on Die Streif, the world’s most famous ski slope, signal channels, since such a gargantuan quantity NVIDIA Quadro M6000 graphic cards. The ability to its infrastructure. Back then, a 3x3x3-meter CAVE— Deep Space was capable of totally blowing audi- of visual data simply cannot yet be transported via drive four of these cards with only a single mother- developed at the Electronic Visualization Lab in ences away with visuals the likes of which they’d a single channel. The 4,096 x 2,160 pixels, each one board was the outcome of a long, intensive search; Chicago—provided Ars Electronica with a techno- never seen before—impressions of objects and computed 120 times per second and then fed to what we came up with was a high-performance logy that was being made available to the public in worlds both past and present. This was a setting one of the projectors via four separate channels, processor manufactured by XI-MACHINES. And the Europe for the first time. It made it possible to show for assorted media formats. High-definition photo- combine to generate each image. A pixel streams picture resolution wasn’t all that took some doing; Ars Electronica Center visitors three-dimensional graphs, stereoscopic videos, 3D visualizations, and through these cables over 4.2 billion times per sec- the color space, contrast and brightness also call for visualizations—especially of artistic works—that interactive games took the projection technology, ond. And that’s only for one projection surface. To a state-of-the-art technical ensemble. The old pro- gave them the feeling of not just viewing an art the graphic output and the data processing capacity screen content on both the floor and the wall of jectors brought 12,000 ANSI lumens to bear; their installation but immersing themselves into a work to the very limits of doability. Deep Space, you need to double that output and replacements, 4K30s by Christie, jack that number and interacting with it. Now, six years after Deep Space premiered in Linz, synchronize the two systems! The transport perfor- up to 30,000 each. The improved technical specifi- The technology was taken to the next level in 2009, and now that 4K resolution has established itself mance alone of a little over 23 gigabytes/second is cations now in place in Deep Space make it possi- when the Ars Electronica Futurelab developed Deep throughout the professional technology segment, impressive—just to put it in perspective, the content ble to project a number of pixels that corresponds Space for the new, expanded Ars Electronica Center. it’s time for the next quantum leap. What we’ve of almost an entire BluRay disc moves through the to twice that of 8K resolution. Thus, the content Eight 1080p HD and active stereo capable projectors named Deep Space 8K presents a new generation system every second. And when you consider the screened here has even higher resolution and the could generate crystal-clear, 4K images on 16x9-me- of visualization technology that, once again, sets fact that, in certain applications, this stream of data visualization capabilities are multiplied. These new ter projection surfaces on both the wall and floor. the standard of technical feasibility. is also computed in real time, then you can begin to technical possibilities were a particular challenge With content that included Leonardo da Vinci’s The It took some renovation work to install the eight 4K grasp how close we are here to the outer limits of for the Ars Electronica Futurelab, since there hardly Last Supper, Ryoichi Ikeda’s digital worlds of imag- projectors—four for the wall and four for the floor. technical feasibility. existed any content for the resolution that Deep

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Space is now capable of. New depiction formats like Secondly, a tracking system custom-tailored to 8K videos were exceedingly rare. A few of the very Deep Space had to be installed. This system enables first ultra-high-resolution time-lapse videos can visitors to actively deal with the screened content now be viewed in Deep Space for the first time in and to interact among themselves. This equipment the quality they were meant to be seen in. Screen- registers audience members’ gestures as well as ing content at this extraordinarily high degree of their footprints on the floor and translates it into detail opens up new depiction possibilities—above movements on the projection. Plus, technicians all with respect to graphic surfaces and their visual developed presentation formats that reorder the information economy. Accordingly, this also calls for relationship between the moderator and the audi- the development of a sort of graphic language that ence to provide an innovative way to get content do justice to these changed conditions. The artists across. Thus, Deep Space 8K isn’t just a room in and researchers on the staff of the Ars Electron- which breathtaking pictures and videos can be ica Futurelab will be dealing with these issues for screened in 3D and at an unprecedented degree of some time to come. Thus, Deep Space will also be sharpness; it’s also a setting in which viewers can serving as a laboratory and proving ground for new interact with what’s being screened in a wide variety visualization concepts. The implementation of Deep of ways. Space 8K was made possible by intensive collabo- Thirdly, and most importantly: a lot of effort is going ration among experts from all of Ars Electronica’s into the content. We’re constantly making every divisions. The result of this collaboration is a truly effort to acquire new material that takes full advan- outstanding ensemble of components. tage of the technical possibilities available in the First of all, a new content management system reloaded Deep Space—footage created in house at was developed. Since, in the meantime, the num- the Ars Electronica Futurelab as well as films pro- ber of works produced or adapted especially for duced jointly with partner institutions. Deep Space far exceeds 500, a simple, intuitively Text: Horst Hörtner, Roland Haring, Christoph Kremer comprehensible tool had to be developed to make it possible to quickly and conveniently play back complex content. Florian Voggeneder AEC,

Deep Space 8K Team With support from: Sinus, Simon Krenn Roland Aigner Christoph Kremer Fraunhofer MEVIS Institute for Andreas Bauer Juliane Leitner Medical Image Computing Florian Berger Benjamin Mayr The Centre for Digital Documentation Deep Space 8K Barbara Erlinger Michael Mayr and Visualisation LLP (CDDV) Maria Eschlböck Patrick Müller CyArk 8K is the standard set by the latest all-out upgrade of the Deep Space technical infrastructure at the Ars Martin Gösweiner Otto Naderer Upper Austria University Electronica Center. Now, audiences can enjoy projections at 8K resolution and thus worlds of imagery at Roland Haring Clemens Francis Scharfen of Applied Sciences’ Hagenberg Campus a never-before-achieved level of quality! Horst Hörtner Gerfried Stocker Linz Art University Gerold Hofstadler Marianne Ternek Red Bull Media House Peter Holzkorn Florian Wanninger XI-MACHINES Andreas Jalsovec Special thanks to: Ton & Bild Thomas Kollmann Maria Pfeifer

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The Universe Within In the Virtual Anatomy Theater of the Future Collaboration with Renowned Institutions Human Bodies: The Universe Within is an applica- The Infotrainers who moderate the live presenta- The Ars Electronica Futurelab has woven several nar- A close-up examination of the immune system tion especially developed by the Ars Electronica tions in Deep Space 8K have an extensive selection rative strands into the program. They elaborate on shows that not only oxygen but also dust, pollen, Futurelab to exploit the full potential of this virtual of material at their disposal to comply with audi- the workings of the human body’s various systems, bacteria and viruses enter the human body through three-dimensional space and make exploration of ence’s requests and go into detail when it’s called and use facts, images and narratives to facilitate the respiratory tract. What actually happens when the human body an impressive experience. Organs, for. Now, only a few months after the founding of understanding how these processes work. The point someone gets sick? Another focal-point topic in muscles, bones, the cardiovascular system and the the University of Linz’s School of Medicine, Human of departure of Human Bodies: The Universe Within Human Bodies: The Universe Within is the brain and body’s network of nerves—layer by layer, extraor- Bodies: The Universe Within provides an extraordi- is a corpus of 3D data provided by Zygote Media the five senses, with particular emphasis on sight dinarily detailed and breathtakingly beautiful 3D nary platform to get medical education away from Group Inc., a company that specializes in anatom- and hearing. For example, an interactive virtual ear visualizations deliver ultra-close-up views inside the conventional anatomy atlas in book form and ically exacting three-dimensional representations originally developed by Ars Electronica Solutions the human body. shift it in the direction of three-dimensional learn- of the human body. We also worked together with for the MED-EL medical technology company’s The vastly improved resolution offered by Deep ing and visual understanding of the interrelation- the Fraunhofer Institute for Medical Image Comput- Audioversum exhibit shows how sound travels from Space 8K makes it possible to simultaneously aug- ships in the human body. And that applies just as ing (MEVIS) to get a detailed and comprehensive the auditory canal to the brain. The human body’s ment the three-dimensional models on screen with much to future physicians as it does to interested look at the heart. New procedures such as magnetic locomotion apparatus, its system of muscles and other media elements such as detailed graphics, members of the general public—from little kids to resonance imaging make it possible to investigate bones, is also part of the presentation in Deep Space high-resolution videos and additional information. seniors. how blood flows through the heart’s chambers so 8K—after all, we’re programmed to get up and go! that physicians can reconfigure pressure distribu- And last but not least, Human Bodies: The Universe tion without having to resort to a drastic measure Within takes an intimate look at one of human- like surgery. kind’s greatest triumphs: our reproductive prowess. Text: Martin Hieslmair Fraunhofer, MEVIS Fraunhofer, Ars Electronica Futurelab / Zygote Media Group Media / Zygote Ars Electronica Futurelab

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Time-lapse Ever since time-lapse photography was first used in to several days capture visual phenomena played the late 19th century, viewers have been enthralled by out far beyond our conventional time horizon. Com- this filmmaking technique and the amazing way its bining these highly detailed, fast-forward motion highly accelerated tempo sheds new light on things pictures with the extraordinarily high degree of res- that occur in our world. Cameras that can be set to olution in Deep Space 8K opens our eyes to everyday take shots at intervals ranging from a few minutes events that we’ve never seen in this form before.

Rio 10K Joe Capra (aka Scientifantastic) American photographer Joe Capra (aka Scientifan- video measures 10,328 by 7,760 pixels, which affords tastic) specializes in time-lapse photography in very high flexibility in post-processing. A single 10K the ultra-high-resolution range of 4K to 10K. For sequence ultimately yields up to six different 4K an assignment commissioned by a major client in motifs. The images worked up by the Ars Electron- Rio de Janeiro, he captured the vibrant life in that ica Futurelab for Deep Space 8K offer an extraordi- Brazilian megalopolis with a Phase One IQ180 cam- nary opportunity to enjoy Joe Capra’s world-class era. Each individual image that makes up this 10K time-lapse photography on 16x9-meter projection surfaces.

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Sun Urfixed Light Animation Michael König Thomas Schwarz The star at the center of our solar system delivers Center. This project developed especially for Deep With its colorful mix of carousels, Ferris wheels, Thomas Schwarz’s time-lapse video entitled Urfixed the light and warmth that make life on Earth possi- Space 8K features impressively detailed images roller coasters and fireworks, the Urfahranermarkt, Light Animation, the Linz native has succeeded in ble. Sun enables viewers in Deep Space 8K to behold of solar activity from 2011 to 2015. There’s a walk- a twice-annual (spring and autumn) event staged on capturing and documenting the colorful hustle and that star’s enormous power. The audiovisual wall though full view of the gigantic gas ball projected a fairground adjacent to the Ars Electronica Center bustle at this very popular carnival along with its & floor projection by Michael König is an enhanced onto the floor; condensed commentary accompa- Linz, attracts over a million visitors a year. In artist transient luminous structures and tonal fragments. version of his time-lapse project of the same name nies the images on the wall; and the soundtrack is created with footage furnished by the Solar Dynam- the work of Mexican musician Murcof-Una (album ics Observatory of the NASA Goddard Space Flight Utopia, 2004). Solar Dynamics Observatory Flight Center Goddard Space / NASA (SDO)

324 325 Cultural Heritage The wanton destruction of significant cultural sites for posterity. The results of these efforts are huge in the Near East by ISIS terrorists remind us how quantities of points—so-called point clouds—that important it is to preserve—at least digitally—these can be displayed as three-dimensional visualiza- symbols of cultural consciousness for future gen- tions. Deep Space 8K now lets visitors behold vir- erations and to make them accessible to the gen- tual reconstructions of historical sites in 3D and eral public. There are several crews equipped with walk through them in the truest sense of the word. 3D laser technology traveling the world to scan in This is made possible by a point cloud renderer & statues, buildings or entire architectural ensembles viewer that the Ars Electronica Futurelab specially and thus preserve these priceless cultural treasures enhanced for 8K image resolution.

CyArk Along with the technological upgrading of Deep precise point clouds. The colorful spectrum includes Space to Deep Space 8K, Ars Electronica is intensify- the ancient Maya city of Tikal in Guatemala, the ing its collaboration with CyArk, a nonprofit organi- cathedral of Beauvais, France, the cliff dwellings of zation we’ve been working together with since 2009. Mesa Verde National Park in the U.S., and St. Sebald, CyArk works to document cultural heritage sites a medieval church in Nuremberg, Germany. What around the world using 3D technology. Their archive they make clear is that human destructiveness isn’t currently houses over 180 international sites freely the only thing responsible for the dilapidation of available to the public. The high-resolution technol- important cultural treasures; natural catastrophes ogy at Deep Space 8K has the enhanced capacity to or simply the ravages of time necessitate measures screen 3D images generated by even finer and more to preserve humankind’s precious cultural heritage.

The Centre for Digital Documentation and Visualisation LLP (a partnership between Historic Scotland and the Digital Design Studio at The Glasgow School of Art)

The Scottish Ten Centre for Digital Documentation and Visualisation LLP 3D laser scans can not only document the extent historic village was inhabited before the Egyptian of an object’s deterioration; the resulting cloud of pyramids were built, and flourished for centuries points also provides a valuable data-based point before construction began at Stonehenge. The mon- of departure for the reconstruction of the object’s umental chambered tomb of Maeshowe is simply original state. The Scottish Ten is a five-year project the finest Neolithic building in North West Europe. that aims to create extraordinarily precise digital Built around 5,000 years ago, it is a masterpiece of models of the five UNESCO World Cultural Heritage Neolithic design and stonework construction. New sites located in Scotland and five heritage sites in Lanark was at one time the cornerstone of the Scot- other countries. To accomplish this, Historic Scot- tish cotton spinning industry and is regarded as an land, the nation’s heritage agency, and the Glasgow exemplar of enlightened management, proving that School of Art’s Digital Design Studio established productivity increased with the improved treatment the Centre for Digital Documentation and Visuali- of the workforce. CDDV is working on it together sation LLP (CDDV). In Deep Space 8K, visitors can with CyArk, another goldmine of digital 3D data. behold Scotland’s cultural treasures: Skara Brae pre- www.scottishten.org

326 Martin Hieslmair / AEC, CyArk 327 ARS ELECTRONICA CENTER—DEEP SPACE 8K Artistic Explorations

With its jumbo-format wall & floor projections and of the projection surface, so audience participation built-in laser tracking system, Deep Space 8K pres- calls for a well-thought-out aesthetic composition ents a creative challenge to media artists. Adapt- and concepts for the resulting dynamics. The out- ing existing works and designing installations cus- come should be a cooperative aesthetic that the tom-made for this space is like entering artistic audience not only views but co-determines. terra incognita. The audience is within the bounds

Cooperative Aesthetic University of Art and Design Linz In Sinus, a work by Simon Krenn, a student in the ducted a course in conjunction with AEC Deep Space. Time-based and Interactive Media program, visitors Linz Art University undergrads worked together walk across the projection surface and—individu- with experts on the Ars Electronica Futurelab’s staff ally or as a group—impart vibrations to sine waves to program interactive works designed especially several meters in length. During the academic year for Deep Space. They debuted in the TIME OUT .04 2014–15, university professor Gerhard Funk con- exhibition. BBC and ScanLab Projects BBC and ScanLab

