Out of the Box The Midlife Crisis of the Digital Revolution
ARS ELECTRONICA 2019 FESTIVAL FOR ART, TECHNOLOGY, AND SOCIETY Out of the Box The Midlife Crisis of the Digital Revolution
Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2019 Festival for Art, Technology, and Society
September 5 — 9, 2019 Ars Electronica, Linz
Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker
Editing: Alexander Wöran, Anna Grubauer, Andrew Newman
Translations: German — English: Douglas Deitemyer, Daniel Benedek
Copyediting: Laura Freeburn Minion
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ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 Organization Co-curators David Jentgens, Herwig Kerschner, Sandra Kiendler, Ars Electronica Solutions Ars Electronica Linz GmbH & Co KG Ars Electronica Animation Festival: Viktoria Klepp, Karin Knoll, Michael Koller, Thomas Ina Badics, Chris Bruckmayr, Stefan Dorn, Stefanie Christine Schöpf, Juergen Hagler Kollmann, Christoph Kremer, Sabine Leidlmair, Farkashazy, Michaela Fragner, Yvonne Hauser, Michael Managing Directors Big Concert Night: Markus Poschner Juliane Leitner, Anna Katharina Link, Katja Lux, Kaiser, Michael Mondria, Harald Moser, Patrick Müller, Diethard Schwarzmair, Gerfried Stocker Campus Exhibition, Interface Cultures: Ulrike Mair, Ahoo Maher, Clemens Mock, Erika Mondria, My Trinh Müller-Gardiner, Robert Pibernig, Andreas Ars-Electronica-Straße 1, 4040 Linz, Austria Christa Sommerer, Laurent Mignonneau, Horst Morocutti, Claudia Moser, Silvia Mukherjee, Daniel Pramböck, Gerald Priewasser-Höller, Gabriele Purdue, Tel: +4373272720 Manuela Naveau, Maša Jazbec, Fabricio Lamoncha Murina, Heinrich Niederhuber, Andrea Oberfichtner, Dominik Trichlin, Markus Wipplinger, Claus Zweythurm Fax: +4373272722 Campus Exhibition, Bauhaus Universität: Ursula Damm Michaela Obermayer, Dietmar Peter, Svetlana Petrovic, [email protected] Expanded Animation: Juergen Hagler, Alexander Wil- Katharina Pilar, Armin Pils, Anna Renata Polewiak, Ars Electronica International helm Stefanie Priebsch, Ulrike Rieseneder, Petra Saubolle- Sophie à Wengen, Lea Sophia Bernhard, Lisa-Marie Co-organizer CyberArts Exhibition Music Monday: Werner Jauk Hofmann, Alina Sauter, Birgitt Schäffer, Mario Brandstötter, Michael Burgstaller, Melanie De Jong, OK Offenes Kulturhaus im OÖ Kulturquartier Nightline: Salon 2000 Schmidhuber, Lydia Schneeberger, Thomas Schwarz, Manuel Dobusch, Petra Drexler, Leopold Eckl, Yasmine Directors: Martin Sturm, Gabriele Daghofer Sonic Saturday: Volkmar Klien, Se-Lien Chuang, Fabian Schwarz, Elio Seidl, Manfred Seifreidsberger, Elsalakawy, Stefan Feichtner, Violeta Gil Martinez, Tilman Andreas Weixler Magdalena Sick-Leitner, Minoosh Sorkhkamal Hatje, Manuela Hillmann, Ferenc Hirt, David Holzweber, Co-organizer Campus AIxMusic: Volkmar Klien Zadeh-Steininger, Martin Spanka, Elisabeth Spöck, Lisa Stefanie Martin, Lisa Martl, Fabian Mühlberger, Universität für künstlerische und industrielle Gestaltung Margarethe Stöttner-Breuer, Thomas Straßhofer, Marco Rainer, Alexandra Röck, Michael Samhaber, Armin Rector: Reinhard Kannonier Andreas Stürmer, Johannes Stürzlinger, Istvan Szabo, Seidl, Michael Sick-Leitner, Daina Silina, Sabine Sinzinger, Prix Ars Electronica 2019 Bhoomesh Tak, Michael Thaler, Thomas Viehböck, Elizaveta Shchegolkova, Mauricio Ernesto Suarez Ramos, Directors Ars Electronica: Idea: Hannes Leopoldseder Florian Voggeneder, Raffaela Vornicu, Bernhard Wahl, Lukas Traxler, Christine Utz, Viktoria Wetzlmaier, Astrid Gerfried Stocker, Christine Schöpf Conception: Christine Schöpf, Gerfried Stocker Manuel Walch, Florian Wanninger, Judith Wittinghofer, Winkler, Alexander Wöran, Viktoria Wöss, Sebastian Zach, Head of Festival: Martin Honzik Coordination: Martin Honzik, Emiko Ogawa Ralph Maximilian Zilian Yazdan Zand Head of Finance & Organization: Veronika Liebl Technical Management: Karl Julian Schmidinger Technical Head: Karl Julian Schmidinger Finance & Organization: Veronika Liebl Ars Electronica Futurelab OK CyberArts Team Flavia Andessner, Florian Berger, Patrick Berger, Festival Co-Producer: Christl Baur Production Team: Christl Baur, Florina Costamoling, Kerstin Blätterbinder, Arno Deutschbauer, Ivor Diosi, Directors: Martin Sturm, Gabriele Daghofer CREATE YOUR WORLD: Hans Christian Merten Marion Friedl, Jessica Galirow, Eva Maria Grabmair, Samuel Jakob Eckl, Marianne Eisl, Peter Freudling, Public Relations & Project Management: Juergen Hagler, Andrea Kohut, Hans Christian Merten, Matthew Gardiner, Roland Haring, Peter Holzkorn, Maria Falkinger Production Team: Christina Radner, Remo Rauscher, Jutta Schmiederer, Horst Hörtner, Kyoko Kunoh, Anna Kuthan, Christopher Exhibition Team: Genoveva Rückert, Andreas Kurz, Sophie à Wengen, Lea Sophia Bernhard, Michael Helmut Steinecker, Nana Thurner, Joschi Viteka, Lindinger, Elisabeth Luger, Maria Mayr, Stefan Maria Venzl, Martina Rauschmayer Burgstaller, Nani Cooper, Florina Costamoling, Melanie Carla Zamora Campos Mittlböck-Jungwirth-Fohringer, Otto Naderer, Nicolas OK Night: Markus Reindl De Jong, Sebastian Dorfer, Petra Drexler, Leopold Naveau, Ali Nikrang, Hideaki Ogawa, Maria Anna Pfeifer, Production Team: Jarno Bachheimer, Katharina Eckl, Chris Eichenauer, Yasmine Elsalakawy, Stefanie Press Johannes Pöll, Daniel Rammer, Erwin Reitböck, Clemens Baldinger-Hackl, Attila Ferenczi, Alfred Fürholzer, Farkashazy, Stephan Feichter, Huani Felinto, Melinda File, Christopher Sonnleitner, Joan Bairam, Robert Bauernhansl, Francis Scharfen, Raphael Elias Schaumburg-Lippe, Martin Haselsteiner, David Kraxberger, Bernhard Hannes F. Franks, Marion Friedl, Jessica Galirow, Violeta Gil Vanessa Graf, Martin Hieslmair, Katia Kreuzhuber, Simon Schmid, Susanne Teufelauer Kitzmüller, Dominik Leitner, Franz Quirchtmayr, Martinez, Dominik Greuter, David Grohe, Anna Grubauer, Yazdan Zand Felix Pöchhacker, Aron Rynda, Geari Schreilechner, Juergen Hagler, Gisela Hagmair, Jürgen Haller, Tilman Ars Electronica Festival / Prix / Exhibitions Andreas Steindl, André Tschinder, Hans-Jörg Hatje, Randolf Helmstetter, Alexander Hens, Manuela Marketing Christl Baur, Florina Costamoling, Hannes F. Franks, Weidinger, Simon Wilhelm, Gerhard Wörnhörer Hillmann, Bernahrd Hinterreiter, Ferenc Hirt, David Lisa Brandstötter, Wolfgang Königsmaier, Marion Friedl, Jessica Galirow, Anna Grubauer, Gisela Holzweber, Isabella Kartusch, Andrea Kohut, Simon Michael Sick-Leitner, Eva Tsackmaktsian, Christine Utz Hagmair, Martin Honzik, Isabella Kartusch, Andrea Kohut, Team: Verena Atteneder, Jocelyn Antensteiner, Kopfberger, Paul Lukas Köstner, Veronika Sanna Krenn, Veronika Sanna Krenn, Veronika Christina Liebl, Kristina Renate Berger, Michael Dalpiaz, Hansi Ecker, Josef Olivia Kudlich, Michael Lahner, Aaron Längert, Anton Maurer, Hans Christian Merten, Manuela Naveau, Julia Ecker, Walter Eckerstorfer, Max Fabian, Petra Fohringer, Lapov, Tobias Leibetseder, Lisa Stefanie Martin, Lisa Ars Electronica Linz GmbH & Co KG Nüßlein, Emiko Ogawa, Quinty Pinxit-Gregg, Christina Werner Friesenecker, Michaela Fröhlich, Michael Gritzer, Martl, Kristina Maurer, Claudia Moser, Fabian Mühl- Radner, Karl Schmidinger, Karla Spituttini, Nana Thurner, Josef Gruber, Stephan Hadwiger, Dominik Harrer, Managing Directors Sabine Haunschmid, Evi Heininger, Robert Herbst, berger, Manuela Naveau, Nina Maeva Nitzl, Julia Nüßlein, Diethard Schwarzmair, Gerfried Stocker Laura Welzenbach, Carla Milena Zamora Campos Michaela Obermayer, Emiko Ogawa, Hideaki Ogawa, Susi Heuschober, Maximilian Höglinger, Fritz Holzinger, Karin Huemer, Rainer Jessl, Sabrina Kamenar, Simon Quinty Pinxit-Gregg, Gabriele Purdue, Christina Radner, Ars Electronica Center Ars Electronica Management Services Marco Rainer, Olga Remneva, Alexandra Röck, Dallas Robert Bauernhansl, Patrick Buchinger, Barbara Lachner, Katharina Lackner, Barbara Mair, Judith Maule, Katharina Aichinger, Viktoria Aistleitner, Joan Bairam, Franz Minichberger, Walter Mühlböck, Wolfgang Nagl, Rockvam, Michael Samhaber, Michael Sarsteiner, Sonja Andreas Bauer, Reinhard Bengesser, Anastasia Bragina, Diesenreither, Johannes Egler, Michaela Frech, Schachinger, Miro Schawalder, Thomas Schlager, Daniel Vanessa Graf, Anton Grünwald Belada, Haitham Andrea Nakicevic, Christian Öhlinger, Kadir Özdemir, Sarah Brait, Manuela Bruckner, Carla Danzer, Shirin Maria Pachinger, Josef Pfarrhofer, Franz Pfifferling, Schöngruber, Armin Seidl, Elizaveta Shchegolkova, Darwish, Blanka Denkmaier, Erika Eiter, Julia Felberbauer, Harwash, Martin Hieslmair, Barbara Hinterleitner, Michael Sick-Leitner, Markus Sigl, Daina Silina, Sabine Christoph Hofbauer, Julia Hofstätter, Sabine Wilhelm Pichler, Angelika