Rome’s Invisible City BBC and ScanLab Projects

In Rome’s Invisible City, with the help of cut- supplied and cleansed the city, from the mysterious ting-edge 3D laser scanners, a team of experts cults that sustained it spiritually to the final resting explore the hidden underground treasures that places of Rome’s dead, they reveal the underground made Rome the powerhouse of the ancient world. marvels that serviced the greatest city of the clas- We uncover a subterranean world that helped build sical world. This short compilation from the film, by and run the world’s first Metropolis and its Empire. BBC and ScanLab Projects, foregrounds the extraor- From the quarries that helped build the Pantheon’s dinary 3D scans of Rome’s invisible underground magnificent dome to the aqueducts and sewers that treasures. AEC, Martin Hieslmair AEC, Sinus, Simon Krenn

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Colour Bars Gerhard Funk, Christoph Frey (sound) Colour Bars is an interactive work by Gerhard to this installation jointly endeavor to define a Funk, director of Linz Art University’s Time- particular shade of color. based and Interactive Media program. Visitors AEC, Florian Voggeneder AEC,

WHITE POINT Arotin & Serghei The vanishing point is an imaginary point—or one in and thus the size of a single pixel. WHITE POINT is a perspective drawing—at which parallel lines reced- based on the premise that the observer is situated ing from the observer seem to converge and vanish. in the vanishing point. Visitors thus seem to move The closer the observer gets to the vanishing point, into the center of the light inside this single pixel, the further it seems to recede. In the Ars Electronica and are within an imaginary cube made up of six Center’s new Deep Space featuring projections with picture membranes. The initial image is reflected 8 x 4K resolution and composed of more than 66 and rotated on three different axes. The resulting million pixels, the dimensions of the smallest pos- impression on the part of visitors is to be amidst a sible vanishing point—assuming it were illuminated perspective that extends in all six directions. to make it visible—would be approximately 1 mm

330 331 Mother and Child near Al Zaatari Refugee Camp, Jordan, 2014

Post Refugee City Lukas Maximilian Hüller, Hannes Seebacher, Kilian Kleinschmidt, Robert Pöcksteiner

There’s fear of refugees and asylum seekers, of a made arrangements with their fate without losing can be felt in the container city. Right now in this Let the Children Play project, realized at Zaatari Refugee modern-day mass migration that threatens our hope. But for them, hope doesn’t entail moving to rocky desert, there are 100,000 Syrians living apart Camp, Jordan, by Hüller / Seebacher, 2014 / produced by playfoundation.org. Featured in Robert Pöcksteiner’s habitat. These are scenarios that many of us find Europe; it’s returning to their homeland. from their families; 60,000 of them are children. In documentary film project Snapshots in Time, Zaatari alarming. How are we to encounter those who have Pöcksteiner shoots footage and conducts inter- this situation, it’s virtually impossible to deal with Camp. Project and photo compositions realized with the lost all hope of living a life fit for a human being in views. He meets young mothers who live in the the trauma of war and fleeing from it. But Robert substantial support of Kilian Kleinschmidt, former camp their own homeland? In the future, will we still be camp with their children, as well as children who Pöcksteiner meets people who are trying to do just manager Zaatari Refugee Camp. able to afford humanism? Producer/director Robert arrived alone and have to get by on their own. He that, nevertheless. This documentary is planned http://www.letthechildrenplay.info Pöcksteiner embarked on a search for answers. In realizes that it’s up to him to tell the story of those to be completed in October 2015. In the meantime, http://www.dontpanicproduction.com 2014, he traveled to the Al Zaatari refugee camp in living in Al Zaatari. To give an account of people selected film sequences and gigapixel images have Jordan in conjunction with artist Lukas Maximilian whose most fervent desire is to live in peace, people been compiled into a visually stunning and, above Hüller’s photography project which he did in coop- who yearn for their homeland. Zaatari is the world’s all, deeply touching preview to be screened in Deep eration with Hannes Seebacher. What he saw defied third-largest refugee camp. The civil war rages only Space 8K. all his expectations. The people who live here have 10 kilometers away. The explosions of artillery shells

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In2white Mont Blanc largest panoramic image Facts: This 365-gigapixel panoramic shot immerses 3,500 m altitude spectators into the white world of Mont Blanc. 365 gigapixel Filippo Blengini’s in2white project focuses with 70.000 images unprecedented clarity on Europe’s highest -10° temperature mountain in the Alps. Filippo Blengini Red Bull Media House Bull Media Red Rocky Mountains Sebastian Marko/Red Bull Content Pool Bull Content Marko/Red Sebastian Pool Bull Content Christian Pondella/Red Ryan Doyle Brazil Red Bull Rampage

Action Pack For years now, Ars Electronica has been partner- freeride mountain biking competition of the same ing with Red Bull Media House, a constant source name held annually in the U.S. State of Utah. Rocky of action-packed sports videos and breathtaking Mountains accompanied daredevils Will Gadd and tracking shots. From their wealth of new content in Gavin McClurg on their paraglider flight over what 4K quality, the Austria-based media enterprise will is quite possibly North America’s most imposing continue to provide Deep Space with leading-edge mountain range. Ryan Doyle Brazil follows British worlds of imagery. For instance, their Red Bull freerunner Ryan Doyle as he traverses Brazil’s multi- Rampage video gives a spectacular overview of the faceted megacity Rio de Janeiro.

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Play Spaces ITAF 2015

Deep Space reloaded opens up a whole series of of Applied Sciences’ Hagenberg Campus and Linz During this year’s Ars Electronica Festival, the International Teletext Art Festival 2015, will be presented in portals to new content. Two 16x9-meter projection Art University were so fascinated by it that they Deep Space. Artworks specifically created for the Teletext medium will be shown on the 16x9 meter screen. surfaces on the wall and floor of a space equipped created their own applications for Deep Space. Six with sophisticated tracking technology makes laser sensors installed at ankle height around the Deep Space 8K an extraordinary setting for realistic periphery of the floor detect the positions of the International Teletext Art Festival three-dimensional experiences. Pharus, the laser individuals moving about the space. Simultaneous Since it was launched by the Helsinki-based FixC add a blink effect, a control character needs to be tracking system Ars Electronica Futurelab staffer evaluation of the captured data in combination with cooperative in 2012, the International Teletext Art inserted. Each time a control character is placed it Otto Naderer developed as his master’s degree intelligent tracking makes it possible for this setup Festival ITAF has been enjoyed by over 2 million uses up one space in the grid, which then appears project, has been continuously enhanced since its to register up to 30 individuals in Deep Space 8K. people in Germany, France, Switzerland, Austria, black. And you only have 6 colors + black and white. inception. Students at the Upper Austria University and Finland. The idea of the festival is to explore Teletext is a basic and a very economical way of the creative aspects of teletext by inviting artists to broadcasting information, and though it ceased to create art works in teletext format and to broadcast exist in UK, it has survived in many countries and the results to the public. is still used by millions of people daily. Before ITAF made Teletext Art known to a wider The 15 artists/artist groups featured in the 2015 audience, there were some serious efforts to open festival who are also competing for the Teletext Art up teletext for art: for example, Edwin van der Prize are: Bakketun & Norum (NO), Christina Kramer Heide’s Teletext Art Project broadcasted in Dutch (DE), Emilie Gervais (FR), Holger Lippmann (DE), Ian National Television in 2000 with JODI, Joost Rekveld, Gouldstone (US), Karin Ferrari (AT), MadAsHell (US), Maki Ueda and Wlfr. Another ambitious project was Maria Lavman Vetö (SE), Matthias Moos (CH), Max Microtel by Lektrolab, which was created in associ- Capacity (US), Paula Lehtonen (FI), Ryo Ikeshiro (JP), ation with the Witte de With Center for Contempo- Bernhard Garnicnig & Lukas Heistinger (AT), Rich rary Art during the International Rotterdam Film Oglesby (GB), and Rainer Kohlberger (AT). The 2015 Festival in 2006. Teletext was originally launched by Teletext Art Prize jury members are: last year’s win- the BBC in 1974 (known as Ceefax) and is a means of ner Dan Farrimond (GB), artist Raquel Meyers (ES), sending text and simple geometric shapes to a prop- and curator and art historian Pontus Kyander (SE). erly equipped television screen by use of one of the “vertical blanking interval” lines that together form The 2015 festival is curated by Juha van Ingen from FixC th the dark band dividing pictures horizontally on the cooperative. ITAF starts on August 13 and is broadcasted for one month in ARD Text, ORF Teletext, SWISS Teletext television screen. A teletext page can be perceived and arte Teletext. The teletext page numbers, information as a grid of 24 rows and 40 columns. To change the on participating artists and an archive of past festivals are colors of the graphics, text and background or to available on line: www.teletextart.com. Game Changer Suite University of Applied Sciences’ Hagenberg Game Changer Suite is a collection of multiplayer projected onto the space’s wall and floor. Getting games that were developed as prototypes by stu- their whole body into the swing of things, they can dents at the Upper Austria University of Applied play out a variety of scenarios—either collaboratively Sciences’ Hagenberg Campus. The accent in Game or every man for himself. Originally developed as a Changer is on exploring cooperative and competitive temporary installation for the 2014 Ars Electronica game playing. The gamers moving about in Deep Festival, Game Changer Suite is now a mainstay of Space 8K are registered by means of laser tracking, the lineup in Deep Space 8K at the Ars Electronica which enables them to control their virtual avatars Center. All texts: Martin Hieslmair

336 337 AEC, Florian Voggeneder AEC, ARS ELECTRONICA FUTURELAB

Ars Electronica Futurelab Future Prospects for Linz and the World

The Ars Electronica Futurelab has been working at zations located in and around Linz. This dovetailing the nexus of art, technology and society since 1996. of global and local activities has made the Ars Elec- Transdisciplinarity, artistic practices and applied tronica Futurelab an agent of change that not only research characterize this laboratory/atelier’s combines approaches from many different disci- approach to assignments. The focus of its activi- plines but also blends diverse geographic influences. ties is on manifesting great future promise as well To provide a glimpse at the Ars Electronica Future- as social relevance in the projects it implements. In lab’s current activities, a selection of projects that this sense, the Ars Electronica Futurelab’s work can either took place or are underway between Septem- be understood as generating sketches of potential ber 2014 and September 2015 will be described. First, future scenarios that offer new prospects for the there’s a brief overview of the lab/atelier’s activities, participating project partners in art, science, and followed by a more detailed look at a few projects commerce as well as for society as a whole. Confir- that are closely connected to this year’s festival or mation that this way of going about things has been are especially relevant at this time. crowned with success is delivered by the lab’s inter- The Ars Electronica Residency Network invites national orientation. Over the course of its 19-year artists from all over the world to develop projects career, the Ars Electronica Futurelab has advanced jointly with staff members of the Ars Electronica to the status of global player and made a name for Futurelab and/or a partner institution, or to further itself in such hot spots as Berlin, Dubai, Hong Kong, develop extant works. The following residencies London, Osaka, and San Francisco. were staged over the past year: Nevertheless, ever since it was founded, the Ars In early 2015, four artistic research residencies under Electronica Futurelab has also had a close bond with the aegis of the EU’s Connecting Cities project were the City of Linz. Dealing with issues such as demo- hosted by the Ars Electronica Futurelab (see p. 154). graphic & urban development, interactive technolo- Their theme was public media infrastructure and gies that get Linzers involved in public extravagan- participation. zas like the Linzer Klangwolke (Linz Sound Cloud), Chilean artist María Ignacia Edwards won the first and impressive visualizations of the activities of European Digital Art and Science Network’s resi- the Unternehmensgruppe Linz network of public dency and, in cooperation with ESO (the European service enterprises are just a few of the Ars Elec- Southern Observatory), spent time at the La Silla tronica Futurelab’s many, multifarious installations and ALMA observatories (see p. 177). Semiconductor and projects that have added fascinating facets won the 2015 Collide@CERN residency within this to life in Linz. Individual projects implemented in framework (see p. 180). cooperation with institutions such as the Univer- At the outset of this year, Japanese artist Ryoji sity of Linz, Linz Art University, the Upper Austria Ikeda, winner of the 2014 Prix Ars Electronica Col- University of Applied Sciences’ Hagenberg Campus, lide@CERN Residency, spent about two weeks at and voestalpine have developed into a full-blown close quarters with the European Center for Nuclear network of exchange with a wide variety of organi- Research’s Large Hadron Collider.

338 339 Ars Electronica Futurelab, Peter Holzkorn Ars Electronica Futurelab, ARS ELECTRONICA FUTURELAB

TRANSMIT³, the Queensland University of Technol- vehicle driving characteristics. And the Futurelab ogy’s residency program, is now in its second year. has teamed up with Mercedes-Benz (see p. 86) to The current recipient is Friedrich Kirschner, a German perform collaborative research on self-driving cars. filmmaker, software developer, and visual artist. 2014-15 has also been a busy year for the Spaxels CAT@Ars Electronica, a program supported by the (space pixels), the Ars Electronica Futurelab’s cho- Chungnam Culture Technology Industry Agency, is reographed swarm of LED-equipped quadcopters. likewise being reprised. This year, Hyungjoong Kim, Among their high-profile aerial shows were appear- a young media artist from MAC Lab at the KAIST ances at the Day of German Unity in Hannover, the Institute in South Korea, is getting the opportunity national celebration in the United Arab Emirates, to implement his Jangdan project at the Ars Elec- and at this year’s Eurovision Song Contest. They tronica Futurelab. also displayed their precision maneuvers indoors at And Indonesia-based XXLab, recipient of Prix Ars two conferences held by Intel Corporation. Electronica [the next idea] voestalpine Art and Tech- Soul of the Cube was a project produced jointly with nology Grant, will once again be taking up residency Queensland University of Technology in Australia. at the Ars Electronica Futurelab to further develop The Cube, a large-scale interaction environment on their project and take their idea to the next level. the QUT’s campus, displayed visualizations of activ- In the Futurelab Academy, Ars Electronica’s aca- ities at the school and thus put in place an applica- demic program, students from all over the world tion designed to give the people on site a new way come to Linz from to learn from Futurelab staffers. of relating to their everyday surroundings. And this works reciprocally too—researchers from The Sorting out Cities project was a collaborative Linz are invited to participating universities to hold effort with Dietmar Offenhuber of Northeastern workshops for their students on site. In 2014-15, the University in Boston and the Miraikan, Japan’s partner institutions were FH Joanneum Graz, the National Museum of Emerging Science and Innova- Hong Kong Design Institute, and the University of tion. This work is an extraordinary visualization of Tsukuba. the central role of cities and the changing interrela- The Connecting Cities project financed by the EU tionship between urban and rural areas. Culture Programme entered its final phase in 2015. A project entitled FOCUS was produced right here The project’s aim is to set up infrastructure at inter- in Linz in cooperation with Schlossmuseum Linz.

National Museum of Emerging Science and Innovation (Miraikan) and Innovation National Museum of Emerging Science linked media façades, jumbo screens and urban It’s a smartphone app that enables visitors to the projection surfaces that can be used by the general Schlossmuseum to take an active approach to the Sorting out Cities, Dietmar Offenhuber, National Museum of Emerging Science and Innovation (Miraikan) and Ars Electronica Futurelab public for the purpose of creative exchange. In 2014- exhibits and zoom in on what they like best. At the 15, four artists have produced works at the Ars Elec- end of their museum tour, visitors are invited to tronica Futurelab under the aegis of the project’s upload their favorite motif to the FOCUS termi- artist-in-residence program. Plus, this year’s Ars nal and create a button they can take home. This Electronica Festival will be spotlighting the Con- Futurelab project will also be found at the AEC and necting Cities network. this year’s festival (see p. 116). Creative Cloud Osaka is a project the Ars Electronica Another Linz-based project was produced in-house Futurelab has produced in cooperation with Knowl- at the Ars Electronica Center, where the world’s edge Capital in Osaka, Japan. It brings together highest-definition projection space just took a artists, innovators and Osaka city dwellers for technological quantum leap. Deep Space 8K—The workshops, speeches and exhibitions designed to Next Generation of Visualization Technology fea- engender new ways of looking at a broad spectrum tures state-of-the-art 8K projectors (see p. 314). The of current issues and thereby contribute to innova- Ars Electronica Futurelab has made a major con- tion and positive social change (see p. 164). tribution to meeting the challenges posed by the The Ars Electronica Futurelab has been working conception and depiction of content that lives up to Ars Electronica Futurelab, Peter Holzkorn Ars Electronica Futurelab, together with carmakers once again. For Audi, the demands of this awesome equipment. AEC, Martin Hieslmair AEC, experts in the field of 3D simulation & interaction Text: Bernhard Böhm Futurelab’s Spaxels at the Eurovision Song Contest 2015 Soul of the Cube, Ars Electronica Futurelab, are developing improved ways to depict and test Queensland University of Technology, Brisbane, Australia

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by AUDI AG and can, at the same time, be operated ress through Technology) not only in its products but within the context of any definable traffic situa- also in its tools for development. In addition to its tion. The VET has already been utilized worldwide use for presentation purposes, the VET is deployed at numerous public events to introduce new vehicle in-house to develop new features by offering the functions such as Audi’s novel LED Matrix Headlight possibility of virtually testing several variants of and Intersection Assistant. It elicited enthusiastic new features even before the first prototypes are responses from tradeshow visitors at CES 2015 in developed—for instance, illumination performance Las Vegas and CES Asia 2015 in Shanghai, and thus of new headlight designs or innovative assistant impressively underscored Audi’s long-term commit- functions that, as marketable products, are still a ment to achieving Vorsprung durch Technik (Prog- few years down the road. Text: Roland Aigner, Wolfram Remlinger Ars Electronica Futurelab, AUDI AG AUDI Ars Electronica Futurelab,

AUDI AG + Ars Electronica Futurelab Audi Virtual Engineering Terminal

Virtualization is becoming increasingly important in reality, yielded new modes of identifying mediation the auto industry—in both the cost-saving product issues and thus limning approaches to solving them development and the public relations fields. The in totally unprecedented ways. On the basis of this Audi Virtual Engineering Terminal (VET), developed analysis, we developed several prototypes; one of by AUDI AG and the Ars Electronica Futurelab, facil- them—the Audi VET—proved to be the optimal solu- itates mediation and decision-making in terms of tion, and was subsequently produced by the Ars design and the customer’s experience of perfor- Electronica Futurelab. The terminal features Tangi- mance features and characteristics, but also in tech- ble User Interfaces (TUIs) providing a very intuitive nical development of assistance systems. The inter- way to juxtapose and compare respective variants of active installation makes it possible to gain first various vehicle features, and to take a comprehensi- insights and to experience technical innovations ble, hands-on approach to experiencing the benefits that may still be in an early stage of development. of novel developments. One or more Audi models To design and configure this novel terminal, AUDI can be positioned and configured on an interactive AG and the Ars Electronica Futurelab engaged in tabletop display in order to simulate their perfor- an intensive process of exchange, whereby AUDI AG mance in diverse traffic scenarios and under various staffers elaborated on various problems that were conditions. Parallel to the op view on the tabletop, then subjected to precise analysis by the Ars Elec- the same simulation is screened either from the tronica Futurelab. Reliance on the Ars Electronica driver’s perspective or a bird’s-eye view on a frontally Futurelab’s expertise in the fields of human-com- positioned vertical display. The Audi VET depicts the

puter interaction, real-time graphics, and virtual physically correct driving simulation data generated AG AUDI Ars Electronica Futurelab,

342 343 SAP + Ars Electronica Futurelab ARS ELECTRONICA FUTURELAB Innovative Media Art Strategies in Corporate Space

For more than a decade Ars Electronica Futurelab tronica Futurelab’s custom Pharus laser tracking has been enjoying fruitful and inspiring collab- system. This system can read people’s movements oration with the German Software producer SAP, and consecutively triggers the playback of tones. creating innovative and experimental prototypes Each of the 48 individual tones is assigned to one of that generate new perspectives in corporate set- the speakers that are evenly distributed in the ceil- tings, through artistic approaches. Special impor- ing of the 60 meter long passageway, summing up tance is placed on projects focusing on the built to 96 tones for both walking directions. This linear environment. Ars Electronica Futurelab has inte- arrangement of evenly distributed sound sources grated SAP’s data processing into their media-art in the space renders an always-unique composition architecture concepts and created unique architec- created by the madding crowd. 48 meeting sounds, tural installations in several SAP buildings. SAP’s which become audible when people meet and pass culture, the actual environment as well as artistic each other by, additionally reinforce activities on considerations are integrated in these installations, The Bridge. The sounds are based on recordings of which both reflect and shape the local architecture. classic instruments such as piano, horn, flute, viola Just recently, two projects were concluded: Building and contrabass—played by SAP employees, who Bridges and Monolith. are members of the unofficial SAP Orchestra. To achieve optimal architectural sonification Rupert Building Bridges Huber uses sounds of the overtone series, and The Bridge is one of the main passageways connect- sorts them according to their frequency intervals ing two building complexes on the Walldorf campus to achieve harmonic, proportional music. Building and it is host to the interactive music piece Building Bridges was initiated to underline a statement Bridges, jointly composed with Vienna-based com- by SAP CEO Bill McDermott and former co-CEO poser Rupert Huber. Translating the movements of Jim Hagemann Snabe about “[…] building bridges the pedestrians through a compositional algorithm, rather than silos.” Like the company’s products, the The Bridge serves as stage and instrument at the installation’s unique momentous composition is

same time. Every person is tracked by Ars Elec- the outcome of each and everybody’s contribution Peter FreudlingArs Electronica Futurelab, Peter FreudlingArs Electronica Futurelab,

to a bigger whole. Building Bridges accompanies Vedaport’s geometric and sensual counterpart is an walkers through the highly frequented passageway, interactive installation called Monolith, completed providing subtle, continuous interaction with the in spring 2014. instrument. Located in the bridgeheads, a live visu- The six meter tall Monolith consists of 24 frame- alization of the crowd and the current composition’s less screens, wrapped in translucent mirror panels. score serves as informative conclusion and uncovers These panels render the Monolith almost invisible the magic behind it. Additionally, a room in one of at first glance and enhance it. Displaying the time the break-time areas hosts a visualization screen as of the day, the Monolith also fulfils the function well as a down mix of the 48 channels on five speak- of a central clock tower. Monolith is part of the ers. Due to its success and SAP’s global operations, overall concept of Vedaport, also focusing on the there are plans to develop Building Bridges with new core topics knowledge and education, which are sound sets from all over the world and plans for a communicated via handwritten historically import- CD and a stereo audio stream. ant quotes. The chalk and board aesthetics of this visual language contrasts with the Monolith’s archi- Vedaport / Monolith tectural and geometric cleanliness. Frequency, cre- A huge three-dimensional sound sculpture—the ation-speed and variety of the content shown are Vedaport—is situated in front of the main entrance based on the movement of the crowd within the of the International Training Center on the Walldorf lobby, cumulating in an abstract live visualization campus. This port is a landmark for trainees and of tracking data. Construction of the Vedaport is reacts to movement, uttering quotes on matters currently underway and due for completion by the such as knowledge and education. In the Lobby, the Ars Electronica Futurelab late 2015. Text: Peter Freudling 344 345 ARS ELECTRONICA FUTURELAB

Creative Catalysts As a non-university research and development depending on their environment and context; institution, the Ars Electronica Futurelab consid- Shadowgram (2010), an installation in which your ers its everyday practice of connecting a variety of silhouette can be integrated. By writing comments disciplines a as fundamental, important innovation in a speech balloon next to your silhouette, you can battery. For years, interaction designers, media art- display your thoughts on a large wall within the ists, software and hardware developers as well as installation. These stickers with their individual social scientists and cultural theorists have been messages on a certain theme constitute an art- working together in flexibly arranged teams. Based work in their own right. Klangwolke ABC (2012) is upon the concept of “shared creativity,” an ideal a social participation project using an LED kit to breeding ground evolves for the research, develop- create alphabetical characters, in which the light is ment and evaluation of technological innovations. controlled by a radio receiver. The term creativity has become a common denomi- Following the big success of Switch, Futurelab is nator of considerations with respect to a new Euro- working with Elekit for the second time this year. pean economy. What is called for now at the outset After the so-called 3/11 in Japan, the requests for of the 21st century are inventiveness and innovation. educational kits especially addressing the topic of

Emerging technologies have the potential to play energy have increased. Focused on this demand, Chihiro Masuda a dual role in the “Creative Society” of the future. Elekit has already been a provider for ecologi- Whereas they are quickening the need for change in cal products dealing with solar and new energies. University of Tsukuba + Ars Electronica Futurelab all aspects of people’s lives on the one hand, tech- Futurelab’s collaboration with Elekit, has pro- nology—if properly designed—can on the other hand duced CandleScape, a solar energy based creative Ars Electronica Futurelab Academy “LabX” also help its users to develop as creative thinkers. kit where people can construct their own worlds Post City Kits from the University of Tsukuba One doesn’t have to be an artist to become an inno- inside this magical candle. Switch explores expe- vative creator. We therefore examine the impact rience design, using the simple metaphor of “on” The Ars Electronica Futurelab Academy comprises a 2. Harmony: To harmonize the engineered systems of digital technologies on creative processes; we and “off”. CandleScape follows a similar fashion by range of activities that share the goal of knowledge that people encounter in daily life (advanced conceptualize technology-based creativity support providing two layers of canvas, to which the partic- transfer and exchange with educational institutions mobility, etc.) so that they integrate with people. tools and also provide access to such tools for chil- ipants in the workshop can bring their own worlds. and organizations acting at the nexus of art, design 3. Extension: To draw out and extend people’s latent dren and adolescents. Creative Catalyst is a new kind of research and inno- and technology. creative functions. Projects realized within our research program vation that creates unforeseen forms of expression, In one of the Futurelab Academy’s most successful EMP has established a specialized place for stu- include Switch (2010), an edutainment kit from transforms our minds and society, and enhances program formats, Ars Electronica Futurelab experts dents named Empowerment Studio, a combina- Futurelab in collaboration with Elekit, with which further discussion on creativity. act as external mentors for university students in a tion of laboratory and exhibition space. Prototypes users can design comfortable communication Text: Hideaki Ogawa range of fields from human-computer interaction developed by the students are exhibited in the to media art; this co-supervision of projects results Grand Gallery of the studio and evaluated by the in an exhibition at the Ars Electronica Festival. This public. As an extension of this, the collaboration in year, the Ars Electronica Futurelab partnered up the Ars Electronica Futurelab Academy framework with Japan’s University of Tsukuba, where a new has been dubbed LabX: Over the course of a few PhD program in Empowerment Informatics has been months, Ars Electronica Futurelab mentors visit the founded. From Hiroo Iwata, head of the program: Empowerment Studio to conduct workshops and The PhD program Empowerment Informatics (EMP), discuss the projects with the students via video is a five-year program supported by the Ministry of conferences. Education, Culture, Sports, Science and Technology. In this first iteration of LabX, two student teams It consists of the following three areas that are core exhibit their work at the Ars Electronica Festival, strengths of the University of Tsukuba, and highly reflecting the theme of the Post City Kit (see p. 117). important in the related industries. Text: Hiroo Iwata, University of Tsukuba; Peter Holzkorn, 1. Supplementation: To supplement the reduced Ars Electronica Futurelab physical and sensory functions of elderly people or people with disabilities. Switch, Ars Electronica Futurelab, ELEKIT CandleScape, Ars Electronica Futurelab, ELEKIT

346 347 Matthew Gardiner ARS ELECTRONICA FUTURELAB ORI* On the Aesthetics of Folding and Technology

Oribotic Spiral (rendering)

This research examines how new design approaches cesses can be understood as an extension of past that utilise advances in scientific origami, compu- oribotic research wherein related concerns are fold- tation, robotics, and material experimentation, ing pattern design, fabrication technologies, and can influence the functional aesthetic of the art of actuation specific to folding. Cultural and histori- Hyungjoong Kim oribotics. Situated in the context of contemporary cal perspectives inform the research question, as Jangdan electro/mechanical artworks and objects, and join- the group works towards a new theoretical model ing the fields of origami and robotics, oribotics is of Folding as a Language of Structure, expressed With Jangdan the South Korean artist Hyungjoong lating the distance between these, the fundamen- influenced by notions of folding scientifically and as “Folding = Coding for Matter”. The additional Kim creates an interface to experience, see and tal rhythm of Korea can be found. Jangdan rhythm philosophically. Oribotics breathes movement into influences of scientific developments in soft mat- evolve rhythms that are used in nongak. Nongak is patterns from nongak songs are combined with the static domain of origami through responsive ter, computation, genetics and synthetic biology a kind of traditional Korean farmer’s music played other kinds of rhythm DNA. To extract this DNA robotic technology, and it brings to the viewer of inform the creative process. Folding is a language of by five instruments, each of which represents one from a human, the individual’s prosodic structure oribotic works, a consideration of the folds found in nature: as a higher-level expression of genetic code of the five elements of nature: kkwaenggwari (a of language is converted into a musical rhythm. The nature, through the evocation of a state of reflec- it defines the sculpture of genetic expression. This small brass gong), jing (a large gong), buk (a drum), combination of the previously existing jangdan in tion. Scientific fields like Soft Matter share similar analogy to genetics does not translate in a formal janggu (a double-headed drum), and taepyeongso nongak music is altered by adding the new infor- material and design/engineering concerns, utilising sense directly to sheet folding like origami, as genes (a double reed wind instrument). He analyzed and mation about the interface user’s rhythm of spoken the function of folded surfaces. Origami artists craft are not made from paper or planar forms. However visualized the interplay of the four main instru- language. In other words, the audience’s spoken works by folding paper, expressing the aesthetic of the mechanisms and the notions of programming ments and the resulting rhythms of such tradi- language will be converted into DNA sequences the fold. The signficance of oribotics is that both form and function into nature is a strong metaphor tional songs. Through voice input, each visitor of and combined with Korean rhythms, thus changing the function and aesthetic of folding are expressed that connects artistic and scientific domains. the installation is able to change the musical DNA the fundamentals of traditional music into future by the oriboticist. New design methods for oribotics http://www.matthewgardiner.net/ori of the jangdan and thus see and hear the resulting visions of how it may evolve. unfold expressive potential in the research field. Text: Matthew Gardiner evolvement of the rhythm. This project has been realized within the framework of Research is focused on the artistic thinking, design Jangdan, traditional Korean set rhythm patterns of Lead Researcher: Matthew Gardiner CAT@Ars Electronica, a program within the Ars Electronica and material processes that contribute to the fab- Researchers: Hideaki Ogawa, Erwin Reitböck, Rachel varying length, are treated like DNA and expressed Residency Network in collaboration with CTIA Chungnam rication of robotics from folded surfaces. The pro- Hanlon; Funded by FWF PEEK Program, http://fwf.ac.at as binary strings on the time sequence. By calcu- Culture Technology Industry Agency.