Pöschl, Gerda Sailer, Katrin Fenninger, Melinda File, Andrea Fröhlich, Philipp Markus Schiller, Marlies Stöger. Sinzinger, Martina Sochor, Karla Spiluttini, Helmut Gartlehner, Mitra Gazvini-Zateh, Christian Gerber, Hummelbrunner, Markus Jandl, Klaus Kaiser, Steinecker, Mauricio Ernesto Suarez Ramos, Nana Elisabeth Gerhard, Dominic Gottinger, Marlene Grinner, Elisabeth Kapeller, Stephan Kobler, Wolfgang Thurner, Lukas Traxler, Felix Tröbinger, Jochen Tuch, Nicole Grüneis, Thu Trang Eva Ha, Harald Haas, Birgit Königsmaier, Katia Kreuzhuber, Fadil Kujundzic, Kunstuniversität Linz — Universität für Edin Turalic, Joschi Viteka, Christoph Weidinger, Dominic Lengauer, Peter J. Nitzschmann, Edith Hartinger, Barbara Heinzl, Katherine Heller, Thomas künstlerische und industrielle Gestaltung Laura Welzenbach, Viktoria Wetzlmaier, Michaela Hillinger, Katharina Hof, Florian Hofer, Sri Rahayu Noska-Neubauer, Beate Prinz, Christopher Sonnleitner, Wimplinger, Astrid Winkler, Alexander Wöran, Hofstadler, Gerold Hofstadler, Eva Hofstädter, David Starzengruber, Daniela Thaller, Eva Tsackmaktsian, Rector: Reinhard Kannonier Viktoria Wöss, Carla Milena Zamora Campos Fabian Hollinetz, Stefani Huemer, Thomas Jannke, Michaela Wimplinger Vice-Rectors: Frank Louis, Sabine Pollak, Christine Windsteiger Team: Andre Zogholy SCIENCE IN Tom Tits Experiment University of Tsukuba ORGANIZER Sejong University TRACES University of West Bohemia Shantou University TRANSFER Universum® Bremen SILK Fluegge Tweakr.io V E N T gallery software architects gmbh Ubion Co.Ltd. Video Game Art (VGA) Gallery Chicago Soonchunhyang University UMAI Maimonides University Volkshilfe Oberösterreich SOU Festival Universal Music Austria Waag Ars Electronica Linz GmbH & Co KG St.Pölten University of Applied Sciences Universität für angewandte Kunst Wien Werkleitz Centre for Media Art is a company of the city of Linz. Stadtbetriebe Steyr Universität Mozarteum Salzburg White Castle Games Agency Stadtpfarrkirche Urfahr Universitat Politècnica de València Wiener Sängerknaben COOPERATION PARTNERS Stadtwerkstatt University College London, Wimbledon College of Arts, Stochastic Lab The Bartlett School of Architecture University of the Arts London 0W1 Audio ELEKTRA Kontejner — bureau of contemporary art praxis Sungkyul University University of Applied Sciences Wiyu Wahono Collection Würzburg-Schweinfurt 4Gamechangers Ellinogermaniki Agogi Korea National University of Arts Tangible Media Group / MIT Media Lab WRO Art Center University of Auckland 4YouCard EMBL European Molecular Biology Laboratory Kunstuniversität Linz — Lehramt Bildnerische Technische Hochschule Ingoldstadt YAIR GmbH Erziehung University of Lisbon Aalto University Endel Technopolis YOUKI — Internationales Jugend Medien Kunstuniversität Linz — Universität für University of the Creative Arts Festival Academy of Arts Architecture and Design Esad Saint-Étienne/Ensba Lyon, Digital Textiles Zentrum Haslach in Prague Research Unit in Art and Design künstlerische und industrielle Gestaltung University of Theatre and Film Zaragoza City of Knowledge Foundation The Culture Yard Academy of Media Arts Cologne EU National Institutes for Culture Kyungnam University “I.L. Caragiale”, CINETic Bucharest ZSI (Zenrum für Soziale Innovation) Théâtre de la Manufacture CDN Nancy Lorraine æternity Crypto Foundation EUN Partnership AISBL European Schoolnet L.A.T.R.A EE ZusammenHelfen in Oberösterreich Aichi University of the Arts Europe for Festivals, Festivals for Europe EFFE LABoral — Centro de Arte y Creación Industrial Ajou University Industry-Academic European Theatre Convention Laboratorio de Neurociencia de la Universidad Torquato Ditella Cooperation Foundation European Theatre Lab: Drama Goes Digital Landestheater Linz ARS ELECTRONICA RECEIVES SUPPORT FROM Alpen-Adria-Universität Klagenfurt EXILE le lieu unique Amadeus Code FAB Verein zur Förderung von Arbeit Anifilm Třeboň und Beschäftigung Leiden University Anton Bruckner Privatuniversität Fachhochschule Oberösterreich — LENTOS Kunstmuseum Linz Anyang Creative Industry Promotion Agency Campus Hagenberg Linz Center of Mechatronics GmbH arebyte Gallery Fachhochschule Salzburg Linz Tourismus Land Oberösterreich Bundeskanzleramt Europäische Kommission Europäische Kommission ArtTechLab Amsterdam Fachhochschule St. Pölten London College of Communication, Horizon 2020 University of the Arts London Asia Culture Institute FACT (FOUNDATION FOR ART AND CREATIVE TECHNOLOGY) London College of Fashion, Atelierhaus Salzamt FH Joanneum University of Applied Sciences University of the Arts London Austrian Design Network UNIFH FH Oberösterreich — University of Applied MADE Group AVA Entertainment Co. Ltd. Sciences Upper Austria Makerspace Steyr-Werke AWS — Jugend Innovativ FH Voralberg — University of Applied Sciences MAM Mario Mauroner Contemporary Art Badisches Staatstheater Karlsruhe Europäische Union Creative Europe KulturKontakt Chile Filmuniversität Babelsberg KONRAD WOLF Salzburg-Vienna Bandits — Mages Austria Filmakademie Baden-Württemberg GmbH, Mariendom Linz Bauhaus-Universität Weimar Animationsinstitut Masaryk University Brno Beep Electronic Art Collection FMX — Conference on Animation, Effects, mb21 BIRDHAND Co. Ltd Games and Transmedia m-cult blockchain.art ForTunes Media Art Globale Bloomfield Science Museum Fraunhofer MEVIS: Institute for Medical MEET | Digital Culture Center Image Computing BORG Bad Leonfelden mica music austria Embassy of the United Bundesministerium für Flanders Japan Foundation BORG Linz French Tech Grande Provence States of America Europa, Integration State of the Art Mokwon University und Äußeres Fridays for Future BOZAR Center for Fine Arts Brussels Moviemento Fundação da Juventude Bruckner Orchester Linz Muntref Centro de Arte y Ciencia Galería José de la Mano Bugnplay.ch MUSEIKO Galerie Anita Beckers c3 Museo nazionale della scienza e della tecnologia Camberwell College of Arts, University Galerie Charlot Leonardo da Vinci of the Arts London Galerie Liusa Wang Music Traveler Center for the Promotion of Science Galleria Artericambi Musiktheater Linz Agency for Cultural Affairs, Japan Media Arts Bundesministerium für Québec Government Central Academy of Fine Arts Beijing Gebärdenwelt.tv Neues Linzer Theater Government of Japan Festival Bildung, Wissenschaft Office in Berlin und Forschung Cheju Halla University GIANTSTEP Inc. New Design University Privatuniversität GesmbH Chung-Ang University Gluon New Space Foundation ChungKang College of Cultural Industries Grand Garage NOESIS Chungnam Culture Technology Industry Agency Gwangju University Nokia Bell Labs Ciência Viva Gyeongnam Culture and Arts Foundation Oberösterreichisches Landesmuseum Cité de l’espace Hexagone Scène Nationale Arts Sciences OMAi Embassy of Canada Pro Helvetia Botschaft der Bundesrepublik Camões — Instituto da CLICK Festival HKU University of the Arts Utrecht Onassis Stegi Schweizer Kulturstiftung Deutschland in Wien Cooperação e da Língua, I. P. CoderDojo Hofkabinett ORF Teletext ComixV Co IMA Institut für Medienarchäologie Österreichischer Musikfonds Creative Region IMPAKT Otelo eGen Creek & River Entertainment Co. Ltd INOVA+ Parque de las Ciencias Crossing Europe Film Festival Linz Interface Cultures Queen Mary University of London CUBUS International Students Creative Award (ISCA) QUO ARTIS D21 Proyectos de Arte IRCAM (Institute for Research and Coordination Raumschiff Österreichische Forschungs- Fonds zur Förderung der Ukrainian Institute Daejeon Information & Culture Industry in Acoustics/Music) Re-FREAM förderungsgesellschaft mbH wissenschaftlichen Forschung Promotion Agency Jeju Film & Culture Industry Promotion Agency RIXC Center for New Media Culture DIGIFORÊT Johannes Kepler Universität Linz Rock im Dorf Festival Diözese Linz Kapelica Gallery / Kersnikova Institute Roy Ascott Studio, Shanghai Donau-Universität Krems Kaywon University MOBILITY PARTNER Salon 2000 Dongguk University Gyeongju Kepler Salon — Verein zur Förderung von Sangmyung University Ecsite (The European network of Wissensvermittlung School of the Art Institute of Chicago science centres and museums) KNOWLEDGE CAPITAL Science Gallery at Trinity College Dublin Edinburgh Futures Institute and Bayes Centre KOCCA Korea Creative Content Agency Science Gallery London Education Group GmbH Konkuk University (Konkuk University-Industry Hyundai Motor Company Cooperation Foundation) SPONSORS
Hakuhodo HAKUHODO I-STUDIO Inc. VH Award Österreichische Post AG Triple A Klangfarbe — Musikinstrumente NEC Display Solutions Mayr — Schulmöbel Aqua Service GmbH und tontechnische Geräte Europe GmbH Gesellschaft m.b.H. Handelsges.m.b.H.