348 349 Ars Electronica Solutions

Ars Electronica Linz GmbH is multifaceted: a Museum of the Future that attracts 190,000 visitors per year, a festival with attendance of 80,000, an internationally renowned prize Styria Media Group / Marija Kanizaj Styria Group / Marija Media competition in the digital media arts, and a state-of-the-art R&D lab. The newest addition is Ars Electronica Solutions offering a comprehensive portfolio of services to private sec- tor clients and government agencies. The 34-member staff of Ars Electronica Solutions specializes in brilliantly conceiv- ing and skillfully implementing a diverse array of interactive installations and new modes of imparting information. Ars Electronica Solutions provides projects and services in four segments: Brandlands & Exhibitions, Event & Show Design, Urban Media Development, and Shop Experience.

350 351 ARS ELECTRONICA SOLUTIONS Styria Media Group / Marija Kanizaj Styria Group / Marija Media

STYRIA—Styriaversum Interactive lobby at the corporate headquarters The Styria Media Group is one of the leading media or, if the need arises, input by staff members into conglomerates in Austria, Croatia and Slovenia. a flexible content management system (CMS). By Ars Electronica Solutions’ “Styriaversum” concept approaching the Media Wall, visitors trigger its outshone a field of international competitors and active mode, in which they’re offered a stylish was selected for the design of the Lobby at the presentation of digital content that, in a variety of company’s new headquarters in Graz. The 390 m2 configurations, provides a comprehensive look at Lobby is morphing into the Styriaversum brandland. the Styria Media Group’s corporate world. At the

Stephan Pointner Stephan QUPIK Creative Technologies Beginning in June 2015, visitors will be greeted by Media Table, visitors can explore the Styria Media interactive exhibits designed to acquaint them Group’s digital content, while the interactive His- with Styria’s diversified product line. Ars Electron- tory Book lets viewers take a fascinating look at the Primetals Technologies—METEC 2015 ica Solutions is proud of the media art installations history of the company and puts it in the context implemented at Styria’s corporate headquarters. On of larger global developments. Last, but not least, A New Way to Experience Metals the substantive level, they’re fed with content from the Styria Pillar provides up-to-the-minute looks at In June 2015, METEC, the world’s foremost met- pany’s individual divisions. The booth architecture various sources within the Styria Media Group. To Styria Media Group products and serves as a source allurgical trade fair, took place in Düsseldorf. Ars and furnishings developed together with any:time achieve this, information is automatically gathered of information for staff members as well as visitors. Electronica Solutions played a key role in the show architects are references to mining and metallurgy— alongside the industry’s newest global player, the seating alludes to the topography of an open- Primetals Technologies. For this joint venture of pit mining region and the interactive Touch-Table VAI Siemens Metals Technologies and Mitsubishi- resembles casually stacked cast steel slabs. This Hitachi Metals Machinery, Ars Electronica Solutions eye-catching experience also includes the spec- conceptualized, designed, and developed an 800 m2 tacular centerpiece featuring an artistic interpre- interactive booth that provides visitors with an tation of the metallurgical process in the form of enjoyable, efficient way to get informed about the a sophisticated choreography of animation and products and services offered by Primetals Tech- rotating screens. This innovative, artistic concept nologies. This tradeshow booth makes it possi- of launching the new company name and corporate ble to interactively experience newly established design mirrors the unique global standing of Pri- Primetals Technologies’ entire portfolio, and also metals Technologies. spotlights the global interaction among the com-

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BASF Spy Museum Berlin Welt der Spione GmbH

In Europe’s capital of espionage, Ars Electronica spychasers compete to record the best time through Solutions conceived and created an interactive a labyrinth, original James Bond movie props, and a museum that presents the cultural and histori- walk-through installation in the form of Teufelsberg BASF’s Sesquicentennial Celebration cal development of spying chronologically from (site of an NSA listening station) that deals with Media Performance with Michael Nyman antiquity to the present. In collaboration with the Big Data and shows how this matter is everybody’s Welt der Spione GmbH, we developed a spectacu- business. Thus, in addition to the Cold War, the Ars Electronica Solutions developed the media piece of music with video material from his exten- lar 3,000 m2 parcours of interactive exhibits that museum’s substantive focus is on data gathering infrastructure to display visuals accompanying a live sive archive of images. The outcome was media pass along valuable intelligence about the clan- in the Internet Age. One enlightening feature is a musical performance that was the world premiere infrastructure on which 132 different video loops destine world of secret agents. The exchange of Password Hacker that tests the strength of visitors’ of Michael Nyman’s Symphony No. 8, Water Dances. were displayed on each of six projection screens information gets started with a 10-meter digital passwords, and there’s SpyWatch, an installation BASF had commissioned Nyman to compose a work arrayed about the band shell. The arrangement of timeline providing a historical survey of espio- that provides access to images from webcams and to mark the 150th anniversary of the company’s the controls on pianist Nyman’s keyboard provided nage from the first known instances until World surveillance cameras. The section entitled Present founding. He then collaborated with Ars Electron- him with an intuitive approach to activating the War I. From then on, each era up to the current & Future includes a display of real-time data on air ica Solutions, Hans Reitz and filmmaker Max Pugh computer-controlled elements. day is treated individually, with special empha- & sea traffic, and elaborates on current espionage- to work out a novel approach to accompanying this sis on the Cold War. The cryptology section— related issues. The Spy Museum Berlin assignment including an ENIGMA cipher machine—offers a ran the competence gamut: once again, Ars Elec- fascinating look at data encryption. Plus, a SpyMap tronica Solutions was responsible for the installa- makes available current and historical maps of the tions’ content, the exhibition architecture, and the city so visitors can trace agents’ steps during their technical planning & implementation of the whole stay in Germany’s capital. The museum’s highlights museum. Additional exhibits and areas will be set include an action-packed laser parcours in which up in a second phase.

354 355 ARS ELECTRONICA SOLUTIONS Oliver Elias Lois Lammerhuber, Martin Ackerl – Edition Lammerhuber Martin Ackerl Lammerhuber, Lois

SAP—Inspiration Pavilion Beijing Vienna Airport—From Austria to the World: Paris Interactive exhibits & Big Data Unique gigapixel image of Paris at Vienna International Airport

On January 29, 2015, the Inspiration Pavilion Beijing Walldorf, Germany, which was realized by the Ars In partnership with Ars Electronica Linz, the multi- 2015, the Austrian Star Alliance Terminal Check-in opened at the new SAP offices in Beijing. Several Electronica Futurelab in 2014. The Pavilion’s high- award winning Austrian photographer Lois Lam- 3 at Vienna International Airport is presenting a interactive exhibits invite visitors to explore the light exhibits include the Big Data Panorama fea- merhuber is once more setting new international unique 180-degree photograph of Paris with an world of Big Data. The exhibition’s thematic back- turing gigapixel images of Shanghai and the Magic standards with From Austria to the World—on the extreme resolution of 27 gigapixels. Ars Electronica ground consists of the global interconnectedness Mirror, a large-format glassy surface that displays initiative of Austrian Airlines. As of 14 February implemented the hardware and software concept. and the related increase in the amount of data the reflection of the person in front of it and lav- we are sending around the world every day. The ishly enhances that image with data particles and exhibition is an adaptation of the SAP Pavilion in information.

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Other Projects Umdasch Shopfitting Jefta Hoekendijk K. Umrikhin BeeHive, Café Europa, European Capital of Culture, Mons Umdasch Shopfitting: viPOS Wall at the EuroCIS, Düsseldorf Daniel Auer TEDxVIENNA: City 2.0 Circle of Light, Moscow International Festival K. Umrikhin Ars Electronica Solutions Johanna Mathauer 3rd Dialogue for Global Innovation Circle of Light, Moscow International Festival Provincial Government of Lower Austria: N[OE]CLEUS Morphing Station at Schlossmuseum Linz: Exhibition Mythos Schönheit Ars Electronica Solutions—Talks & Lectures Ars Electronica Solutions’ experts have been at fes- examine the future perspectives—for instance, in tivals and conferences worldwide to give talks about the context of smart cities. topics related to the area of Urban Media Develop- Our experts’ talks have been heard at the Smart City ment. Main subjects include the consequences of EXPO in Beijing, the Moscow Circle of Light Festival, continuing urbanization and the way Big Data and the Smart City symposium in Vienna, the Moscow Open Data are used to forge a better understand- Urban Forum, and at many other prestigious con- ing of cities as a living space. In addition, the talks ferences.

Ars Electronica Solutions—Urban Media Development Bernd Albl Guillaume Ohl Ars Electronica Solutions’ Urban Media Develop- our primary aims is to create media environments GeoPark Karawanken: GeoApp, GeoGame, GeoPulse Mobil BMEIA: Touchwall ment department examines the interrelationship that enable users to comprehend the complexity of between media and a particular urban space. One of medial processes and to actively intervene in them.

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ITU Telecom World 2014 Doha, Katar, 07.12.–10.12.2014

For the second time Ars Electronica is staging a presentation at ITU Telecom World, held at a dif- ferent venue every year. ITU Telecom provides a global platform for debate and scientific exchange at the highest level in the field of information and communications technology. Ars Electronica was invited to stage an exhibition at ITU’s conclave. In an approximately 200 m2 exhibition space, The Lab showcased a selection of innovative projects at the interface of art, technology and society that were grouped into four thematic clusters: better and fairer coexistence; thinking about and striving to come up with alternatives; design with a (social) message; and the arbitrariness of systems. What all these project had in common was the attitude to regard technology, basically, as a chance.

Projects presented: CORD, Mohammed A. ElRaffie (EG) Parametric Hybrid Wall, Cecilia Lalatta Costerbosa (IT) BlindMaps, Markus Schmeiduch (AT), Andrew Spitz (FR), Ruben van der Vleuten (NL) Energy Parasites, Eric Paulos (US) LillyBot 2.0, Cesare Griffa (IT) Mine Kafon, Massoud Hassani (AF) AEC, Florian Voggeneder AEC, Moony, Takehisa Mashimo (JP), Akio Kamisato (JP), Satoshi Shibata (JP) Bhoreal, MID / Alex Posada (ES) Mycotecture Brick Corner, Phil Ross (US) Ars Electronica Export Nomadic Plants, Gilberto Esparza (MX) Perpetual Plastic Project, Better Future Factory (NL) In 2004 Ars Electronica created Ars Electronica ects have been realized, and each one has been spe- Prototype for a new BioMachine, Export, a program dedicated to the production of cially configured together with the hosting partner Ivan Henriques (BR) exhibitions, workshops and education programs for with the aim to involve local as well as international Rotor / mobile hydro, Markus Heinsdorff (DE), and together with partners from all over the world. artists. The activities of Ars Electronica Export play Andreas Zeiselmair (DE), Christoph Helf (DE), The partners are institutions involved in art and cul- an important role in maintaining and extending the Project Fumbaro Eastern Japan, Takeo Saijo (JP) ture, science, and education as well as private sector range of our vital network of artists and creative Protei, Cesar Harada (FR)

companies. Since then, several dozen of such proj- collaborators. Roboy, Rolf Pfeifer (CH) Florian Voggeneder AEC,

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Performance and Media The Ars Electronica Futurelab and two Austrian art- ists working in the field of performance will present their work and invite Café Europa visitors to partici- pate in unique insights while elaborating the inter- sections between traditional, stage-based perfor- mances and new technologies. A video selection of performance-based projects developed from the Ars Electronica Futurelab will showcase an exceptional selection of productions on the interface to media. Austrian composer and artist Mia Zabelka will speak about her electroacoustic interdisciplinary work, Café Europa rounded off by a live electronic music performance. The Austrian Week Additionally, the Austrian dancer and choreogra- Mons 2015 European Capital of Culture Education City with Café Europa pher Dagmar Dachauer will present her video work in Café Europa. The Austrian Week being staged by Mons 2015 Euro- The speed of media evolution makes it more and pean Capital of Culture showcases cultural exchange more challenging to integrate these topics into A collaboration of Ars Electronica Linz with Mons Capital with Ars Electronica. The focus is on the Digital Rev- existing education programs. Information a student Culture 2015, supported by Österreichisches Kulturforum Brüssel and the Bundeskanzleramt – Kultur. olution and its consequences in everyday life. The teacher learns at university may already be outdated objective is to shed light on three important issues: by the time they are actually teaching in the class- Jelena Popic • What impact will digitization and new cultural room. What can we do to bring new technologies, art techniques have on our educational systems & pro- projects and digital “musts” more easily and quickly grams? into an educational setting? • How will digitization and network-linkage affect The Ars Electronica CREATE YOUR WORLD TOUR conventional production processes? aims to take us a huge step closer to a possible • What potential can emerge from combining new answer to this question. What are the educational technologies with traditional—above all, stage- places, methods, and contents in my city besides based—artistic forms? the traditional institutions of school and univer- Ars Electronica will provide a wide array of insight- sity (e.g.Fablabs, Hackspaces, Repair Cafés...)? ful contributions that elaborate on these issues. The exchange between the Café Europa network The ideal venue in which to encounter them is Café with Hans Christian Merten and the CREATE YOUR Europa, a network interconnecting 10 European WORLD Team will focus precisely on these ques- cities. Café Europa combines a 21st century café, a tions, addressing the educational objectives and training center, a Fablab and a wall of screens con- methods. nected to ten European cities.