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ORF OÖ OÖ Nachrichten Der Standard Tips Radio FM4 Die Presse Ö1 dorf TV BIO AUSTRIA Kreativfonds Bauhaus100 Aruba Networks, Inc. Bauhaus-Universität Weimar Akinori Goto, CROSSING #03 79 Joana Moll, The Hidden Life of an Contents EXHIBITIONS Amazon User 109 Klaus Spiess, Lucie Strecker, Microbial Keywording 80 DISNOVATION.ORG, Online Culture Wars 109 Gerfried Stocker HUMAN LIMITATIONS — LIMITED HUMANITY 53 Aksiniya Peicheva, Trauma Mapping 80 MAEID — Daniela Mitterberger, Tiziano Derme, 40 Years of Ars Electronica — The Eye of the Other 110 40 Years of Art Thinking 16 Etsuko Ichihara, ISID OPEN INNOVATION Aza Raskin, WHERE ARE WE AS A SPECIES? 54 LAB., Namahage in Tokyo 81 Birk Schmithüsen, Speculative Artificial Intelligence 111 Thom Kubli with ZHAW/ Sven Hirsch, Radiosands 56
CONFERENCES, LECTURES, Ralf Baecker, Putting The Pieces Back EUROPEAN PLATFORM FOR DIGITAL THE PRACTICE OF ART AND SCIENCE 112 Together Again 57 HUMANISM 82 WORKSHOPS g.tec medical engineering GmbH, Marko Peljhan, Matthew Biederman, European ARTificial Intelligence Lab 83 Unicorn — The Brain Interface 113 Star Valley (Sirius) 58 Conferences 21 H.O, What a Ghost Dreams of 88 g.tec medical engineering GmbH, Michael Candy, CRYPTID 59 BR41N.I0 Hackathon 114 Lecture Program 22 H.O, Ghosthouse 89 Azumi Maekawa, Shunji Yamanaka, g.tec medical engineering GmbH, 24 Aerial-Biped 60 Samuel Leder, Ramon Weber, Guest Conferences Distributed Bugfix the Brain 115 Robotic Assembly for Timber Structures 90 Helena Nikonole, Bird Language 61 Workshops 27 Max Haarich, Rafael Hostettler, Hyun Parke, Jinoon Choi, Sookyun Yang, Dmitry Morozov / ::vtol::, Poise→[d] 62 Republik Užupis 116 Art Thinking School 2019 28 Volumetric Data Collector 90 So Kanno, Lasermice 63 Ryo Kishi, Anti Conductor 117 Memo Akten, Learning to See: Gloomy Sunday 91 Dmitry Morozov / ::vtol::, last breath 64 Takayuki Hirai, Yasuaki Kakehi, (un)shaped 118 Vladan Joler, Kate Crawford, Anatomy of an AI 92 Saša Spačal, Yuri Tanaka, Pavle Dinulović, Umut Kose, Earthlink 65 Vladan Joler, Facebook Algorithmic Factory 93 Chris Bruckmayr, Particle Post 119 SAINT MACHINE, 40 YEARS ARS ELECTRONICA I, HUMAN 66 Nye Thompson, The Seeker 94 Kim Albrecht, Distinction Machine 120 Luís Graça, Marta de Menezes, Iʼam 67 Joy Buolamwini, Gender Shades 95 Andreas J. Hirsch, Creating the Future. Yonlay Cabrera, VOIGHT-KAMPFF 121 Kuang-Yi Ku, Tiger Penis Project 68 Birgitte Aga, Coral Manton, A Brief History of Ars Electronica Martin Reinhart, Virgil Widrich, tx-mirror 121 1979 — 2019 (Excerpt) 33 Ai Hasegawa, Human X Shark 69 Women Reclaiming AI 95 STOCHASTIC LABS, Stochastic Labs: Caroline Sinders, ARS and the CITY 36 Maja Smrekar, !brute_force 70 Feminist Data Set 96 Strange Temporalities 122 Sarah Petkus, ARS on the WIRE 38 AnotherFarm, Modified Paradise: Dress 71 SHE BON 97 Alexander Reben, Selections from the Roberto Paci Dalò, Long Night Talks. Špela Petrič, Institute for Inconspicuous Emanuel Gollob, Doing Nothing with AI 98 Human-Machine Collaboration Series 123 For Robert Adrian 40 Languages: Reading Lips 72 Takayuki Todo, SEER: Simulative Emotional Paolo Cirio, Sociality 123 Robert Adrian X, The World in 24 Hours 41 Jenna Sutela, nimiia cétiï 73 Expression Robot 99 Lauren McCarthy, David Leonard, Bill Bartlett, Doug Jarvis, Interplay; Exploring Scott Eaton, Humanity (Fall of the Damned) 74 Jessica In, NORAA — Machinic Doodles 99 Virtual Caring 124 Telecommunications, Art, and Collaboration, Ilmar Hurkxkens, Fabian Bircher, UngenauBot 100 Kal Spelletich, Organs Sound The Body: 1978 — 1983 41 Manuel Cebrian, Zivvy Epstein, Joyce Feng, Matt Groh, Nick Obradovich, Iyad Rahwan, Artificial Flesh 124 Oxfordians, Aidan Meller, Lucy Seal, VGA Gallery, Chicago New Media 1973 — 1992 42 Deep Angel — Shadows Left Behind 75 Ai-Da Robot Artist 101 JD Beltran, Scott Minneman, Liminous 124 Atsuhito Sekiguchi, Hiroko Myokan, Minoru Noma, Andy Gracie, Deep Data Prototypes 1, 2 + 3 76 Adam Harvey, Jules LaPlace, MegaPixels 102 Chris Kerich, Piles 125 Keiko Kobayashi, Ryoji Tanaka, Japanese Media Y2K — Chiao-Chi Chou, You-Yang Hu, Art Timeline Infographics Project 43 Charlotte Jarvis, In Posse 103 Joel Simon, Ganbreeder 125 Biosignal_Cybernation 76 Wolfgang Dorninger, It started with Cassette Steven Thompson, Reciprocus 125 Culture! 44 Amir Bastan, Johannes Braumann, the shell 77 EMAP/EMARE 104 Artivive, ARTIVIVE @ STOCHASTIC 126 AATB — Andrea Anner, Thibault Brevet, University of Tsukuba, Device Art 2019 45 Quimera Rosa, Trans*Plant: May the Sunny Side Up 77 Jonathan Foote, Skycolor 126 Waltraut Cooper, Klangmikado 49 Chlorophyll be with/in you 104 Arotin & Serghei, Infinite Light Column 78 Dorothy Santos, Press 1 to be Connected 127 Refik Anadol, Origin 50 Margherita Pevere, Wombs 107 Project Eva — Etienne Grenier, Simon Laroche, Alison Irvine, Andy Cavatorta, Marco Barotti, Clams 108 Hermann Vaske, Why are we creative? 51 The Object of the Internet 79 Automation #1 and Automation #2 127 Sheng-Ying Pao, CRISPR and the Art of Paper 127 Space Exploration Initiative 128 Mark Chavez, Ina Conradi, Tate Chavez, Bianka Klaus Sonnleitner, Organ Music in the Wiener Sängerknaben, Gerald Wirth, Hofmann, Bob Kastner, Quantum Logos 154 Field of Tension Between Inspiration, The Neuromusic Education Simulator Uwe Rieger, Yinan Liu, arc/sec Lab, Compostition and Improvisation 181 (NES) Project 199 LightWing II 130 Valentina Cinquini, Andrea Ummarino, Federico Perinelli, Raphael Schuster, Weiping Lin, Bach Hauer Scelsi Cage 181 Domhnaill Hernon, Nokia Bell Labs 199 CARISSMA, Technische Hochschule Ingolstadt, derkleinstePrinz, 384 155 Smart Traffic — Augmented Cyclists meet Tomomi Adachi, Andreas Dzialocha, Jean Beauve, 0W1 Audio 200 Automated Vehicles 131 Markus Dorninger, Matthias Fritz, Marcello Lussana, Voices from AI in Taishi Fukuayama, Tagtool im Deep Space 156 Experimental Improvisation 182 Amadeus Code 200 Julian Pixel Schmiederer, Gregor Franz, Ensemble Vivante, The tenor duets Florian Richling, ForTunes 200 Fashion and Technology Johannes Rass, Lara Rabitsch, PRESSURE 157 of Claudio Monteverdi 183 Oleg Stavitsky, Endel 201 Fashion & Technology, University for Art and VH AWARD 158 Jennifer Walshe, Memo Akten, ULTRACHUNK 184 Aleksey Igudesman, Julia Rhee, Dominik Design Linz, In the Lab: Processing Fashion 132 Joelsohn, Ivan Turkalj, Dongjoo Seo, A Thousand Horizons 158 Wolfgang Mitterer, GRAND JEU 2 185 Music Traveler 201 Anthony Moore, Siegfried Zielinski, Youngkak Cho, Highway like A Shooting Star 159 Roberto Paci Dalò, Tenebrae 185 Calculated Sensations 202 Future Materials Chansook Choi, BLACK AIR 159 Ali Nikrang, Automatic Music Generation with Deep Learning 186 Renata Schmidtkunz, AnotherFarm, Triaina: Model A 133 Immersify 160 Conversations with Renata Schmidtkunz 203 Yoichi Ochiai, The Form of Digital Nature 134 Ali Nikrang, Michael Lahner, PSNC, Poznan Cathedral 3D 160 Looped Improvisation 186 Dialogues at St. Florian 203 Yoichi Ochiai, JST CREST xDiversity Project Theresa Schubert, Immersive Minimalism 160 Martina Claussen, Interactions II 187 Harald Ehrl, Guided Tour through the Colleagues, xDiversity Project 134 Monastery St. Florian 203 ARRI, Pandarama 161 Rupert Huber, Origenesis: Spatial Piano Natsai Audrey Chieza, Karl Aspelund, Mutupo 135 Volkmar Klien, Total Optimization and Defiance 204 Timestorm Films, Island in the Sky II 161 Improvisation Inspired by Mountain Formation 187 Primitive Labs Biodesign, Werner Jauk, What is AI to Music… 211 Organic Primitive Bioplastics 136 Tadej Droljc, Singing Sand 2.0 161 Jérôme Nika, Rémi Fox, C’est pour ça 188 Werner Jauk, AI and AE — what is music to AI ... 218 Udayan Umapathi, Programmable Droplets 137 Immersify 8K Live Streaming Demo 162 Muku Kobayashi, Mitsuru Tokisato, SHOJIKI “Play Back” Curing Tapes 188 Hannes Möseneder, Agnes Hofstätter, Steffanie BBC Studios, ScanLab Projects, Painsith, María José Molina, Polytronics 137 The Great Pyramid in 3D, From the Ryoichi Kurokawa, Ittrans_ctx 189 BBC Series Ancient Invisible Cities 163 Leonhard Schmidinger, Fabian Homar, Vladimir EVENTS, CONCERTS & Petrov, Bruckner Percussion plays Xénakis 189 IMMERSIFY 138 PERFORMANCES ARS ELECTRONICA GALLERY SPACES 164 Alex Braga, A-MINT 190
SpaceEU 140 Keiichiro Shibuya, Eizen Fujiwara, Opening 229 Justine Emard, Heavy Requiem — SySTEM 2020 142 AIXMUSIC Buddhist Chant: Shomyo + Electronics 191 Nightline 229 DIGITAL THEATRE 144 Stefan Tiefengraber, AG-MX70 DDX3216 230 Yishu Jiang, Johann Sebastian Bach: Suites for unaccompanied cello 191 CyberRäuber, Fragments | a digital Freischütz 145 Gerfried Stocker LOXOSconcept — Giulio Colangelo, Valerio AIxMusic 167 De Bonis, [re]BO[u]NDS ~ expanded media 231 Thomas Gorbach, The Vienna Acousmonium 192 THE BIG CONCERT NIGHT 2019 170 Stefan Tiefengraber, WM_EX10 TCM_200DV Dagmar Dachauer, Kilian Immervoll, DEEP SPACE 8K 146 TP-VS500 MS-201 BK26 MG10 193 The Feline Project 232 Akiko Nakayama, Alive painting for Ryoichi Kurokawa, subassemblies 233 Ulf Langheinrich, NOLANDX 147 Bruckner Orchestra 172 Werner Jauk, AI-Pop. Walking sound-knowledge-base 194 Episode am Fluss 234 Kaoru Tashiro, Ouchhh, Sonar Flux 148 Christian Fennesz, Lillevan, Mahler Remixed 173 Thomas Grill, Mutual Understanding 194 Virgil Widrich, Martin Reinhart, tx-reverse 360° 149 Markus Poschner, Rupert Huber, Yasuaki Kakehi, Mikhail Mansion, Roberto Paci Dalò, Improvisation 234 Franz Fischnaller, LSF-500 — Project 150 174 AIxMUSIC St. Florian/POSTCITY Kuan-Ju Wu, Soundform No.1 195 Wolfgang Dorninger, Innen Außen 235 Franz Fischnaller, LSI Project 151 Volkmar Klien, Cumulus — Stratus 175 Volkmar Klien, Anschwellen — Abschwellen 196 Sam Auinger, Bruckner meets Highway 2 236 Roman Divotkey, Nora Loimayr, Christoph Dmitry Morozov / ::vtol::, Umbilical Digital 196 Schaufler, Wolfram Weingartner, Liquidus 152 Hermann Nitsch, organ recital 176 Christian Fennesz, Lillevan, Agora live 236 Volkmar Klien, Das audiovisuelle Archiv 197 Andrea Aschauer, Jeremiah Diephuis, Juergen Quadrature, Fantasie#1 177 Antye Greie-Ripatti, Vladislav Delay, Vladislav Delay & AGF present Rakka 237 Hagler, Wolfgang Hochleitner, Georgi Kostov, Francesco Tristano, Norbert Trawöger, Vladan Joler, Critical Cartography: Gabriel Mittermair, Deep Quiz 152 Maria Elisabeth Köstler, Akira Maezawa, Unauthorized Blue Prints 197 Ali Nikrang, The Self-reference, Monica Vlad with guest Johanna Falkinger, Dear Glenn, — Yamaha AI Project 178 Koray Tahiroglu, NOISA 198 Three AI composed Canons 237 Che si può fare? 153 Maki Namekawa, Dennis Russell Davies, Johannes Kepler University Linz, Maki Namekawa, Dennis Russell Davies, Cori Oʼlan, Suyang Kim, Dieter Stemmer, Marlene Reischl, Piano Performance 179 Institute of Computational Perception, Pianographique — Piano Music meets Digital Images 238 Christian Philip Berger, Eruptions 153 Reeps One, Reeps One x Dadabots Computers that Learn to Listen 198 ft. Second Self AI 180 Academy of Media Arts Cologne, Media and IDPW, Sofia Braga, The Internet Yami-Ichi 377 Ars Electronica Japan 405 Fine Art, Neigungsgruppe Medienfassade 313 CAMPUS PROGRAM BIO AUSTRIA, BIO AUSTRIA Bauernmarkt 378 Swarm Arena 406 Universidade de Lisboa, Faculdade Hörstadt — Anatol Bogendorfer, Beyond the Frame: 8K Future Projects 407 Campus 242 de Belas-Artes, TIMELESSNESS 316 Peter Androsch, Monophon yello))) 379 Ars Electronica Tokyo Initiative Hakuhodo x Bauhaus University, Weimar, The Academy of Arts, Architecture and Raumteiler Linz Kulturverein — Ars Electronica Art Thinking Program 408 100 Jahre Bauhaus: We are not alone 244 Design in Prague, The Ornaments of the Amanda Augustin, Lorena Höllrigl, Holy Hydra 380 Post-Anthropocene 319 FUNGUAGE ROOM 409 Bauhaus University, Weimar, Shared Habitats / Nadine Arbeiter, Cordula Ditz, Daniel Egg, Relations — Experimental Radio Showcase / CAFA, Central Academy of Fine Arts Beijing, Dan Farrimond, Juha van Ingen, Joey Holder, Ars Electronica Research Institutes 410 Other Works 245 Zen · Machine 321 Kathrin Günter, Raquel Meyers, Matthias Moos, Werner Jauk, Auditory culture 410 University of Art and Design Linz, Interface Korea Creative Content Agency (KOCCA), Niccolò Moronato, Jarkko Räsänen, Seppo Renvall, Cultures, TRANSCODE! 256 Content One Campus — Network Intelligence 325 UBERMORGEN, “ORF TELETEXT meets art” Eveline Wandl-Vogt, the ars electronica and Teletext Hackathon 381 knowledge for humanity hub (k4h+) 418 Academic Design Network Austria, University of Arts and Design Linz, Department for Visual Communication, Time Capsule — “The Messy Shape of Problems” Past, YAIR — Your Art is Reality 382 Narrations for a Future 265 Present and Future Perspectives of Design 331 Wu Juehui, bitTOWER 382 Ars Electronica Solutions 420 London College of Fashion, University of Robert Montgomery, the Arts London, Navigating without a View 268 Estuary Poem for Wyndham Lewis 383 AUSTRIA@EXPO DUBAI: London College of Communication, University The Austrian Pavilion 423 Maria Marshall, The Hudson 383 of the Arts London, Into the Distance 269 ARS ELECTRONICA voestalpine: Mixed Reality Drone Race Yan Lei, Rêverie Reset 384 CCW, University of the Arts London, ANIMATION Performance 424 Spectacular Resonance 276 Julius von Bismarck, Calle 22 384 ABB CIMAC Dinner 424 Ars Electronica ANIMATION FESTIVAL 2019 335 Queen Mary University of London, Kathrin Stumreich, hosted by Ars Electronica 385 Walking Music: Music Architecture @ SANDBOX (R)EVOLUTION 277 Juergen Hagler, Expanded Animation 2019 342 arebyte Gallery 386 Erste Campus 425 The Bartlett School of Architecture, Interactive KTM Innovation Lab 427 Architecture Lab, SIX MOVEMENTS 281 Mark Farid, Seeing I 386 STATION ROSE, U >< N<>I<
Gerfried Stocker (AT) 40 Years of Ars Electronica — 40 Years of Art Thinking
Art as a critical thinker’s “second opinion” on the digital revolution
Being a festival for art, technology and society factors, originating in the artistic ecosystem, charismatic icons of the startup and innova- But Out of the Box also immediately brings to means using the methods of art and the senso- that are perfectly suited to help formulate the tion world. In this world, Out of the Box means mind the proverbial Pandora’s box, which, as we rium of artists to observe and analyze possible enlightened, critical and qualified perspectives departing from already blazed trails, thinking in all too often assume, is the cause of the many future transformations as well as those currently that we urgently need on our path into the future. a way that is completely new and disruptive of current problems in our high-tech world. happening, and to come to conclusions about A path that must take into account the problems all conventions, in order to reinvent the world (or In any case, no matter which of these readings their cultural and social dimensions and their of the present no less than it needs visions of a at least profitable products). If you can rent out we prefer, we must all get “Out of our Boxes”. consequences. better future. your own apartment online, why not also rent out Out from cover, out of our comfort zones, our The time-honored principle of artistic thought The history of Ars Electronica and its multitude of your own car and work as a chauffeur, especially bubbles, our ignorance. Out of the mistaken and action “making the invisible visible,” the visionary artistic projects, whose future scenar- if you can neatly spare yourself taxes and fees belief that we can avoid responsibility for shap- curiosity to look at what’s behind the scenes and ios, both positive and negative, are increasingly in the process…? ing the future. the impulse to make something better, dissatis- coming true, serve to prove the effectiveness of faction with simple answers, skepticism toward collaboration among art, technology and society. default solutions, an unflagging creativity in the All the more remarkable is the visionary power of search for new ways and means — all these are those who founded Ars Electronica 40 years ago. 40 years of digital revolution, but in truth we’ve only just begun
Out of the Box When Ars Electronica was conceived and brought mainframe-heavy datacenters and research lab- The Midlife Crisis of the Digital Revolution to life in Linz at the end of the 1970s, the digital oratories into our world and our everyday lives. revolution already had a technological scope to In 1989, ten years after the first Ars Electronica, be reckoned with, and yet it was largely unknown. Tim Berners-Lee and Robert Cailliau developed Out of the Box has several very different mean- to decide for ourselves how the data and infor- Just 10 years previous, four computers at vari- and made freely available the foundations for the ings. On the one hand, it refers to ready-made mation they generate is used. ous locations in the western United States had World Wide Web, thus unleashing the greatest products that can be used immediately, which What started out as a dream of technology that is for the first time been interconnected to form technological avalanche of all time — one might is more or less exactly what we see offered to easy for everyone to use has become the night- a network — overshadowed by the spectacular call it the socialization of computers — as a result us these days: consumption- and entertain- mare of a digital leash, for which we also pay a successes of the Apollo program. But in 1978 the of which some 4.5 billion people worldwide are ment-oriented devices and the digital worlds hefty price. As is so often the case in history, the Apple II and its brethren became the first afford- now connected to the Internet. of social media. We line up before opulently decline of creativity and innovation begins with able and usable desktop computers to enter the Apart from short periods of hype and the frisson designed glass temples to buy unnecessarily economic success; for a long time now, no new market, and in 1981 the company IBM gave its of dystopian science fiction novels and films, expensive devices which we can then only use or useful features have come “Out of the Box”, new model the designation “PC” (Personal Com- artificial intelligence had until recently led a as the company that brought them to market just the same old things in different packaging. puter). Thus began a new phase, likely the most downright unglamorous existence — but this sees fit. We cannot even change the batteries This very sobering “Out of the Box” of the momentous, of the digital era: the personaliza- has now abruptly changed. To date the digital ourselves, and we have been stripped of the right economic sphere stands in contrast to the tion of computers, which brought them out of transformation has been a digitalization of the
16 17 40 YEARS OF ARS ELECTRONICA — 40 YEARS OF ART THINKING
industrial world and its processes — what we of what could come of it. But after the last 40 Bruckner Private University. The introduction of the The STARTS Day offers lectures, panels and once did without computers, we now do digitally years, we now know that we dare not leave this Ars Electronica Gallery Spaces two years ago, as a workshops on the potential of evolving future or with digital assistance, up to and including our development in the hands of technology com- setting for media artists, collectors and galleries innovators and encompasses tours through the social lives. But now we are beginning to digitize panies. In no small way it is this ignorance that to compare experiences and discuss core issues STARTS Prize Exhibition. our thinking and decision-making; and even if the has led us into our current plight of an unbridled like the conservation of media-art project, also reality of an independent, a strong or a general data economy. sparked great interest. Markus Poschner will con- artificial intelligence still lies far in the future, We should use this occasion of crisis in the digital duct his third concert with the Bruckner Orchestra we have nonetheless begun giving digital sys- revolution to reformulate our questions about in conjunction with the Big Concert Night, in Theme Exhibitions tems independence — in a way taking the step the future, and to concentrate not only on what which the program concentrates on connecting from automation to autonomy. And once again technology makes possible, but on what we wish as well as juxtaposing tradition, the state-of- It is perhaps one of the most inherent traits of we find ourselves awestruck by and also fearful to do with it. the-art and modernism. As a special attraction, humanity to strive after more, to explore the the festival will also make a Saturday excursion unexplored, to push our own limitations over into the extraordinary ambience of the Abbey of and over again — as individuals, and as society. St. Florian for a new festival program on artificial With the powerful technologies at hand today intelligence and music. The new AIxMusic — from bioengineering to artificial intelligence Ars Electronica Festival 2019, an international festival has been developed in cooperation with — it is more important than ever to reflect on platform for art, technology and society the European Commission. the way we want to use them collectively. At its core, the exhibition Human Limitations — Lim- ited Humanity revolves around the relationship The extensive 5-day program of conferences, planned, organized and implemented in collab- Symposia, Workshops, between humanity and the environment, and panel discussions, workshops, exhibitions, oration with international artists and scientists, our limitations therein. Furthermore, this year performances, interventions and concerts will engineers, designers, technologists, entrepre- Tutorials a whole new section will be introduced, the consider these questions. The festival has been neurs and social activists from all over the world. European Platform for Digital Humanism, not The Opening Symposium “History Day” is not only encompassing a multitude of programs and only dedicated to the 40th anniversary of the partners, but illustrating the increasing impor- Ars Electronica and the 100th anniversary of tance of international collaborations. Of course, the guest university Bauhaus University Weimar, from a curatorial and certainly an organizational Formats and Programs at the 2019 Festival but to take an in depth glance into the history of viewpoint, there have to be subdivisions, espe- media art in general. From artworks and projects cially when it comes to setting up installations in the exhibition to symposia the recurrent theme in premises measuring almost 100,000 square Opening up the dimension of media-art and there will be a variety of special programs and “Out of the Box. The Midlife Crisis of the Digital meters. The theme exhibitions have been struc- science to the general public has always been formats diving into the history of the institution, Revolution” will be explored from a multitude of tured according to two fundamental approaches, a main concern of Ars Electronica; neverthe- for example the “ARS and the CITY” and the angles throughout the whole festival. The theme though there is a great deal of overlapping less, intensifying the efforts in the avant-garde “ARS on the WIRE” exhibitions at the LENTOS conference “Midlife Crisis of the Digital Revolu- among them. Art and Technology projects, the media-art genre with specialized partners, par- museum or the 40th anniversary lounge at tion” on Friday explores the current and future origination of which was motivated primarily by ticularly in selected areas of emphasis, has been POSTCITY. The Ars Electronica Animation Festival prospects of our increasingly digital world. At research and exploration, make up the exhibits intrinsic to the spirit of Ars Electronica since its is already an integral part and even earned the the “European Forum for Digital Humanism” on in the large halls on the 1st Upper Level; art and very inception. In order to live up to both ends title festival within the festival. Another well- Sunday, the discussion will revolve around strat- technology projects that are primarily means of the spectrum the festival offers a variety of known format by now is the focus on digital egies and ways to cope with the ever increasing of artistic expression predominate in the large well-established and new formats. Celebrating music and sound art with Music Monday and digitization in a sensible way with a particular exhibition parcours arrayed in the spectacular the 40th anniversary of Ars Electronica this year, Sonic Saturday in cooperation with the Anton regard to the European humanistic heritage. spaces of the lower Levels.