Project Beehive Mons 2015 European Capital of Culture

Mons (BE) and Pilsen (CZ) are the 2015 European on a specially constructed wall of screens. Beehive is Capitals of Culture. Mons invited Ars Electronica set up in Mons’ Café Europa, which integrates a 21st to stage Project Beehive (a crowdsourced video century café, a training center, a fab lab and a wall documentation tool developed by Ars Electronica) of screens connected to ten European cities. During in conjunction with its art & culture program. The the Ars Electronica Festival in September, there’ll aim is to enable user-generated videos of diverse also be a live remote hookup from Café Europa to cultural events to be conveniently uploaded to a Linz as part of the Austrian Week in Mons. platform, linked with geodata, and then displayed

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Ars Electronica Creative Cloud and Ars Electronica in the Knowledge Capital Osaka, ongoing since June 2013

Ars Electronica Creative Cloud and Ars Electronica in and society. Since 2014 the talks were accompanied March 2014: Matthew Gardiner and Hideaki the Knowledge Capital is a workshop series held in by exhibitions and artwork presentations and this Ogawa, Ori / Art and Making the Knowledge Capital of Osaka in a brand-new cre- program altogether aimed to stimulate social dis- April 2014: Nova Jiang, Hannes Leopoldseder and ative hub for innovation through a fusion of human cussion and action for new creativity based in the Christine Schöpf, The Adventures of You / Art creativity and technology. Fourteen workshops Knowledge Capital Osaka during the whole year as and Expressing were conducted in this cultural program curated Ars Electronica in the Knowledge Capital. May 2014: Manuel Selg, Horst Hörtner and Hideaki by Ars Electronica, including cutting-edge talk ses- Ogawa, Project Genesis / Art and Thinking sions with international artists and Ars Electronica Ars Electronica Creative Cloud 2013 to 2014 members. This event was held under the auspices of June 2013: Zach Lieberman and Gerfried Stocker, Ars Electronica in the Knowledge Capital Knowledge Capital and Kansai Telecasting Corpora- Drawing++ / Creative platform 2014 to 2015 tion (2013–2014). The venue is located in the center July 2013: Sam Auinger and Horst Hörtner, November 6, 2014 – January 25, 2015: Golan Levin, of Osaka, and is a complex facility and incubation Thinking with your ears / Future of Lab exonemo, Gerfried Stocker and Hideaki Ogawa, center for advanced technology and innovation. August 2013: Greg Saul and Christoph Kremer, CODE—The Language of Our Time The Lab in the Knowledge Capital consists of open SketchChair / Future of Education January 29, 2015 – April 19, 2015: Oron Catts, BCL experimental laboratories used by industries and October 2013: Ursula Damm and Martin Honzik, and Hideaki Ogawa, Hybrid—Living in Paradox universities, and the venue functions as a unique Grow your city / Art and Society May 21, 2015 – July 26, 2015: Carlo Ratti, plaplax, intersection where general visitors, industries, uni- November 2013: Michael Doser and Gerfried Gerfried Stocker and Emiko Ogawa, Simplicity— versities, and creators meet. During the Ars Elec- Stocker, Seeing the invisible / Art and Science The Art of Complexity tronica Creative Cloud, three days are filled with December 2013: Christopher Lindinger and Hideaki July 30, 2015 – October 4, 2015: Electric Circus, talks and workshops. On the first day an artist and Ogawa, Digital Creativity / Art and Innovation PLEN Project Committee, KURUMA-IKU Lab and an Ars Electronica member hold the Cloud Talk. The February 2014: Juliane Leitner and Emiko Ogawa, Ars Electronica Futurelab, Robotinity talks provide in-depth insight into many interest- Klangwolke ABC: Parade of Letters / Art and ing topics on the cutting-edge of art, technology Culture

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INTERPLAY Singapore Science Centre 29.05.–16.08.2015

Ars Electronica made its second guest appearance Game Border, Jun Fujiki (JP) at Science Centre Singapore with INTERPLAY—where ArsRecollected, Marek Straszak (PL) science meets art. A mobile version of the Deep Ideogenetic Machine, Nova Jiang (CN) Space, a multidimensional projection and experi- o.lhar (look), Raquel Kogan (BR) ence domain and seven art projects were presented Digital Puppetry, Tine Papendick (DE) to the audience. The fact that both play and art can A Matter of Factory, Softstories (Isobel Knowles entail an abstraction of reality is alluded to by the and Cat Rabbit) (AU) title INTERPLAY and demonstrated by the artistic Shadowgram, Ars Electronica Futurelab (AT) works presented in it. On the exhibition’s opening Deep Space—mobile version, Ars Electronica weekend an Ars Electronica Academy was held. Futurelab (AT), Ars Electronica Solutions (AT) During this two-day conclave, attendees joined the Kinetic light sculpture, Paul Friedlander (UK) participating artists in scrutinizing and questioning Recollections Six and Temporal Distortions, playful approaches in artistic practice today. Ed Tannenbaum (US)

Captives Quayola Vienna, 29.07. – 07.09.2015

Ars Electronica Linz and Bildraum 07 are hosting an exhibition of works by Quayola, the London-based artist and Golden Nica prizewinner. Bildraum O7 is a cultural facility in Vienna operated by Bildrecht GmbH. In his current digital works as well as in Forms, a several-meter-high sculpture from the Captives series that the Prix Ars Electronica honored with a Golden Nica in 2013, the artist interprets Michel- angelo’s uncompleted Prigioni series and updates his renowned non finito technique. The exhibition explores the tension and balance between form and content, as well as between human striving for per- fection and the complex, chaotic forms of nature. AEC, Florian Voggeneder AEC,

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Ars Electronica Animation Festival The Ars Electronica Animation Festival has been screened at the following locations: The Ars Electronica Animation Festival, which Foreign Affairs to make a selection of outstanding 24.10.–27.10.2013 Augsburg, Germany, LAB.30 debuts every year in September at the Ars Electron- submissions for Prix Ars Electronica prize consid- 28.10.–29.10.2013 Kaliningrad, Russia, Ars Electronica in Kaliningrad ica Festival in Linz, has been garnering rave reviews eration available to educational institutions, film 31.10.2013 Moscow, Russia, Media Art Lab from moviegoers ever since its premiere. Every year festivals and cultural organizations. The Blu-rays 06.11.–08.11.2013 Ankara, Turkey, CerModern Arts Centre Ars Electronica is working together with the Aus- are provided free of charge at the Austrian Embassy 08.11.–11.11.2013 Brussels, Belgium, ICT ART CONNECT trian Federal Ministry for Europe, Integration and and Cultural Forum in every country. 12.11.2013 Budapest, Hungary, Grand Café Szeged 22.11.–26.11.2013 Kraków, Poland, International Film Festival Etiuda & Anima 26.11.–30.11.2013 Copenhagen, Denmark, Innovation Festival Afsnit I 09.12.2013–17.01.2014 Munich, Germany, Gasteig Kulturzentrum 11.12.2013 Hagenberg, Austria, University of Applied Sciences Upper Austria 21.01.2014 Strasbourg, France, Musée d’Art moderne et contemporain 30.01.2014 London, UK, Austrian Cultural Forum London 07.03.2014 Bucharest, Romania, National Museum for Contemporary Art 21.03.–18.04.2014 Szczecin, Poland, 13 MUZ 26.03.2014 Rio de Janeiro, Brazil, Cidade das Artes 27.04.2014 Stuttgart, Germany, Internationales Trickfilm-Festival 20.04.2014 Trier, Germany, AUSTRIAR 22.04.–25.04.2014 Ludwigsburg, Germany, FMX 2014 27.04.2014 Kiev, Ukraine, Austrian Film Week – Austrian Cultural Forum Ghost Are Dancing, Maxime Causeret, Hollow land, Michelle and Uri Kranot Gilles-Alexandre Deschaud 07.05.2014 Lublin, Poland, Chatka Zaka: 14.05.2014 Tokyo, Japan, European Animation Film Evening, Austrian Embassy: 17.05.2014 Trnava, Slovakia, Jan Koniarek Gallery 23.05.2014 Gliwice, Poland, Technopark Gliwice 18.06.–16.08.2014 Riga, Latvia, International Contemporary and Video Art Festival Waterpieces 18.06.–21.06.2014 Kosice, Slovakia, OZ Publikum 18.07.–28.09.2014 Sapporo, Japan, Sapporo International Art Festival 04.09.–06.09.2014 Trieste, Italy, Wiener Kunstsalon 04.09.–17.09.2014 Nagoya, Japan, Theater Cafe 12.09.2014 Istanbul, Turkey, Österreichisches Kulturforum Istanbul 19.09.2014 Gliwice, Poland, Media Tent 25.09.–27.09.2014 Maribor, Slovenia, The International Festival for Computer Arts 09.11.2014 Wien, Austria, Stadtkino Wien ESCAPE, Laszlo Zsolt Bordos Plot-O-Mat, Iring Freytag, Florian Werzinski 20.11.2014 Katowice, Poland, Muzeum Śląskie (Filmakademie Baden-Württemberg) 05.12.–07.12.2014 Santa Cruz de Tenerife, Spain, Espacio Enter Canaris 11.12.2014 Hagenberg, Austria, University for Applied Sciences Upper Austria 19.12.2014–31.01.2015 Munich, Germany, Gasteig Open Video 10.02.–11.02.2015 Bytom, Poland, Centre for Contemporary Art Kronika 07.03.2015 Katowice, Poland, Muzeum Śląskie 21.03.2015 Katowice, Poland, Muzeum Śląskie 17.04.2015 Gliwice, Poland, Halo!gen Festival 01.05.–31.08.2015 Hong Kong, Comix Home Base 10.05.2015 Stuttgart, Germany, Metropol Kino 12.05.2015 Lublin, Poland, UMCS – Faculty of Political Science 14.05.–17.05.2015 Helsingor, Denmark, CLICK Festival 18.05.–16.08.2015 Helsingor, Denmark, Kulturværftet y2o {distillé}, dominique T Skoltz (SKOLTZ inc) Portrait, Donato Sansone 27.05–03.06.2015 Riga, Latvia, Art Gallery NOASS 01.07.–30.11.2015 Hong Kong, Hong Kong Arts Centre

368 369 Biographies

Roel Roscam Abbing (NL) is an artist and researcher Tamer Aslan (TR) is an independent creative technologist Anatol Bogendorfer (AT), born in 1979, lives as a free- Aisen Caro Chacin (US), MA, received an MFA in Design dealing with the cultures and issues surrounding net- based in Vienna. He studied Electronics Engineering at lance artist in Linz. He studied audiovisual media and Technology from Parsons in NYC, where she taught worked computation. Currently his topics of interest Sabancı University, Istanbul, and Interaction Design at design at the University of Art and Design Linz and his Physical and Creative Computing. Her radar is on include the Internet’s infrastructure, wireless commu- Domus Academy, Milan. He has worked as a creative engi- fields of activity include music, film, and acoustics. Human-Computer Interaction (HCI), designing new per- nity networks, and DIY techniques. His recent work neer, designer and researcher in Ars Electronica Futurelab Longtime involvement in the independent art and cul- ceptual interfaces, and discovering the limits of digital Border Check, a browser extension that maps how your and his current interests focus on Enchanted Products and tural scene. Various film works: experimental videos, media. She is currently designing assistive devices as Ph.D. data moves across the Internet’s infrastructure while Playful City. http://www.tameraslan.net/ video installations, debut film Innere Blutungen (2013). candidate for the Empowerment Informatics program at you surf the web, was realized during a Summer Ses- As a member of the Linz-based Acoustic City laboratory University of Tsukuba, Japan. Herwig Bachmann (AT) was for many years in charge of sions artist in residency at LABoral in Gijón. since its founding in 2007, Bogendorfer has been inten- visual communication for the Poolbar Festival in Feldkirch, Hui CHENG (CN) is currently working at the Planning Infor- sively dealing with acoustic environments as socio-po- Búi Bjarmar Aðalsteinsson (IC) studied Psychology and Austria—a retrospective is now being shown at the Vorarl- mation Center of Beijing Municipal Institute of City Plan- litical and artistically designable spaces. Applied Studies in Culture and Communication at the berg Museum in Bregenz. ning & Design, focusing on research and development of University of Iceland, and Product Design at the Icelan- Florian Born (DE) is an interaction designer, who works GIS technology. CHENG aims to build urban planning sup- Michael Badics (AT) is senior director of AE Solutions, a dic Academy of the Arts. He has worked for Brynjar between media arts and media design. His projects port systems and planning platforms by applying advanced new division of Ars Electronica, and is responsible for Sigurðarson. focus on connecting the virtual with the physical world. technology. developing the most promising prototypes and research He works with new technologies, the field of creative alien productions (AT) was founded in 1997 by Andrea results of the Ars Electronica context into products ready Fernando Comerón (ES) has carried out research in astro- coding, and crafting things. He currently lives in Berlin, Sodomka, Martin Breindl, Norbert Math, and August for real-world implementation, especially in the fields of physics at the University of Barcelona (Spain), the Obser- where he studies new media in a master program at the Black as a network of artists working with new techno- Urban Development and Brandlands & Exhibitions. He vatory of Paris Meudon (France), the University of Arizona University of the Arts Berlin. He also works for the logies and media. They have all been working in cross- studied Computer Science at Johannes Kepler University (USA) and, since 1995, at the European Southern Observa- German research agency Fraunhofer-Gesellschaft. over fields since 1985, working with other artists, tech- in Linz and was founder and managing director of Memet- tory (ESO). He was involved in observatory operations for http://florianborn.com/ nicians, theorists, and scientists from the most diverse ics GmbH in Berlin. After 15 years working as software over 15 years and was head of the ESO Data Management fields in an interdisciplinary way. Their works include engineer and manager in the multinational software com- Bernhard Böhm (AT) is a researcher and cultural worker, and Operations Division, Germany, before moving to Chile, performances, installations, electronic music, net art, pany Fabasoft AG, he co-managed the Ars Electronica currently working on his PhD in architecture at the ETH where he became head of the ESO Representation in Chile radio art, sound art, interactive art, video, visual art, Futurelab for about 8 years. http://www.aec.at/solutions Zürich. His research involves a comparison of different in 2013. His research interests are star formation, galactic and artistic photography. alien productions are regu- knowledge production cultures in architecture, in the structure, and young stellar objects at both high and low Ian Banerjee (IN/AT) is an architect, urban planner and larly involved in pioneering collaborative radio and USA, Germany and Great Britain. He studied Sociology masses, and he has published over 80 papers in these educational researcher living in Vienna. He studied archi- Internet projects. http://alien.mur.at (BA) and Science—Technology—Society (STS) (MA) at fields in international journals. tecture and wrote his Masters thesis on the planning prin- the University of Vienna and worked for 8 years for Anarchy Dance Theatre (TW) breaks free from the tra- ciples of Curitiba—the “ecological capital” of Brazil. He Şirin Bahar Demirel (TR) graduated from the cinema Ars Electronica as a producer, content manager, and ditional restraints of theater, producing an entirely new then worked for several years at the Austrian Broadcasting department at Galatasaray University, Istanbul in 2010 researcher. He was also involved in the project www. performance space with the dancers, audience, inter- Corporation (ORF) and the German Satellite TV (3Sat) as and finished her MA in Artistic Direction of Cultural Proj- transformingfreedome.org, an open online archive for activity, theater, and environment as its main elements. a consultant for documentaries on urban innovations. He ects at Université Paul Valéry, France. She has worked as digital culture and politics. It explores the intricate power structures and personal joined the Centre of Sociology (ISRA) at Vienna University assistant director in feature documentaries. She continues relationships in today’s powerful social structures and of Technology as assistant professor in 2008, where he Anita Brunnauer aka nita. (AT) is a Vienna-based to work on her photography, video, and street art projects the relationships between time, space, objects and started researching the interrelations between strategic graphic designer who studied Multimedia Arts at the in Istanbul. people. spatial planning and educational planning. His main inter- University of Applied Sciences in Salzburg. In 2014 nita. Klaus Dieterstorfer (AT) is an energy and environmental est today is to study the global trends in urbanism and the founded her own multidisciplinary studio for visual arts. Peter Androsch (AT) is a composer, musician, artist, engineer with a specific focus on development coopera- dynamics of learning in the city. She is also a member of sound:frame’s AV label and researcher, writer, and lecturer. Intensive compositional tion. He has been working in this field since 2006, starting Duzz Down San Records. The visual style can be under- activity in the fields of musical theater, multimedia, Cédric Brandily (FR) is an artist and performer. He studied with building an orphanage in Kathmandu (Nepal), fol- stood as constant interplay between daydream & night orchestra, chamber music, choir, electroacoustics, and archaeology, arts and architecture at the Reina Sofia lowed by a series of technical aid projects in Nepal, Kenya, watch, surface & depth of flotation. stage and film music. 2012 nomination for the German National Art Museum’s university department in Madrid, Sudan, and Uganda. In 2013 he joined Engineers without http://www.studionita.at/ “Faust” Stage Art Award. Lecturer at the University of and quickly turned to a career in visual arts and perfor- Borders Austria. Since 2014 he has been on the executive Arts and Design Linz since 2003. Musical director of mance. His work draws both on Canadian and French sit- Michael Burk (DE) is an interaction designer and media board of Engineers without Borders Austria. Linz 2009 European Capital of Culture from 2006 to uationist performance practices and on the Fluxus move- artist based in Berlin. Focusing on the design of spatial Wolfgang “Fadi” Dorninger (AT). Sound stands at the cen- 2010, as well as the founder and head of Hörstadt. ment. media environments and physical interfaces, he pur- ter of Wolfgang Dorninger’s artistic work, as the operator sues the creation of enriching experiences that estab- Norbert Artner (AT) is a visual artist from Linz. He stud- Mónica Bello (ES) is an independent curator and art critic of the experimental music label base, performer, composer lish a meaningful relation with the user or spectator, ied Metal Sculpturing at the University of Art and with expertise in art and science. Since March 2015 she is of theater and film music, sound designer, sound artist or and covers a wide range from thought-provoking critical Design Linz and became a member of the academic the new head of Arts@CERN in Geneva—the artistic pro- lecturer at the University of Art and Design Linz. Two dia- design to immersive interactive environments that staff there in 1995. He has participated in many exhi- gram with the mission to establish links between the metrically opposed sound worlds dominate the work, blend the boundaries between the virtual and the phys- bitions and his work has been shown internationally. worlds of science, art, and technology. which is located between digital sound generation and ical. Recent projects were realized for public spaces and Works from his series Studios have been shown at Ars concrete ambient noises. The arrays range from concer- museums, reaching a broad and diverse audience. Electronica 2011. www.norbertartner.com tante space-sound-installations, multimedia perfor- mances and acoustic presentations to theater music and techno. http://dorninger.servus.at