18 19 CONFERENCES, LECTURES, WORKSHOPS
CONFERENCES, Conferences Opening Symposium: History Day
The first day of the Festival will start with two that are still relevant today, will be the focus LECTURES, conferences and focuses on the 40th anniversary of a program designed by Josephine Bosma in of the Ars Electronica Festival: collaboration with the Ö1 Art Radio. (A sepa- The Faculty of Media, Media Art and Design of rate exhibition on the history of telecommuni- the Bauhaus University Weimar is celebrating cations art and Net-Art will also take place in the its 100th anniversary this year, also highlighting POSTCITY.) The History Day conferences are WORKSHOPS the deep history of the relationship between art dedicated to the anniversary celebrations of and technology. The Bauhaus University Weimar Ars Electronica. After 40 years in existence, we is this year’s guest university of the Ars Electronica reflect on the various forms of digital media art Campus program and is represented with an that emerged during this time and have been part extensive exhibition in the rooms of the Kunstuni of the Festival. Pioneers of artistic movements Linz on Hauptplatz. with strong impacts on the digital revolution Afterwards, the search for traces of the begin- from all around the globe will discuss outstand- nings of telecommunications art, with its for- ing ideas, practices and contributions from the ward-looking visions and artistic practices intersection between art and technology.
Theme Symposium: Midlife Crisis of the Digital Revolution
On Friday, the conference moves forward in time opinions should be critically questioned. We to explore current and future prospects of our should establish a sensible implementation of increasingly digital world. Art and Creativity have the emerging autonomous systems into our soci- always been viewed as important contributors ety, without forfeiting our humane values to eco- to ensuring that future technological imple- nomic calculations. Not only the arts, technology mentations will happen under consideration of and economy are presented with the important enlightened, critical and qualified perspectives. task to help we won’t lose our humanity on our During recent years we have lost confidence in journey from automatization to autonomization the impartial and responsible use of our digital — how can every one of us take active roles in technologies and media. We should put up for shaping our future? A section of this conference discussion whether trust in distinguished media is part of the European ARTificial Intelligence outlets needs to be reestablished and the grow- Lab, which is co-funded by the Creative Europe ing role of social media for formation of public programme of the European Union.
21 CONFERENCES, LECTURES, WORKSHOPS
European Forum for Digital Humanism
The Sunday conference program will concentrate But since our technology has become ever more Prix forums to hear the artists elaborate on their the European challenge to find a distinct European invasive, we should closely monitor the handling oeuvre and current work. Prix Forum “Computer Music Research Lab approach in shaping our future. How can Europe of our data by automated decision making pro- Animation” is held on Friday in conjunction with A coalition of Austrian musical institutions guarantee that emerging technologies won’t lose cesses. The question arises how we can take Expanded Animation Symposium in the POSTCITY, and initiatives is producing an encounter with touch with our humanity and humane values? sensible regulatory action across Europe and which is connected with the Ars Electronica the future prospects of young Austrian musi- Recent years have brought to light some serious even on a global scale, and how these processes Animation Festival screening rooms. Prix forum cians. This Open Lab is an outgrowth of Music fallacies in machine learning systems, requiring could look like. This conference is part of the “Digital Musics & Sound Art,” and the brand- Summit, a working group formed at the 2017 us to make sure that artificial intelligence will be European ARTificial Intelligence Lab, which is new category “Artificial Intelligence & Life Art” Ars Electronica Festival; now, two years later, fair, inclusive and responsible. We have always co-funded by the Creative Europe programme of are held on Saturday in the OÖ Kulturquartier, they’ve put together a program for musicians, created helpful tools for our living and survival. the European Union. where the CyberArts exhibition is located. Right teachers and musicologists. The emphasis is after the Prix Forum on Saturday, the shuttle bus on the future of the music industry and musical brings you to the AI x Music festival at St. Florian! training. Considering these two systems jointly is meant to provide a better overview and more profound insights for musicians. Free from any Gallery Spaces Panels restrictions of genre or style, music will revert Lecture Program here to one of its original functions: an ambas- The Gallery Spaces Panels are situated in the sador of emotions providing the various projects Säulenhalle. Deep in the core of POSTCITY, with sounds that may both irritate and amuse. Expanded Animation — Digital Theatre Network gallerists, artists, theorists and collectors dig thoroughly into the complexity of the new media Out of the Box Meeting market out of their own experience. From business models for young artists, through the contempo- Campus Forum In collaboration with the Upper Austria University How can digital technology add to the magical, rary art aspects of new media artworks, to the This year, for the second time, a selection of of Applied Sciences’ Hagenberg Campus, the theatrical moment? Digital theatre entails a conservation of past and present: the Gallery universities will not only present their work in 7th Expanded Animation symposium carries multitude of approaches and perspectives. Spaces Panels create a comprehensive picture a special Campus exhibition, but also host their on a process launched in 2013 — mapping the Believing that new developments in digital of the media art market 2019. wide-ranging domain of animated worlds of theatre and technologies can increase engage- own discursive format — the Campus Forum Con- imagery beyond the well-trodden paths. The ment by bringing theatre to new audiences ferences. In the panels, a variety of universities symposium stays the course originally set at its and sectors, ETC and Ars Electronica together will discuss the future of media-arts education. inception, and presents theoretical positions with experts from the field, discuss respective Music Monday What are the crucial skills and aspects for the and perspectives from the art world, the R&D experiences, current projects and trends. Finally, coming generations of artists in light of today’s field and the industrial sector. The mission: the audience is invited to exchange ideas with The Sound Art Parcours “Music Monday” is developments? Come and join the debate to To function as a driving force advancing an inter- the panelists about possible future applications a longstanding Ars Electronica tradition. The learn more about the individual approaches of disciplinary discourse. This year’s symposium of the digital in theatre. tour passes through the diversity and plurality the different universities. takes the festival motto Out of the Box — the of the relationship spaces of music/sound art Midlife Crisis of the Digital Revolution and offers and the media arts. Theoretical reflection and several panel discussions on current trends in discussions with the artists, personal as well as the extended field of computer animation. PRIX FORUM individual physical experience, immersion in the Out of the Box in the sense of “thinking against all mediality of sound: this is what Music Monday conventions” captures the basic essence of the One of the absolute highlights of every stands for, because it enables intensive guided Expanded Cinema movement, widely regarded Ars Electronica is the opportunity to meet encounters with the sound worlds that we find as a pioneer of media art. Prix Ars Electronica prizewinners and attend at the Festival.
22 23 CONFERENCES, LECTURES, WORKSHOPS
Guest Conferences
Furthermore, Bauhaus also organizes the PhD Innovation Forum STARTS Day Academic Design Panel “slow algorithms and the hazards of GET.Inspired (in collaboration with the European Network Austria — standardization”, which takes their 100-year Commission) (in collaboration with Wirtschaftskammer anniversary to critically reflect on the cultural, Discursive Formats educational, political, and economic standard- Oberösterreich) The STARTS Day focuses on the STARTS Initiative ization of art and design in society today. of the European Commission and offers insights The student projects presented in the Campus The power of individual technology groups into collaborative practices at the intersection of exhibition of the Academic Design Network and their sole shaping of the future is increas- art, technology, science and industry. In different Austria form the point of departure for impulse ingly subject to criticism. We are called upon Concept We are not alone! Bauhaus100 PANEL: discursive formats and presentations, extraordi- lectures, fishbowl discussions as well as work- to critically question and actively participate, Ursula Damm nary examples from this field are presented and shops such as a speculative design lab. Concept PhD PANEL slow algorithms and the hazards instead of remaining passive victims of digital their implementations, methods and impacts Day one aims to outline different approaches to of standardization: Alexandra Toland change. identified. One of the main focuses of STARTS the field of design. At the Innovation Forum GET INSPIRED, the Day will be the connection between AI and music; Day two focuses on how technological advances day for focusing on the economy at this year’s another, the practical issues around STARTS (e.g. machine learning) transform working Festival, people and companies show how think- Perspectives of collaborations and their impact, as well as the modes, task areas and perspectives in the field ing against the grain and leaving the comfort education through Regional STARTS Centers of design. Political Studies zone can lead to new, unthought-of of paths. and the creation of suitable legal frameworks Day three discusses implications of the insights Ars Electronica sees itself not only as a stage for for interdisciplinary innovation projects. Within gained for design research and teaching, Let’s argue. Conflict culture in the pioneers in art and science, but also as a forum GET.Inspired, promising start-ups and estab- especially focusing on the skills and knowledge age of digital battlefields that promotes an open dialogue and seeks to lished companies are presenting creative forms necessary to deal with the rising complexity of initiate a broad discourse. of innovation. The STARTS Prize’19 winners will contemporary challenges. Conflicts and fights have been with humanity reveal their approaches and perspectives, work- since primeval times. In an ideal case they are ing methods and results at the STARTS Talks. a prime mover for societal development, in the Scientist in Residence Last but not least, the STARTS Day will conclude worst case they set free destructive powers with an exploration on humanizing AI. We are not alone! of incommensurable strength, combined with Programme human suffering and ecological, economic, and Bauhaus100 PANEL political catastrophes. (a collaboration between Ars Electronica, Co-Thinking the Renewal of Fashion BOZAR, Gluon, the Serpentine Gallery and The symposium seeks to investigate the degree several universities and research institutions) (in collaboration with Re-FREAM) The panel introduces lecturers who in recent to which social media can contribute anything to years have devoted themselves to arts education a new culture of conflict and fighting or if these Emerging new technologies are changing the The Gluon Scientist in Residence Programme is that straddles the humanities and the natural media obstruct such a culture, whether digitali- way how fashion is produced and thus facing the designed for a new generation of scientists inter- sciences. The experiences gained through this zation has changed communication, cooperation, criticism that the fashion industry is currently ested in collaborating with artists. The program examination of science and art find expression and opportunities for manipulation and, last but experiencing. Tech-driven solutions can encourages renowned contemporary artists to in an original theory as well as in the artistic not least, whether new forms of conflicts would positively impact our planet. host a scientist or researcher in the independent practice of students, sometimes over several emerge through the digital transformation of Within the Re-FREAM project, 10 international and inspiring environment of their studios, revers- generations. society. artists are using innovative technology for ing the usual approach where artists are invited We would like to take the time for a critical inven- In lectures and workshops, new socio-political re-thinking fashion together with technologist to work at the R&D departments of universities tory that not only leads to skepticism, but also repercussions are demonstrated and discussed in an ART-TECH collaboration. In our panel art- or companies. Our intention is to challenge the to a change in the design of cultural technology. on various levels. ists and scientists will share their perspectives hierarchy between the arts and empirical sciences Teachers from various disciplines will explain on future developments in the fashion industry, that was predominant in the twentieth century, approaches developed from the encounter of art talking about responsive fashion, future materials and challenge technological and scientific practice and theory at art colleges. An event produced jointly by the Upper Austria Teacher- and the fashion production system. Further- determinism by enabling artists to input experi- The focus is on the adventures and visions that Training College, Upper Austria Chamber of Labor and more, our session gives insights into the Worth Ars Electronica mentally creative, critical and societal ideas. manifest themselves 100 years after the euphoria Partnership Project supporting the creation of The conference will present the program as well of the Bauhaus. as the outcomes of past residencies. cross-border and cross-discipline collaboration between fashion and design, technology, crafts, and manufacturing companies. 24 25 CONFERENCES, LECTURES, WORKSHOPS
Workshops
ZusammenHelfen Sonic Saturday — CyberRäuber-Workshop European Platform for
Conference “Medium Sonorum” Since 2016, Marcel Karnapke and Björn Lengers Digital Humanism — work together as CyberRäuber, bringing theatre This is the fifth consecutive year that Zusammen The Medium Sonorum computer music matinée Workshops into VR and VR into theatre. They do artistic Helfen — Working Together in Upper Austria for at the CMS Sonic Lab, Anton Bruckner University’s research into new narratives, virtual stages, The Saturday of the festival features a workshop Refugees is hosting a conference for all those 24 channel concert hall opens AIxMusic’s second recorded and real-time acting on stage and series in the framework of the European Platform who are committed to and interested in help- festival day. It presents recent works by Tobias VR. Their work is shown as repertoire pieces at for Data Humanism. At first, Caroline Sinders’ (US) ing people forced to flee, or are affected by Leibetseder, Astrid Schwarz and Tania Rubio, several theatres and international festivals. Feminist Data Set will adress questions about refugees and integration. as well as a rarely performed classic, the ‘36 In addition to showing their first interactive collecting data as an artwork and as a form of This year’s conclave entitled “Day of Encour- enfilades pour Piano et Magnétophone’ by Luc VR opera Fragments | a digital Freischütz, the protest. Charlotte Jarvis (UK) will then invite a agement” will scrutinize new prospects, discuss Ferrari with Kaori Nishii at the piano and Angélica CyberRäuber give a hands-on workshop with selective group of twelve women to participate in the latest developments and challenges, and Castelló on the mixing desk. Erik Nyström presents exclusive insights into VR theatre. a ritual for populating history without patriarchy, elaborate on successful projects. his live computer music work Texton Mirrors using also a starting point for In Posse: an ambitious machine learning, spatially distributed feedback art project to produce female sperm as an act networks and ‘topographic’ multichannel synthesis of liberation. Bjørn Karmann and Tore Knudsen, processes to customize its canvas of sound to BR41N.IO Hackathon winners of the STARTS Prize’19 for Artistic the loudspeaker environment of the Sonic Lab. Brain Hackathons are brainstorming and collab- Exploration, will show visitors how to design orative marathons designed to rapidly produce their own Alias, a parasite that hacks your smart working prototypes. At Ars Electronica 2019, home assistant. 300.000km/s, an interdisciplin- BR41N.IO, organized by g.tec, brings developers, ary urban innovation office, will involve partic- technologists, engineers, students, artists, and ipants in a discussion around liveability in the scientists together in teams of five participants context of urban planning and will show method- each over two days to cram and build solutions ologies applied in their innovative urban planning that they can present. Hence, the Hackathon pro- project Ciutat Vella’s Land-use Plan in Barcelona vides an environment for innovation and entre- that was awarded with the STARTS Prize’19 for preneurship. By putting creative minds from Innovative Collaboration. multiple disciplines together for a short period of time, we have the opportunity to discover and uncover new possibilities for using BCI-related hardware and software.
ZusammenHelfen Conference, © Tom Mesic
26 27 CONFERENCES, LECTURES, WORKSHOPS / Art Thinking School 2019 ART THINKING SCHOOL 2019 Ars Electronica Art Thinking School “Art is a catalyst for shaping a better future society.”
The Ars Electronica Art Thinking School is a to empower participants to take on the various new festival program consisting of inspirational societal and technological complexities facing tours, lectures, talks, workshops and exhibitions us in today’s fast-paced and fluctuating aimed at inventing a better future. Using the environment. “Art Thinking” approach connects creators, Whether it is through unearthing fundamental industries, governments and citizens by cultivat- “Creative Questions” in the annual Future Inno- ing a creative mindset of questioning the world. vators Summit, exchanging ideas and convictions We believe that art and artistic thinking is the on the platform of the Ars Electronica Festival, best way to understand even the most complex being guided through specially prepared the- issues and systems created by humankind — be matic courses at the Festival exhibitions and they societal, economic, political, or technolog- venues, or actively designing future scenarios in ical. Art holds the power to scrutinize existing one of the Art Thinking School workshops, alumni beliefs, cast doubt on common perceptions and of the Ars Electronica Art Thinking School apply find a way to think outside the box. Art Thinking to the challenges of present-day The Ars Electronica Art Thinking School aims life — and that of the future.
Tom Mesic Tom © Ars Electronica Futurelab
28 29 CONFERENCES, LECTURES, WORKSHOPS / Art Thinking School 2019
between natural and artificial life forms. It is The digital revolution, which accelerates the Future Innovators Summit 2019 altering the definition of our body, as well as our technological innovations that can create alien views of life and death. beings such as robots and AI, now requires us The Future Innovators Summit (FIS) is an inter- rethink the pressing issues we face, and to create When the world becomes a hybrid of organic and to update the idea of humanity boxed in classical cultural workshop format which was initiated future scenarios for a better global society. This secondary nature, how do humans create a new philosophy. in 2014 and has since developed into the key workshop, jointly developed by Ars Electronica culture, fashion, and lifestyles? Does our spirit How do we see our different selves when we think-tank program during the Ars Electronica Futurelab and Hakuhodo — a leading commu- still reside in our physical body? Or does it trans- separate our sense of being from that of robots Festival. nication design firm in Japan — offers time and form into a ghost freed from natural laws, and — Robotinity — or that of AI — The other I — ? At this summit, young and experienced pro- space to think, and aims first and foremost to travel in space at the speed of light? What should only humans do? What will only fessionals from different cultures and back- look for an ultimate Creative Question that will humans be able to do? Where does our free will grounds — such as artists, designers, scientists, lead us to think about missions and actions, How do we find meaning in go, in a fully controlled society? How will our engineers, entrepreneurs, social activists and rather than merely finding solutions for the BODY in the 21st century? neo-humanity evolve in the future? What will a philosophers — gather to intensively discuss and commonly known problems. sanctuary of the future be?
FUTURE HUMANITY Ultimately, how can we be more HUMAN? Humanity is a “Philosophical BOX” which human beings have discovered in the course of living This year, participants at the summit will discuss the following topics: together with nature and technology throughout history. Text by Hideaki Ogawa, Vanessa Graf & Carla Zamora
FUTURE TRUST mutual surveillance? Will a system like block- chain become the savior that frees us from the Trust is a “Societal BOX” of solid belief, on which black box, and wins back trust? Or will it end human beings have built mutual relationships up as a tool to justify a nationwide social credit even in the midst of social upheaval or techno- system? logical transitions. People Thinking Lab 2019 The digital revolution has changed the way infor- How do we believe in TRUST mation is created, published, and shared, to the in the 21st century? Hakuhodo, Hakuhodo i-studio Inc. point where it is undermining the legitimacy of authority and calling into question the role of People Thinking Lab is an open and experimental i-studio Inc. for supporting People Thinking. media. Popularization of the concepts fake news FUTURE BODY laboratory initiative for empowering people to Moreover, this laboratory will play an important and alternative facts has seriously shaken our envision our future society with unique work- role in the process of extracting creative ques- common ground of “trust for information.” Still, The body is an “Organic BOX” that confines the shops and tools. The People Thinking itself tions for Future Innovators Summit, by getting people enthusiastically put sensors everywhere, human mind, brain, and internal organs through- originates from Hakuhodo’s philosophy, “the input from visitors to the festival. monitor everything from biometric signals to out life. philosophy of sei-katsu-sha (living people) political orientation, and feed digital informa- The digital revolution opened up new possibil- insight.” It aims to co-create a better society Producer: Yasuyuki Imai (JP) tion to AI to explain the laws governing social ities for transcending our physical presence, where people are defined, not as consumers and Assistant Producer: Muu Narioka (JP) behavior. which led us to create the modern technology marketing targets, but as co-producers and indi- Art Director: Yosuke Kouno, Mariko Ito (JP) Are we making society more secure, or more of telecommunications or human augmentation. vidual beings. At Ars Electronica Festival, the Lab Designer: Takayasu Sagawa (JP) Technical Director: Masakazu Kawazu (JP) vulnerable? Can the data-based society gener- The evolution of biotechnology brought a whole shows a new collection of the latest tools and Programmer: Koyo Arai, Naoto Tanaka (JP) ate more trust, or take us into a nightmare of new dimension to life science, blurring boundaries workshops developed together with Hakuhodo Total Produced by Rena Tanaka (JP), Masahiro Oie (JP)
30 31 40 YEARS ARS ELECTRONICA
Since its inception in 1979, Ars Electronica makes them accessible to the general public. has remained true to its core value of connect- Presence in public space is therefore one of its ing the realms of art, technology, science and most important aspects: interdisciplinary proj- society. Today, 40 years later, Ars Electronica ects regularly invite regional and international is one of the leading institutions in the field of visitors to engage with current issues, visions media art, not only deeply rooted in the pub- and possibilities. lic sphere and cultural landscape of Linz, but The following article gives a preview of the first also an important link to the international com- chapter of the new 40th anniversary publi munity. With a variety of formats and initiatives, cation Creating the Future. A Brief History of 40 YEARS Ars Electronica traces current processes and Ars Electronica 1979 — 2019 written by Andreas developments in art, technology and society and J. Hirsch.