370 371 Eddea Arquitectura y Urbanismo (ES/AT) is a leading Ingrid Fischer-Schreiber (AT) is a translator, editor, and Rosi Grillmair (AT) is an artistic researcher and cultural Martin Hieslmair (AT) has been the Ars Electronica Cen- international firm in Strategic Economic and Urban project manager. Since the 1980s she has been a freelance worker interested in the institutional art world and dig- ter’s editor and press photographer since 2012. He’s also Design, Urban Planning, Architecture, Construction and translator, working for major German publishers, focusing ital art within its virtual habitat. She studied interac- on the staff of Ars Electronica’s press department, where Project Management, moving between Design, Technol- on Chinese philosophy, digital culture, and societal ques- tive media in Linz and Milan and works mainly with his responsibilities including website content and blog- ogy, and Business and working to create the conditions tions. Since the mid 90s, she has been working on projects real-time processing and data visualization. She has ging. Before that, he was website photo editor at the ORF for a new dialog between Society, Nature, and Economy. for Ars Electronica as editor and curator. Most recently, she been involved in the organization of digital art events – Austrian Broadcasting Company’s Vienna headquarters. Working globally, and with more than 25 years of expe- is engaged in cultural exchange projects related to China. like Ars Electronica Festival and NODE Forum for Digital He studied political science, majoring in visual communi- rience, the right combination of strategic thinking and http://yingeli.net Arts/Frankfurt and belonged to the group of students cation. innovation, quality design and accuracy, serves to meet who won the Golden Nica in the u19 – CREATE YOUR Christoph Fraundorfer (AT) is architect, designer and Andreas J. Hirsch (AT) is a photographer, writer and cura- the expectations of each individual client. WORLD, Prix Ars Electronica in 2011. founder of the bicycle-startup myESEL located in Linz. tor based in Vienna, Austria. He recently exhibited his Floris Erich (NL), studied Computer Science and Busi- During his architecture studies in Vienna he focused on Jürgen Hagler (AT) is an associate professor in the Digi- series on Vienna The Nocturnes of Day (2014) and the pho- ness Information Technology at the University of product and furniture design and realized various projects tal Media department at the Upper Austria University tographic investigation BLOW ME UP NOW (2014). He Twente, NL and is currently Special Fellow at University with THUM architects, Atelier Löwy and Querkraft archi- of Applied Sciences (Hagenberg, Austria) and is in curated exhibitions of photographers including Tina of Tsukuba, Japan, where he is working on his doctoral tects. Since 2012 he has his own company Von Johann— charge of computer animation and animation studies. Modotti, René Burri, Henri Cartier-Bresson, Elliott Erwitt, thesis in Empowerment Informatics. He is studying design and prototype production (carbon & fiberglass He became the program coordinator for the Digital Arts and Linda McCartney. www.andreas-hirsch.net Software Engineering in Robotics, and how interdisci- composites). master’s degree in 2009. Since 2008 he has been Andreas Hofer (AT) studied architecture in Vienna and plinary teams can efficiently and effectively create http://www.my-esel.com/, http://www.vonjohann.com/ actively involved in Prix Ars Electronica and in 2009 he Bogotá. He is currently Assistant Professor at the Institute innovative new technologies. became curator of Ars Electronica Animation Festival. Wolfgang Fuchs (AT) lives in Linz and has been producing for Urban Design and Landscape Architecture at Vienna Nick Ervinck (BE) explores the boundaries between projects in a wide array of genres—noise, free improvisa- Johann Hammerschmid (AT) used to build manufactur- University of Technology, and has worked on his PhD in various media, fostering a cross-pollination between tion, new music, dance and radio—as well as numerous ing facilities until he decided to found the startup Urbanism (2000), cooperation projects, and teaching and the digital and the physical. Studio Nick Ervinck applies works in the visual arts since the late 1990s. Johammer e-mobility GmbH, developing a futuristic research on international and informal urban develop- tools and techniques from new media, in order to electric cruiser with innovative energy technology ment. He undertook further teaching and research assign- Shiho Fukuhara (JP) is part of the artist duo BCL, collab- explore the aesthetic potential of sculpture, 3D prints, based on lithium-ion-batteries. ments at RWTH Aachen, Universidad Nacional de Colom- orating with Georg Tremmel on art projects that explore animation, installation, architecture and design. bia, and Lviv Polytechnic National University (Ukraine). the impact of biotechnologies on society—and human per- Brian Harms (US) is a Research Engineer within the Ervinck’s work, in short, oscillates between the static ception of these coming changes—at the Institute of Med- Think Tank Team at Samsung Research America, Silicon Peter Holzkorn (AT) is an artist and researcher at the Ars and the dynamic, prospecting new virtual or utopian ical Science, University of Tokyo. Valley. With an academic background in Architectural Electronica Futurelab, and coordinates programs for the territories. Design and Robotics, his work focuses on rethinking Futurelab Academy. Gerhard Funk (AT) studied mathematics and art education exonemo (JP) is an artist duo, formed in 1996 by Yae and improving the ever-changing relationship between in Linz and received his PhD in theoretical computer sci- Horst Hörtner (AT) is a media artist and researcher. He is Akaiwa and Kensuke Sembo. Their experimental pro- digital tools and processes of design and fabrication. ence. As a high-school teacher he taught art education, an expert in the design of human-computer interaction jects are typically humorous and innovative explora- mathematics, and informatics, and worked in parallel as Daniela Herold (AT) is an architect based in Linz and and holds several patents in this field. Hörtner was a tions of the paradoxes of digital and analog computer an assistant and researcher at RISC Linz. In 1993 he trans- Vienna. From 2005 till 2009 she taught at the Institute founding member of the Ars Electronica Futurelab in 1996 networked and actual environments in our lives. Their ferred to the University of Art and Design Linz, where he of Space and Design Strategies at the University of Art and since then he has been the director of this atelier/ The Road Movie won the Golden Nica for Net Vision established an education program for digital media and and Design Linz, and has been an assistant professor laboratory. He started work in the field of media art in the category at Prix Ars Electronica 2006. They have been developed the e-learning platform Digital Media for Artists at the Institute for Art and Architecture at the Academy 1980s and co-founded the media-art group x-space in Graz, organizing the IDPW gatherings and Internet Yami-Ichi (DMA). Since 2004 he has been a full professor at the Insti- of Fine Arts Vienna since 2009. She runs her own busi- Austria, in 1990. Horst Hörtner works at the nexus of art since 2012. http://exonemo.com tute of Media and the head of the bachelor’s degree pro- ness together with Rolf Touzimsky and Wolfram and science and gives lectures and talks at numerous Ursula Feuersinger (AT) is a graphic and video designer gram Time-based and Interactive Media, which he con- Mehlem. international conferences and universities. based in Vienna, Austria. After studying Information ceived. Carina Hesper (NL) is an artist who predominantly Lukas Maximilian Hüller (AT) studied photography at La Design with a focus on media and interaction, she Takayuki Furuta (JP) is group leader of the robot develop- works with photography, often within the realm of Cambre in Brussels. He follows a multidisciplinary worked in Berlin as a video designer and produced stage ment project at Japan Science and Technology Agency and fashion. She is fascinated by the passing of time and approach in his work, focusing on the phenomenon “time” projections for theatrical works. In 2007 she moved to founder (2003) and general manager of the Future Robot- many of her works capture the traces time leaves on in staged, narrative photography and installation projects Vienna, where she has been active as a video artist, ics Technology Center at Chiba Institute of Technology. He people, objects, and environments. She developed her with real people, and his works question cultural and visual performer, and as exhibition, brand, web, and has created many state-of-the-art robots, including Halluc work Portrait Series as part of a Summer Sessions art- human values by using photography to create moments print designer. In 2013 she founded her own graphic and II (2007) and ILY-A (2015), and developed various robots ist in residency at V2_Institute for the Unstable Media of illusion. His engagement with historical painting and motion design studio. http://ursulafeuersinger.com/ that are deployed in severe disaster areas, such as the in Rotterdam. collaboration with other artists play a decisive role in FIELD (UK) is a London based studio, creating expres- Fukushima nuclear disaster site. Hüller’s work. Rolf-Dieter Heuer (DE) is a particle physicist and Direc- sive and dynamic artworks such as audio-visual instal- Matthew Gardiner (AU/AT) is an artist most well known tor-General of CERN since 2009. Salvatore Iaconesi aka xdxd.vs.xdxd (IT) is an interaction lations, experiences for web and mobile, and shareable for his work with origami and robotics. He coined the term designer, robotics engineer, artist, and hacker, and teaches digital artifacts for digital platforms. Led by co-found- Oribot and then created the field of art / science Near Future Design at the Faculty of Architecture at Sapi- ers Marcus Wendt and Vera-Maria Glahn, the studio 折りボト research called Oribotics. Oribotics is a field of research enza University of Rome and ISIA Design Florence. TED explores Colour, Life, and Infinity through new technol- that thrives on the aesthetic, biomechanic, and morpho- Fellow 2012, Eisenhower Fellow since 2013, and Yale World ogy and a research-led approach—hi-tech experiences logical connections between nature, origami, and robotics. Fellow 2014. Iaconesi is the founder of Art is Open Source with a human touch. and Human Ecosystems, and Principal Investigator at Ubiquitous Commons.

372 373 IDPW (JP) is a community meeting place connecting the Derrick de Kerckhove (CA/IT) is a guru of the digital age, Wolfgang C. Kuthan (AT/FR) originally from Austria, is Robert Lippok (DE) lives in Berlin, where he’s a musician, real site and the website which was created by exon- who, as a student of the great master Marshall McLuhan, a French multi-talent—director, author and photogra- visual artist, and set designer. Among the countless musi- emo duo Kensuke Sembo and Yae Akaiwa. It is a loose directed the McLuhan Program in Culture & Technology of pher—who worked as an art director in the Paris fashion cal projects he’s been involved in are Ornament und Ver- artists’ collective that meets on a monthly basis and Toronto between 1983 and 2008. He is Scientific Advisor scene for twenty years. He has been working on Sound- brechen and the band To Rococo Rot. has approx. 10 members who operate as “a secret soci- of the association Osservatorio TuttiMedia, scientific Ritual (concept, direction, and production) since 2011. Nestor Lizalde (ES) is an artist whose work focuses on the ety on the internet that goes back more than 100 years”, director of the digital culture magazine Media Duemila, Lois Lammerhuber (AT) is a self-taught artist who, creation of electronic devices, audiovisual systems and and descend on various internet scenes. Projects research supervisor of the Planetary Collegium T-Node in since 1984, has worked closely together with GEO mag- interactive installations that explore the possibilities of include Internet Black Market, Whatever Button (“New Trento, and creator along with Maria Pia Rossignaud of the azine. His pictures have been published in hundreds of art through the so-called New Media. With a broad edu- Face” award at the 17th Japan Media Arts Festival 2012), Atelier of Connective Intelligence. Digital Champion of the books and magazines and earned him international cational background: BA in Fine Arts, Master in Visual Arts and Text Party. City of Rome. awards, including three times the Graphis Photo and Multimedia, Higher Education in Design & Electronics, Hiroo Iwata (JP) is a professor at the University of Hyungjoong Kim (KR) is a media artist whose artistic Awards for the world’s best photo report of the year. He the artist creates a dialogue between technological exper- Tsukuba, where he leads research projects on virtual research focuses on the field of audio-visual interaction joined the Art Directors Club New York in 1994. In 1996 imentation and artistic tradition, exploring the possibili- reality and Device Art. His research interests include where he explores the visualization of sound and music in he set up Edition Lammerhuber publishing house. In ties to develop new approaches. Winner of multiple haptic interfaces, locomotion interfaces and spatially order to let the audience experience the convergence of 2013 and in 2015 Lois Lammerhuber was judged Best awards, lecturer in specialized forums, and regular con- immersive display. He received a PhD in engineering technology and humans. He works as Research Assistant Editor at the FEP European Photo Book of the Year tributor to art and technology centers. from the University of Tokyo in 1986 and won honorary at KAIST University, South Korea, in the Information Awards. In 2014 he received the Republic of Austria’s Félix Luque and Iñigo Bilbao (ES), create audiovisual and mentions at Prix Ars Electronica 1996 and 2001. In 2004 Based Design Research Group and at the Music and Audio Cross of Honour, First Class, for Science and Art. sculptural artworks, for which they experiment with dif- he launched the Device Art Project. He is now head of Computing Lab. Johannes Langeder (AT) studied Experimental Art at ferent 3D scanning-animation techniques, develop soft- the PhD program in Empowerment Informatics. Simon Klose (SE) holds a law degree from Stockholm Uni- the University of Art and Design Linz. His current proj- ware / hardware, and use digital fabrication technologies. Werner Jauk (AT) is a musicologist/psychologist and versity. He has produced and directed a number of music ects are Vienna Biennale 2015—Ideas for change; Linz They have exhibited their works at Transmediale (Berlin), scientific media artist, and Professor of Musicology at videos and music documentaries. In 2013 he released the Bicycle Happening, Lentos Art Museum, Linz. Ars Electronica (Linz), iMAL (Brussels), LABoral (Gijón), the University of Graz (KFU), working on music + media/ documentary TPB AFK: The Pirate Bay Away From Key- www.han-lan.com Bozar (Fine Arts Museum Brussels), and BIAN (Musée d’art art, with the focus on music as a role model for media board. Simon Klose is also the founder of the startup Lin- contemporain de Montréal), among others. Johannes Langkamp (DE/NL) experiments with the arts. Studies in perception, cybernetics, and experimen- klib.org, that lets film lovers connect their phones to extra features and limitations of digital media. Inspired by SAINT MACHINE aka Marilena Oprescu Singer (RO) is a tal aesthetics led him to try and bridge the gap between information about documentaries. the everyday, he turns straightforward observations multimedia artist with curatorial background. She studied science and arts. He has published many scientific Roland Krebs (AT) is an Austrian urban planning specialist into presentations of unusual takes on reality. In a literature as well as communication and art history before papers and exhibited installations as a scientific artist with experience in strategy planning, project development recent series of works, which Langkamp initiated as a starting experimenting with juxtaposition of real and vir- at international festivals such as Ars Electronica, Cyn- and management and urban design. He holds a Master in Summer Sessions artist in residence at Chronus Art tual space and playing with form and ideas. Her main proj- etart, liquid music, and Biennale di Venezia. Urban and Regional Planning from Vienna University of Center in Shanghai, he highlighted the camera’s rela- ects are Cannibal (2015), Feed Me (2014), Authentic Roma- Maša Jazbec (SL) studied Fine Arts in Maribor and Inter- Technology, 2001, and a Master of Business Administration tionship to the space it captures. nian (2011), Playground for Animation (2009), Urban Art face Culture in Linz. She works mainly in the field of from Universidad de Belgrano, Buenos Aires, 2007, and is Festival (2007, 2008, 2009), and Artmix / Mousetrap (2005). Jess Ching-wa LAU (HK) is a media and illustration art- video and interactive installations, and is a founding working as planner, designer and researcher at the Univer- ist from Hong Kong. She often focuses on the relations Thomas Macho (AT/DE) has been professor of Cultural member of the art group V.A.T. (Visual Alternative sity of Technology in Vienna and the Inter-American Devel- between animation and contemporary arts in general History at Humboldt University of Berlin since 1993. He Trbovlje). opment Bank in Washington, DC. in her works. was co-founder of the Hermann von Helmholtz-Zentrum Yasuaki KAKEHI (JP) is an interactive media designer & Ann-Katrin Krenz (DE) is an interaction designer and für Kulturtechnik and Dean of the Faculty of Philosophy Lawine Torrèn (AT), founded by Hubert Lepka, is an researcher. He is associate professor of Keio University, media artist based in Berlin. Her work ranges from rich III (2006–2008); Fellow at the Internationales Kolleg für artists’ network working in the fields of art, economy Co-founder and director of plaplax ltd. Presently he is interactive installations and environments to generative Kulturtechnikforschung und Medienphilosophie (IKKM) at and science. Since 1992 the group of dancers, actors, Visiting Associate Professor at MIT Medialab. design and visual explorations with pixels, pen, and paper. the Bauhaus-Universität Weimar (2008–2009); Head of media artists, and technicians turns existing places She is currently working on her master thesis in the Digi- the Institute of Cultural Theory and History (2009–2011); Jonathan Keep (ZA) is an artist potter and a leading into stages for its dramatic art which lies outside tra- tale Klasse held by Joachim Sauter and Jussi Ängeslevä at and Fellow of the Internationales Kolleg Morphomata at exponent of studio-based ceramic 3D printing. The ditional formal categories. Dance, theatre, media art, the University of the Arts Berlin. the University of Cologne from 2013/14. shapes of his pots are written in computer code, which and music merge with machines and techniques, and is passed to his self-designed 3D printer that prints out Jurij V. Krpan (SI) At the initiative of the student organi- thus create sensitive yet breathtaking performances. Alexander Mankowsky (DE) studied philosophy, psychol- the pots in clay, layer by layer. He has won various zation of the University of Ljubljana he conceived the ogy and sociology at the Free University of Berlin and Christopher Lindinger (AT) is co-director of the Ars awards, undertaken artist residencies, lectured, held Kapelica Gallery—Gallery for Contemporary Investigative worked for four years in social services helping troubled Electronica Futurelab and is responsible for the areas workshops, and exhibited widely in the UK and abroad. Arts in 1995, which he has been running since then. As children, before starting postgraduate studies with a focus of research and innovations. His work is characterized http://www.keep-art.co.uk/ curator and selector he has contributed to domestic and on the then new field of Artificial Intelligence and becom- by cooperations with international partners with whom international festivals. In 2014 he co-curated the Design- ing a Knowledge Engineer. Since 1989 he has been working he develops entrepreneurial innovation strategies or ing Life section for the Product Design Biennale in Lju- in the research unit at Daimler AG, initially focusing on shifts concepts and trends of radical innovations for bljana and curated the Slovenian pavilion at the Venice societal trends in mobility, which led him in 2001 to his social future scenarios. Lindinger has worked together Architecture Biennale. He started 2015 as curator of the current field of work—Futures Studies & Ideation. with large companies like Daimler, Toshiba, Vodafone, Freies Museum Berlin. Jurij Krpan lectures on the artistic Honda Robotics, and Nokia in the past few years. profile of the Kapelica Gallery in Slovenia as well as abroad. Beyond that, he advises local authorities and govern- ment institutions on the formation and development of a creative industry and lectures at several European universities. 374 375 Mingrui MAO (CN) is Associate Director of the Planning Geeta Mehta (IN/US) is an adjunct professor of architec- NOPER aka Radu Pop (RU) is an illustrator and anima- Máté Pacsika (HU/NL) develops theatrical interactive Information Center of Beijing Municipal Institute Of ture and urban design at Columbia University in New York. tor artist. He graduated the National University of Arts installations inspired by cinematic techniques. In his City Planning & Design BICP; Director of the Urban Plan- She is the founder of Asia Initiatives (www.asia- in Bucharest where he experimented with and devel- recent work Vertigo System for example, which he devel- ning Society of Beijing (UPSB); Associate Director of initiatives.org), where she developed Social Capital Credits oped his inner visual world. His fresh weird artworks oped at Chronus Art Center in Shanghai during a Summer Beijing City Lab; and Director of CITYIF Urban Planning (SoCCs). This breakthrough virtual currency for social good were featured in albums such as Luerzer’s 200 Best Sessions artist in residency, he translates the well-known Cloud Platform. is currently in use in projects in USA, India, Ghana, Kenya, Illustrators Worldwide 2009–2010 and opened doors to cinematic techniques known as the “vertigo effect” into and Costa Rica. Geeta is also the co-founder of a think- collaborations with international galleries for projects a physical interactive experience. Julian Melchiorri (UK/IT) is a designer engineer and tank—URBZ: User Generated Cities, located in Mumbai. such as Feed Me (2014), Cranium (2012), Bold (2010), As innovator based in London. His works, located between Veronika Pauser (AT) works as producer, artist, and www.urbz.net if by Magic (2010), and Urban Art Festival (2007, 2008, art and science, explore new scenarios and experiences researcher at the Ars Electronica Futurelab. In addition to 2009). through innovative experimentations of materials, Laurent Mignonneau and Christa Sommerer (AT) are inter- her master studies in Interface Culture at the University functions and interactions between people, objects, nationally renowned media artists, researchers, and pio- Madeleine O’Dea (AU) is a writer and journalist who has of Art and Design Linz, she did a Master of Science in Dig- and the built environment. After studying industrial neers in the field of interactive art. For 25 years now they been covering the political, economic, and cultural life ital Media at the University of Applied Sciences in Hagen- design in Rome and Australia, Julian designed and engi- have been exhibiting their works worldwide, and they have of China for the past three decades. She first reported berg. Her main focus of interest is the design of interactive neered for the Italian Lighting company Catellani & won numerous awards such as the 2012 Wu Guanzhong Art from China as the Beijing correspondent for The Aus- installations and performances at the borderline of art and Smith where he explored light as a tool for space and and Science Innovation Prize of the Ministry of Culture of tralian Financial Review newspaper in the late 1980s, technology. material perception. the PRC and the Golden Nica of the 1994 Prix Ars Electron- and subsequently covered the country throughout the Hannah Perner-Wilson (AT) is a designer who combines ica. They are professors and heads of the Interface Cultures ‘90s as a producer with Australia’s ABC Television. In Martina Mara (AT) obtained her doctorate in media conductive materials and craft techniques, developing Department at the University of Art and Design Linz, and the 2000s she took up a position as a presenter and psychology from the University of Koblenz-Landau. As new styles of building electronics that emphasize mate- guest professors at Aalborg University in Denmark and the editor with China Radio International and later served a Key Researcher at the Ars Electronica Futurelab, she riality and process. She has a BA in Industrial Design from Université Paris 8. as the Arts Editor for the Beijinger magazine. In 2010 is responsible for the research field of RoboPsychology. the University of Art and Design Linz and an MA in Media she joined Blouin Media as the founding Editor-in-Chief Together with international partners from academia Soichiro Mihara (JP) questions the relationship between Arts and Sciences from the MIT Media Lab. Since 2006 of ARTINFO China and the Asia Editor of Art+Auction and industry, she particularly addresses how robots technology and society in his works. In 2011, in the after- Hannah has collaborated with Mika Satomi, forming the and Modern Painters magazines. She is currently com- should look, behave, and communicate in order to math of the eastern Japan earthquake, he started the collective KOBAKANT. pleting an intimate history of contemporary China—The establish high user acceptance and comfortable inter- blank project. He has exhibited his award-winning projects Phoenix Years—which will be published by Allen & Oriana Persico aka penelope.di.pixel (IT) is an artist, action experiences. Martina also lectures at several internationally. The world filled with blank (2013, Kun- Unwin in September 2016. cyber-ecologist, and an expert in participatory policies and universities and has been giving talks at leading con- stquartier Kreuzberg/Bethanien) and Sapporo Interna- digital inclusion. She has worked with national govern- ferences. Due not least to her professional background tional Art Festival (2014, Sapporo Art Park); Soundart— Dietmar Offenhuber (AT) is assistant professor at ments and the European Union on best practice and in journalism, she considers herself as a communicator sound is a medium of art (2012, ZKM); Open Space (2012, Northeastern University, Boston, in the departments of research in the areas of digital rights, social and techno- between basic social research, emerging technologies, NTTICC); Simple Interaction—soundart from Japan (2011, Art + Design and Public Policy. He holds a PhD in Urban logical innovation, practices for participation, and knowl- and the public. Museum of Contemporary Art Roskilde); ISEA 2010 Ruhr Planning from MIT, and studied at the MIT Media Lab edge sharing. She teaches Near Future Design at ISIA (2010, Kunstverein Dortmund), and many more. and TU Vienna. Dietmar investigates urban infrastruc- Marie Masson (DK) graduated from McGill University, Design Florence, and is co-founder of Art is Open Source ture such as formal and informal waste systems and Quebec, in Political Science & Economic Development, Peter Moosgaard (AT) studied philosophy and digital art and the Human Ecosystems event, and is Investigator and has published books on the subjects of Urban Data, and interned for the UN Youth Envoy as Communica- at the University of Applied Arts Vienna. He is the Partnerships Manager at Ubiquitous Commons. Accountability Technologies, and Urban Informatics. tions Coordinator for a youth campaign. She is co-founder of TRAUMAWIEN publishing and specializes Robert Pöcksteiner (AT) is a film producer and director, co-founder of SOCENT, a network of social entrepre- in Cargo Cults and Shanzhai as global post-digital tech- Hideaki Ogawa (JP) is an artist, curator and researcher founder of Don’t Panic Production. Collaboration with neurs in Quebec, and a board member of MyVision—a niques. http://www.cargoclub.tumblr.com in the field of art, technology, and society. He is a rep- Lukas Maximilian Hüller on the documentary film project global movement of young social entrepreneurs. Since resentative and artistic director of the media artist Ou Ning (CN) has been living and working in the Bishan Snapshots in Time: The Children of Zaatari about children April 2015, she is the International Assistant of Hans group “h.o”, www.howeb.org. Currently he also works in Commune, a group devoted to the rural reconstruction in the Zaatari refugee camp in Jordan (2014). Reitz at the Grameen Creative Lab. the Ars Electronica Futurelab and has realized many movement in China, since 2011. He works as a publisher projects for research, festivals, and the Ars Electronica Susa Pop (DE) is an urban media curator and producer Hannes Mayer (EU), born 1981 in Stuttgart, is an archi- (New Sound of Beijing, 1997; Liu Xiaodong’s Hotan Project Center. based in Berlin. In 2003 she founded Public Art Lab (PAL) tect, writer, educator, curator, lichenologist, and musi- and Xinjiang Research, 2014; and the literary bimonthly as a network of experts from the fields of urban planning, cian. Before joining the Academy of Fine Arts as the journal Chutzpah! 2011–2014). As a curator, he initiated the Julian Oliver (NZ) is a Critical Engineer and artist based new media arts and IT to develop urban media art projects Roland Rainer Chair 2014/15, he was the director and biennial art and design exhibition Get It Louder (2005, in Berlin. His work and lectures have been presented at for participatory place-making and co-creation of our cit- editor-in-chief of archithese. Parallel to his work as an 2007, 2010), among others. He was the chief curator of the many museums, galleries, international electronic art ies—like the Media Facades Festivals (together with Mir- editor, he was a studio master (unit 20) and thesis 2009 Shenzhen & Hong Kong Bi-city Biennale of Urbanism events and conferences, including the Tate Modern, the jam Struppek) and the EU funded artistic research project supervisor at the Bartlett School of Architecture, Uni- and Architecture. As a filmmaker, he is known for urban Chaos Computer Congress, FILE, and the Japan Media Connecting Cities Network. versity College London. In 2007 he established his own research and documentary projects. Arts Festival. Julian has received several awards, most office—M-A-O/architecture and optimism—in London. notably the Golden Nica at Prix Ars Electronica 2011 for Naoki NISHIMURA (JP) is a designer at design studio THA. the project Newstweek (with Daniil Vasiliev). http://please.bouze.me/ http://julianoliver.com