ARS ELECTRONICA Andreas J. Hirsch (AT) Creating the Future. ARS and the CITY A Brief History of Ars Electronica ARS on the WIRE 1979 — 2019 Excerpts from the first chapter “The Founding Years of a New Festival 1979 — 1986” of the 40th anniversary publication
Put Your Radio in the Window: A Festival Emerges From a Cloud of Sound
Ars Electronica’s entrance into the world was no river, as well as additional speaker systems at less than grand. On the evening of September four remote, elevated positions in the city and 18, 1979 a crowd of around 100,000 people — — maybe most importantly — via regional radio. approximately half of the city’s population — had On the day before the opening, Monday, gathered in the park on the banks of the Danube September 17, 1979, a very unusual “special in front of the city’s concert hall, the Bruckner- guest” had arrived at the airport of Linz: The haus. It was a mild evening after a mostly sunny mayor of Linz, Franz Hillinger, had come to the early autumn day. The opening event had been red carpet rolled out at the city’s small airport the talk of the day. Traffic collapsed since nobody to officially welcome “SPA 12,” a robot that had had expected such a huge crowd to turn up. flown in from New Jersey, USA. SPA 12 looked At five minutes past eight, the first movement very much like the robots familiar from science (Allegro Moderato) of Anton Bruckner’s Sym- fiction movies and spoke with a somewhat phony No. 8 in C minor commenced flowing along squeaky, metallic voice. He graciously greeted the river. The event had been announced as a the population of Linz and held the opening “cloud of sound” that would eventually cover speech at Ars Electronica on September 18. the entire city of Linz. This was to be achieved He even mingled with the crowds on the city’s via a massive sound system at the Danube park main shopping street (Landstraße), responded to (Donaupark) and on the opposite bank of the questions from people phoning in to a live radio
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broadcast, and was the star of a late night TV had been brought in from Munich to conceptualize Library, situated in the compound of the former which combines a strong focus on the future with discussion show Club 2. As this was late 1970s this open-air event due to his previous expe- Royal Palace of the Habsburgs. Spending the a profound knowledge of our cultural heritage. robot technology, SPA 12’s movements were, of rience with filling large outdoor spaces with day in the historical ambience of the old read- Leopoldseder wrote his PhD thesis in 1973 on course, remote controlled and his quick-witted floating sound. However, the organizers’ plans ing room of the National Library, he worked the topic “Grotesque World: A Contribution to answers came from a human companion not far were affected by some unexpected factors: The himself through his two main findings. Those the History of the Development of the Nocturne away. But the message that Ars Electronica sent huge crowd somewhat reduced the audibility of were books by the Austrian scientist Herbert W. in Romanticism.” The choice of 19th century out was nonetheless clear: Linz welcomed this the music in some parts of the Donaupark and Franke (*1927), both a specialist on computer composer Anton Bruckner, a Romantic, for the emissary from the future with open arms. during the concert the balloon was pulled down graphics as well as a writer of science fiction first Klangwolke might not only suggest a log- Those two events marking the inception of the to the ground by members of the audience, who novels. Franke turned out to be pioneering in ical strategic decision for the most prominent first Ars Electronica Festival — the massive grabbed the shimmering hearts. The German the still young encounters of microelectronics composer from the province of Upper Austria; it “Cloud of Sound” (Klangwolke) and the arrival chemist and photographer Manfred P. Kage pro- and art and could also provide the theoretical could also be seen as inspired by Leopoldseder’s of the robot SPA 12 — were in fact well-planned vided another kind of visualization of Bruckner’s foundations required. Franke had summarized broad range of cultural topics of interest. parts of a bold and visionary concept. When the music by transferring the sound waves from a his artistic work in computer graphics so far as When approached by Leopoldseder, Herbert W. composer Hubert Bognermayr — a pioneer of loudspeaker to liquids and a diffusing screen “Ars Ex Machina.” When later driving to visit Franke — who was 52 at that time — not only electronic music and founder of the rock band — an analog precursor of future digital media Franke at his home near Munich, Leopoldseder agreed to collaborate but also swiftly helped Eela Craig — approached Hannes Leopoldseder, art concepts. In the days preceding the opening came up with a name for the new festival he was define an exhibition and a symposium and thus regional director of the Austrian Broadcasting event of this first Ars Electronica Festival, the preparing: Ars Electronica. create important constitutive elements of the Corporation ORF, to cooperate in an event of population of Linz had been encouraged to par- There can be little doubt that Leopoldseder’s first Ars Electronica. Franke is a polymath, who electronic music, it immediately sparked his ticipate in this “musical Bruckner experiment”: humanistic education and his familiarity with had dedicated himself to a diverse field of stud- interest. But Leopoldseder quickly advocated a People were asked to turn on their radios at the the languages and cultures of classical antiquity ies from physics, mathematics, and chemistry grander design: It should not merely be a concert time of the event and place them in their open informed this choice of name for the new festi- to psychology and philosophy, and he obtained plus a small symposium, but also a large-scale windows, thus helping spread the “cloud of val. Young Hannes Leopoldseder had attended his PhD in physics from the University of Vienna event in public space. sound” across the city. Most of them did not even a private Catholic secondary school — the Petrinum in 1950. In 1968 he had joined the “group par- And the project should not limit itself to have to switch radio channels, since that evening in Linz Urfahr — that was regarded as an elite allel”, formed by artists and scientists who con- electronic music alone, but expand to other Bruckner’s symphonic work was broadcast on institution. The curriculum included nine years sidered science, technology, society, and art as areas of creativity where microelectronics were the highly popular regional program, which usu- of Latin and six years of ancient Greek. The phenomena linked together in feedback loops. beginning to be applied in artistic creation. ally featured folk music. The taxi drivers of Linz Petrinum, which also has its own observatory, Since 1973 he had been teaching courses on The symphonic open-air performance on the followed the call to turn on their car radios, tune is housed in an impressive historical building re “cybernetic aesthetics” at LMU Munich. His banks of the Danube was based on a quadro- into the program, and drive with their windows siding on the slopes of the Pöstlingberg hill above work in the field of computer graphics can be phonic recording of Bruckner’s last completed open. So on that memorable evening the city Linz. From there it is a mere 15-minute down- found today in art collections like the one in symphony by the Concertgebouw-Orchestra con- came to life with numerous sources of the same hill stroll to the site of the first Ars Electronica the Abteiberg Museum in the German city of ducted by Bernhard Haitink. Music producer Ulli sound of Bruckner’s music, some of them in the Center, where some four decades later Hannes Mönchengladbach. So Leopoldseder, who had A. Rützel negotiated the rights for this unusual facades of the buildings, some of them cruising Leopoldseder’s vision would become reality. come across Franke’s books on ‘computer art’ use of the recording. Bruckner’s music was to through the streets of Linz. When pondering the term “Ars Electronica” and ‘apparative art’ at the National Library, be accompanied by a laser show focusing on a we may recall the “seven liberal arts” (artes clearly had identified the right person to share huge balloon covered with shimmering hearts. liberales) which included the four ‘scientific’ his vision of a festival at the crossroads of art, The composer and sound-architect Walter Haupt […] disciplines — music, arithmetic, geometry and technology, science, and society. astronomy. In ancient Greece as well as in Roman antiquity these “arts” were considered to The Birth of Ars Electronica from the Spirit of Computer be essential elements of any higher education. […] Today we have reason to think of the different Music and Computer Graphics areas of expertise and the various skills involved in “Ars Electronica” as essential to prepare us When Hannes Leopoldseder — inspired by the went on to look for someone to bring in the for the future and enable us to actively shape artistic impulse of musician Hubert Bognermayer necessary expertise in the field of microelectron- this future. Such references to historical con- Text: Andreas J. Hirsch — plotted out his ideas of a festival dedicated ics and art. So he went to Vienna and did some cepts, in this case from classical antiquity, are Publication: Creating the Future. A Brief History of to art, technology, and society, he immediately research on the topic in the Austrian National also typical for Leopoldseder’s way of thinking, Ars Electronica 1979–2019; Hatje Cantz, Berlin, 2019
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ARS and the CITY A retrospective of the activity and impact of Ars Electronica in, with and for Linz: Ars Electronica’s art, media and participation projects in public space — from 1979 to the present day.