376 377 Robert Pravda (NL/RS) is a sound artist, composer, and Hans Reitz (DE) spent 7 years living a simple life in South- Dorota Sadovská (SK) lives in Bratislava. She received Meinhard Schwaiger (AT) is an inventor. He studied performer. He studied interdisciplinary art in the Image ern India and can relate to problems of poverty. In 1994, a Masters in Painting from the Academy of Fine Arts mechanical engineering and has been working in R&D and and Sound department at the Academy of Fine Arts, he founded the event and creative communication agency and Design in Bratislava in 1997 and works in a variety technical management since 1982. He is the founder / Music and Dance in the Hague. During and after his circ and in 2004, the café chain Perfect Day, a social busi- of media including photography, installation and video. co-founder and CEO of three companies. His many awards studies he concentrated on building instruments for ness. H. Reitz became the Creative Advisor to Nobel Lau- Sadovská focuses on the body—not in the traditional include the Gold Solvin Innovation Award in 2007; the 2011 multimedia performances, performing and composing reate Muhammad Yunus, and together they founded The depiction of a nude sense, but in a spiritual sense. Green Dot Awards; nominations for the State Award Con- for spatial sound and light installations. From 2002 ‘till Grameen Creative Lab to spread Yunus’ concept of social sulting in 2009 and 2013; the Upper Austria Innovation Katja Schechtner (AT) holds a dual appointment with present, he has been teaching sound related courses business all over the world. Award; the Austrian Patent Office Inventum Award in MIT Media Lab and the Asian Development Bank to and developing research projects as a member of the 2012; and the Linzer Company of the Year Award in 2013. Markus Riebe (AT) studied at the University of Art and create and implement large-scale urban technology teaching team at the ArtScience department of the Design Linz and has had a studio for Digital Art and Media investment programs by integrating new data technol- Hannes Seebacher (AT) is a self-taught artist who works Royal Academy of Art and the Royal Conservatoire in in Gallneukirchen since 1986. He has been involved in many ogies with best practices in urban planning and man- in multidisciplinary fields. He shares a creative partnership the Hague. exhibitions, including Chicago Siggraph; Third Interna- agement. She has a background in architecture, urban with Lukas Hüller and together they founded the Austrian Julian Pröll (AT) is an artist and a designer who studied tional Symposium on Electronic Art, Sydney; Computer Art, studies, management and technology assessment organization KulturSpiel and the London Play Foundation— Industrial Design at FH Joanneum, Graz, and started at Gladbeck; Künstlerhaus Vienna; OÖ Landesgalerie; OK, from Columbia University, NY, Danube University Krems, in collaboration with other social and humanitarian net- the formquadrat graphic design agency in Linz in 2010. Linz; and OÖ Kunstverein. and Vienna University of Technology. Most recently she works and partners—in order to develop and realize art His projects have won several awards, including the Red has been selected as a Rockefeller Global Social Inno- projects that question values and use (visual) art to pro- Kristien Ring (DE) is an architect, curator, and publicist, Dot Award, iF design award, Plus X Award, and the Aus- vation Fellow. voke sociopolitical engagement. and founder of AA PROJECTS I Interdisciplinary Studio, trian State Prize for Design. engaged in the production of interdisciplinary projects on Claudia Schnugg (AT) is senior curator of the Ars Elec- Mark Shepard (US) is an artist and architect whose work Ianina Prudenko (UA) is a freelance curator and assis- future-oriented themes in the realm of architecture and tronica Residency Network and is carrying out research addresses contemporary entanglements of technology tant professor at the National Pedagogical Dragomanov urban planning. She is author of SELF MADE CITY Berlin, in the field of art and science collaborations at Ars Elec- and urban life. Recent work includes the Sentient City Sur- University, Kiev, Ukraine. She is curator of the Open Self-initiated Urban Living and Architectural Interventions tronica Futurelab, with a focus on aesthetic and vival Kit, a collection of artifacts, spaces and media for Archive of Ukrainian Media Art and curator of the Kiev 2013, and URBAN LIVING Strategies for the Future 2015. embodied knowing and understanding and its influence survival in the near-future “sentient” city. It has been Art School. She is a professor at the University of South Florida for on creating, work and organization. She holds a PhD in exhibited at the 13th Venice International Architecture Architecture and Community Design (2015) and visiting social and economic sciences from the University of Biennial; Ars Electronica, Linz, Austria; and Transmediale, Andrew Quitmeyer (US) is a Polymath Adventurer. His professor at the University of Sheffield (2014–17). Found- Linz. Berlin Germany, among other venues. PhD research in Digital Naturalism at Georgia Tech ing director of the DAZ German Center for Architecture in http://www.andinc.org/ blends biological fieldwork and DIY digital crafting. This Christine Schöpf (AT), PhD, studied German and Berlin (2004–11) and co-founder of the gallery Suitcase work has taken him through the wilds of Panama and Romance Languages. She has worked as a radio and Rintaro SHIMOHAMA (JP), born in Tokyo, is a graphic Architecture (2001–2005). www.aa-projects.eu, Madagascar and the US where he’s run workshops with television journalist and was the head of the art and designer and artist. http://rin-shimohama.tumblr.com Blog: www.urbanlivingberlin.de diverse groups of scientists, artists, designers, and science department at ORF Upper Austria (1981-2008). Onur Sönmez (TR) is a designer, whose special focus is engineers. He’s also adapted some of the research to Karl Ritter (AT) was a guitarist with Kurt Ostbahn until She was appointed Honorary Professor at the University interaction design and interface design research. After his exploring human sexuality with his Open Source Sex 2003, before pursuing his solo career that includes the solo of Art and Industrial Design in Linz (2009). Since 1979, BA Visual Communication Design from Istanbul Bilgi Uni- Technology startup Comingle. His transdisciplinary, album Atmen and the Weisse Wände project. she has held a number of positions in which she has versity, he completed his Masters degree in Interface Cul- multimedia projects have been featured in many inter- been able to contribute considerably to the develop- Maria Pia Rossignaud (IT) is editor of digital culture mag- tures at the University of Art and Design Linz and worked national magazines, and various internet blogs and ment of Ars Electronica. She was responsible for con- azine Media Duemila and vice president of the Osservato- for Ars Electronica Futurelab and Bosch Design Studio local news sources. ceiving and organizing the Prix Ars Electronica from rio TuttiMedia. With Derrick de Kerckhove she created the Munich. http://www.onursonmez.com/ 1987–2003. Together with Gerfried Stocker, she has Carlo Ratti (IT/US) is director of MIT Senseable City Lab Atelier of Connective Intelligence. She organizes the prize been the artistic co-director of Ars Electronica since Maja Smrekar (SI) is an intermedia artist who connects and founding partner of Carlo Ratti Associati. An archi- Nostalgia di Futuro and meetings on burning issues, is 1996. humanistic and natural sciences in transdisciplinary proj- tect and engineer by training, Carlo Ratti practises in involved in the Wister (Women for Intelligent and Smart ects. She received 1st Prize at the Cynetart festival from Italy and teaches at the MIT, where he directs the Sen- TERritories) network, is on the board of Stati Generali Heribert Schröder (DE/AT) trained as a violinist, pianist the European Centre for Arts Hellerau (Dresden), an Hon- seable City Lab. Ratti has co-authored over 250 publi- Innovazione, and is Digital Champion of the municipality and vocalist before studying music, ethnology, and orary mention at the Ars Electronica Festival Linz, Austria, cations and holds several patents. His work has been of Vico Equense. Catholic theology at Bonn University. He worked and and the Golden Bird Award—a national award for special exhibited in several venues worldwide, including the taught at the Department for Sound Studies, Bonn Uni- Dennis Russell Davies (US) studied piano and conducting achievements in visual art, Ljubljana, Slovenia. Venice Biennale, MoMA in New York City, and MAXXI in versity. Since 1999, he has taught orchestra & opera at the Juilliard School in New York. His activities as opera Rome. At the 2008 World Expo, his Digital Water Pavil- management in the Department of Cultural and Media Stadtwerkstatt (AT), based in Linz, is an innovative cul- and concert conductor, pianist, and chamber musician are ion was hailed by Time Magazine as one of the “Best Management at Hamburg University of Music and The- tural space founded in 1979 by a group of socially engaged characterized by an extensive repertoire ranging from Inventions of the Year.” He has been included in Blue- ater. Since 2001, he has been artistic director of the art students. In advocating open source software and free Baroque to contemporary modern works, by fascinating print Magazine’s “25 People who will Change the World Bruckner Orchestra Linz, responsible for the adminis- spaces, they add a political dimension in confronting con- and brilliantly conceived programs, and by close collabo- of Design” and in Wired magazine’s “Smart List 2012: trative agenda of Chief Conductor Dennis Russell temporary issues across borders, creating and presenting ration with such prominent composers as Luciano Berio, 50 people who will change the world.” He is curator of Davies. interdisciplinary projects in public space, radio, and the William Bolcom, John Cage, Manfred Trojahn, Philip Glass, the Future Food District at Expo Milano 2015. Net. Heinz Winbeck, Laurie Anderson, Philippe Manoury, Aaron Copland, Hans Werner Henze, Michael Nyman, and Kurt Schwertsik. Since 2002, Dennis Russell Davies has been chief conductor of the Bruckner Orchestra Linz and opera director at Landestheater Linz.

378 379 Moritz Stefaner (DE) works as a “truth and beauty The Trinity Session (ZA), directed by Stephen Hobbs and Jürgen Weissinger (DE) began his career in 1985 at the operator” on the crossroads of data visualization, infor- Marcus Neustetter, has been implementing public projects old Daimler-Benz AG as test engineer in pre-production mation aesthetics, and user interface design. He con- for the past 15 years—both as commissioning agents and development, where, three years later, he became head sults with clients like OECD, World Economic Forum, as artists. Their experience of working in the public arena of vehicle testing. In 1995, he assumed responsibility Skype, dpa, and Max Planck Research Society, to find has evolved their artistic and socially engaged processes for vehicle studies and special vehicle construction and insights and beauty in large data sets. His work has towards symbolic translations of radical changes in soci- became director of Maybach testing as well as, in 2005, been exhibited at Venice Biennale of Architecture, SIG- ety. Practicing in Southern and Western Africa, Europe and the development of the Maybach and the SLR. 2007-14 GRAPH, Ars Electronica, and the Max Planck Science North America to date, the acts become a reflection on in Mercedes-Benz Development, he was chief engineer Gallery. their own understanding of their local conditions in Johan- responsible for the SL, SLK, and SLR series, as well as http://truth-and-beauty.net/ nesburg, South Africa. www.thetrinitysession.com the Maybach and special vehicles. Since January 2014, Jürgen Weissinger has been head of Daimler AG’s Gerfried Stocker (AT) is a media artist and electronic UltraCombos (TW) is an interactive and new media design research center for vehicle concepts and future trends. engineer. In 1991, he founded x-space, a team for the studio founded in 2010, professionals in crossover integra- realization of interdisciplinary projects. In this frame- tion execution services such as all kinds of interactive Shunji Yamanaka (JP) is a design engineer and profes- work numerous installations and performance projects programs, visual art designs, and hardware devices, who sor at the University of Tokyo, where he graduated from have been carried out in the field of interaction, robot- provide clients with various creative proposals, and work the Faculty of Engineering in 1982. He joined Nissan ics, and telecommunication. Since 1995 Gerfried Stocker them out in accordance with the clients’ needs. The team Motors Design Center the same year, and became an has been a Managing and Artistic Director of Ars Elec- also participated in many local and international art independent industrial designer in 1987. Assistant pro- tronica. 1995/1996 he developed the groundbreaking events including Taipei Digital Art Festival, SIGGRAPH; fessor at the Faculty of Engineering, University of exhibition strategies of the Ars Electronica Center with FILE—Electronic Language International Festival, Brazil; Tokyo, 1991-94; founder (1994) and president of LEAD- a small team of artists and technicians and was respon- and many more. ING EDGE DESIGN; professor at the Graduate School of sible for the set-up (and establishment) of Ars Elec- Media and Governance, Keio University, 2008-12; Pro- Pablo Valbuena (ES) focuses on space, time, and percep- tronica’s own R&D facility, the Ars Electronica Futurelab. fessor at the Institute of Industrial Science (2013) and tion in his art projects and research, dealing with concepts Since 2004 he has been in charge of developing Ars the Interfaculty Initiative in Information Studies, Uni- such as the physical and the virtual, the generation of Electronica’s program of international exhibition tours. versity of Tokyo (2015). mental spaces by the observer, boundaries between the Since 2005 he has planned the expansion of the Ars real and the perceived, space and time links, communica- Lei YANG (CN) is the Deputy Director in CBC Academy. Electronica Center and implemented the total substan- tion, and light. Most works are developed for a specific Curator and researcher on urban future with deep inter- tive makeover of its exhibits. location or space and have been presented at numerous action amongst digital art & design, information and [tp3] architekten aka Henter, Rabengruber and Schull- venues throughout Europe, Asia, and America. technology. Previously, he was the chief curator at erer-Seimayr (AT) is an architectural office located in CMoDA (China Millennium Monument Museum of Dig- Victoria Vesna (US) is a media artist and professor at the Linz. Their design is characterized by a contextual ital Arts), Beijing, and founded CMoDA CoINNO Lab on UCLA Department of Design | Media Arts and Director of approach, the environment, topography, urban realities, collaborative innovation on digital art and design in the Art|Sci center at the School of the Arts and California and the functions of the respective architecture. As an 2012. He is founder, curator, and producer of NOTCH Nanosystems Institute (CNSI). With her installations she interdisciplinary project team they have been working Festival on live media and social innovation. Before investigates how communication technologies affect col- for years with urban development methods and strat- that, he founded Radio Take10, a collective internet lective behavior and perceptions of identity shift in rela- egies, housing estate and urban designs, and form-find- radio co-curation project on net label and demo culture. tion to scientific innovation (PhD, University of Wales, ing processes of urban construction. 2000). Her work involves long-term collaborations with Dana Zelig (IL) is a designer, based in Tel-Aviv. Her work Georg Tremmel (AT) is an Austrian artist who currently composers, nano-scientists, neuroscientists, and evolu- focuses on the interrelationships between natural pro- lives in Japan, working in a DNA analysis laboratory at tionary biologists, and she brings this experience to her cesses, computational systems, and procedural-based the Institute of Medical Science, University of Tokyo. students. She is editor of AI & Society (2006), Database art practice. Together with Japanese artist Shiho Fukuhara he forms Aesthetics: Art in the Age of Information Overflow (2007), Leart Zogjani (KO) has an MA in graphic design from the art duo BCL, which explores the relationships and Context Providers: Conditions of Meaning in Media Kosovo and is the founder of Kokrra.tv design and between biological and cultural codes by means of Arts (2011). motion studio. He has exhibited in France, Kosovo, and artistic interventions and social research. They have Addie Wagenknecht (US/AT) is the founder of deep lab Albania and has been featured in PC World, Mac World created various works revolving around art and modifi- (www.deeplab.net), an all-female collaborative, working in Italy, MAXON web gallery etc. His work with Kokrra. cation, including Biopresence. within the topics of surveillance and data aggregation. She tv has recently been featured on Motionserved.com, is an artist with F.A.T. lab and a conceptual hacker who and he received a Behance Portfolio Review Award and work plays with new technologies and challenges the sta- a Certificate of Appreciation by TED. tus quo. http://placesiveneverbeen.com/ Shinya WAKAOKA (JP) studied visual design at Kanazawa College of Art, Ishikawa, Japan, and is a freelance graphic designer in Yamanashi Prefecture.

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