“No other Austrian city has undergone such consequence of these early developments. Ars Electronica 1991 — Stadtwerkstatt TV Klangwolke 1979, © ORF dramatic economic, social and demographic The exhibition divides the huge multitude and Niemand ist sich seiner sicher change in the 20th century as Linz. For decades, variety of projects and initiatives in the public the city’s image was almost exclusively deter- space into four thematic sectors: Donaupark, mined by heavy industry. For 40 years, Linz was Hauptplatz, Voest, Stadtwerkstatt. the heart of the Austrian steel industry — the The Donaupark not only symbolically stands for steel city,” wrote Siegbert Janko, longstanding the city as a living space, but is also the starting and influential cultural director of the city of Linz, point of this exciting journey, as the Linzer Klang- about the special conditions of cultural policy in wolke was also invented in 1979 for the opening Linz at the end of the 20th century. of the first festival. In its founding year, it was His description also relates to an important and not only a spectacular open-air concert, but also formative starting point for the emergence and extraordinarily prophetic with its “Radio in the development of Ars Electronica: a city in tran- Window” project. Weeks before the Klangwolke, Ars Electronica 1996 — 2000, Ridin’ a Train — eine Ars Electronica Festival 1994 — Alles Spiel, audience sition that saw art and culture as an important the people were invited to join the Klangwolke, musikalische Nachtfahrt mit dem Zug durch das participation, © Felix Nöbauer force in shaping its future opportunities. or “cloud of sound,” on Saturday evening by Werksgelände der Voest, © Rudolf Brandstätter It is one of the founding myths of the unique putting their radios in the window and creating over Linz was organized and publicly announced, The fourth sector is dedicated to the role of Ars Electronica project that it came to life as a a real Klangwolke throughout the country, far inviting the population to set visible signs in their the independent scene, based on many of the festival for art, technology and society — as an beyond the Donaupark. Thousands of people gardens, on their roofs, on business premises and Stadtwerkstatt projects that took place as part initiative of the City of Linz and the ORF — to participated. From today’s point of view this can in parks. The result — a huge aerial photograph of of Ars Electronica. The Stadtwerkstatt, today the initiate, accompany and support the trans- be called a successful pioneer project of “Social “Ganz Linz” — was subsequently integrated into oldest autonomous cultural center in Linz, was formation that the city urgently needed at Media,” in which a medium is not only used to the floor of the entrance hall of Linz Town Hall and also founded in 1979 and was the starting point that time. Computers and microelectron- broadcast information or entertainment but is still being updated by the city administration. of a vital artist scene in Linz that played a decisive ics were obvious economic prospects for the to inspire action and let people participate on It is also very popular — people come to the town role in shaping the way from the steel city to the future of an industrial city. From the very a large scale. Thirty-three years later, another hall especially to see and explore their city. cultural city and still has an important influence beginning, the importance of social and cul- world premiere took place: In 2012, for the first The third thematic sector is “Voest.” The huge on the festival today. tural aspects was recognized and taken seri- time, 50 drones flying as an autonomous swarm company premises, founded as Herman Göring The term “Hundesprengung” (Engl. blasting ously, an extraordinary and special aspect rose in the Donaupark and created a unique show, Werke during the Second World War, were the dogs) is still used by many to refer to the that was certainly also due to the influence of a development of the Ars Electronica Futurelab economic engine of the city soon after the war, city’s major cooperation project with ORF- Ars Electronica co-founder Hannes Leopoldseder. that gained attention all over the world. shaped the identity of Linz as a steel city for OÖ at Ars Electronica 1991. The “Bug Race” It is therefore only natural that Ars Electronica The Hauptplatz is one of the most frequent decades, and today remain a sign of Linz’s success of 1997 or, most recently, the “Turnton Dock- has been working in and with the city with a locations for projects in public space and many as a location for modern technology. lands” of Times Up 2016, are also examples of great deal of energy and enthusiasm from the residents of Linz still remember the project Audi- Voest not only appeared as a theme of the this influential and fruitful interaction. Look- very beginning, repeatedly mobilizing consider- ence Participation by Loren Carpenter in 1994, Ars Electronica Festival from the very beginning ing at the broad spectrum of creative and able resources for this purpose. It quickly turned in which 4000 people were able to play “Pong” (steel symphony, steel opera ...), but also as an innovative players active in Linz today, many out that media art was particularly well suited to together on the Hauptplatz. But the Haupt- iconic venue for unusual projects. It’s hard to of whom are now anchored far beyond breaking out of the established venues for show- platz as a thematic sector of the exhibition also imagine, but in the early 1990s there was also Ars Electronica in the city’s universities or have ing art and mediating culture. It allowed artists stands for the important and active role of the an artists’ group named “Contained” that had completed projects such as building a hub for the to the public sphere in a distinctive way or, even city administration without whose intensive sup- moved into a quarter in the middle of the Voest economic value creation of creative work in the better, to create their own public sphere. port many of these projects would not have been area. It gave rise to the collective “Times Up,” former tobacco factory, confirms the courageous The later orientation of the Ars Electroncia possible. Until today, a “by-product” of what has which is still successful today. The nocturnal founding idea of Ars Electronica: to include art Center as a “museum and school of the future” been perhaps the largest participation project in musical train rides through the Voest area, and culture as a catalyst in the transformation of and its broad positioning as an art, education the history of Ars can be found in the entrance organized by Wolfgang “Fadi” Dorninger for the the city, which is also a great opportunity for the and research institution today are a logical hall of the Linz Town Hall. In 2007, a photo flyover festival from 1996 to 2000, are also legendary. challenges of the coming decades. 36 37 40 YEARS ARS ELECTRONICA / ARS on the WIRE
ARS on the WIRE How artists started to explore the social dimension of the electronic space.
Long before the Internet began to attract wide- the aim was to combine the virtuality of digital spread attention in the form of the WWW and space with our physical reality, to extend the before a young generation of artists began to human-computer interface beyond the distance critically examine the structures, peculiarities, of the telematic connection, and to be able to and future possibilities of this new medium become active and directly affect both realities at under the term “Net Art,” telecommunications the same time. Documentary materials from “Tel- art projects began to take place (from the late egarden” (1996), from “Bump,” the telekinetic 1970s onwards) dealing with global networking. wooden bridge between Linz and Budapest from From the outset, Ars Electronica was a venue for 1999, or from the projects Hiroshi Ishii presented this pioneering artistic work. at the festival since 1997, prove the fascination Telegarden, source: PILO One of the now legendary early projects took of this collaboration between art and technology. place at Ars Electronica in 1982: “The World Another exhibition area will also be dedicated in 24 Hours” organized by Canadian/Austrian to the beginnings of “Net-Art.” It presents artist Robert Adrian, together with a large num- exemplary projects and protagonists such as ber of international partners. For an entire day Etoy, Radio TNC, Ricardo Dominguez’ Digital and at every hour, the ORF regional studio in Zapatismo as well as the many winners of the Upper Austria produced telecommunicative sit- relevant Prix categories for Net-Art and later for uations online, each with a different location in Digital Communities. the world, using all available possibilities. The What makes all these projects so exemplary aim was not to create works of art, nor was it to from today’s point of view is that artists did not create performative situations, but to be con- approach the new technical reality as a tool with nected, to establish electronic space as a place which they produce their art(s), but recognized of encounter and exchange — in other words, to that the real impact of digital networking lies in try out exactly what is now our everyday life with the fact that it creates a social space; and they social media. saw it as their task to examine the cultural and The World in 24 Hours, © Sepp Schaffler Bump, © Sabine Starmayr Using documentary material from the archives of social effects of this development. Ars Electronica, Ö1-Kunstradio and Outerspace On behalf of society, artists claim their place by Doug Jarvis, the exhibition attempts to trace with these projects, claim their participation in the peculiarities of these early projects. the emerging electronic space, which has been Another section of the exhibition is devoted to above all — unfortunately — a monopolized the visionary media projects from the 1980s commercial space, both then and now. by Van Gogh TV, the Linzer Stadtwerkstatt-TV, The fact that we still today, to extent perhaps Radio Subcom, and the many projects that were greater than 40 years ago, lack a real public created in cooperation with the Ö1 art radio sphere in the digital networks, instead tolerating station in the 1990s. an almost feudalistic arrangement within the lat- A separate part of the exhibition is dedicated to ifundia of the digital landlords, whose arbitrary physical telepresence. It very quickly became rules we are subjected to, is probably the gravest an interesting field of artistic exploration, since failure so far of our path into the digital age.
etoy © N Van Gogh TV
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Robert Adrian X (CA/AT) Roberto Paci Dalò (IT) The World in 24 Hours
Long Night Talks. For Robert Adrian In 1982 this telecommunications program beginning at 12 noon on September 27 and TONSPUR 75_lost attempted to combine SSTV, computer commu- ending at 12 noon on September 28, 1982 nication and telefacsimile in a global multime- (Central European Time). dia telecommunication project. The conceptual Long Night Talks. For Robert Adrian is an 8-chan- includes field recordings, instrumental and intention of The World in 24 Hours focused on nel sound work. The piece is dedicated to electronics sounds. This work was created in demonstrating the global nature of electronic Robert Adrian X (1935—2015), a pioneer in art 2017, during a residency at TONSPUR — Q21/ networks—as well as the fact that most of the and telecommunications. The Canadian artist MQ MuseumsQuartier Wien. globe was missing from the network (all of Africa lived in Vienna since 1972, and for more than two Idea, composition, images: Roberto Paci Dalò and South America and most of Eastern Europe decades, Adrian and Paci Dalò shared a close Voice: Robert Adrian and Asia), and to challenge the hegemony of the friendship while working together on several Bass clarinet, clarinet, electronics: Roberto Paci Dalò Contra-alto clarinet: Susanna Gartmayer one-to-many broadcast media by using the tele- projects; among them, a film Paci Dalò created Guitar, electronics: Fennesz phone system for one-to-one multimedia inter- especially for Adrian’s major retrospective at Piano, electronics: Robert Lippok action. Another aspect was the attempt to make Kunsthalle Wien. The two used to sit in Adrian’s Installation set up: Peter Szely a statement about a new role for the artist in studio in the Wiedner Hauptstrasse and share Technical collaboration: Stefano Spada, Andrea Felli Text: Lucas Gehrmann (Kunsthalle Wien) the age of electronic media as a creator of the long night talks in which they passionately dis- Recorded by Robert Lippok at Farmhouse Studio Rimini space for art rather than as a mere a producer cussed art, radio, transmission, technologies, the Production: TONSPUR Kunstverein Wien, for the series of objects. web, surveillance, sound, warfare, and conflict. TONSPUR für einen öffentlichen raum During the project artists around the world In Long Night Talks. For Robert Adrian, Roberto Artistic director: Georg Weckwerth In collaboration with: Ö1 Kunstradio, Giardini Pensili, connected in a non-stop series of dialogues Sepp Schaffler Paci Dalò worked with Adrian’s voice, using it Usmaradio as main material for the installation, which also TONSPUR-Artist-in-Residence at Q21/MQ in 2017
Bill Bartlett (CA), Doug Jarvis (CA) Interplay; Exploring Telecommunications, Art, and Collaboration, 1978 — 1983
Artist Bill Bartlett and Open Space Guest Curator, This project is supported by the Open Space Arts Society, Doug Jarvis, present archival materials that Victoria, BC, Canada. detail and support the international telecom- munications projects that Bartlett developed between 1978 and 1983, and which contributed to the context in which Robert Adrian X’s The World in 24 Hours takes place. From his homes in Victoria and Pender Island, BC, and with the Open Space gallery, Bartlett initiated projects and collaborations that made use of early Archive Giardini Pensili Giardini Archive computer email, slow-scan video and satellite networks to bring together artists from all over the world to build networks and collaborative projects that set up the context for our current global internet culture. Slow Scan, Bill Bartlett, Open Space 1978, © Open Space Archives
40 41 40 YEARS ARS ELECTRONICA
VGA Gallery (US) Chicago New Media 1973 —1992
Chicago New Media 1973 — 1992 chronicles New Media and Animation, Art History, Theory the under-recognized story of Chicago’s and Criticism at the School of the Art Institute contributions to new media art by artists at of Chicago, and organized with the curatorial the University of Illinois at Chicago’s Electronic assistance of Chaz Evans and Jonathan Kinkley. Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway Games and The touring presentation of Chicago New Media is gener- Bally from 1973 to 1992. The exhibition features ously supported by the Terra Foundation for American Art and the Austrian-American Partnership Fund of the U.S. video game artifacts, new media technologies, Embassy in Austria. The Chicago New Media exhibition, historical photographs, game stills, playable public program and catalog was organized by VGA Gallery video game consoles and virtual reality modules. in partnership with University of Illinois at Chicago’s Consisting of an exhibition, public program and Gallery 400 with support from Electronic Visualization Laboratory. Chicago New Media 1973 — 1992 is part of scholarly catalog, the project yields a new, art Art Design Chicago, an exploration of Chicago’s art and historical understanding of the Chicago-based design legacy and an initiative of the Terra Foundation artists and organizations that contributed to for American Art with presenting partner, The Richard H. Kiyoji Otsuji, Cross Talk Intermedia held at Yoyogi National Gymnasium, Tokyo, February 1969 Driehaus Foundation. Additional generous support for digital art and technology in the latter half of the © Seiko Otsuji, Musashino Art University Museum & Library this project is made possible by The Chicago Community twentieth century. The exhibition is curated by Trust, the Goethe-Institut Chicago and the Video Data Jon Cates, Associate Professor of Film, Video, Bank at the School of the Art Institute of Chicago. Atsuhito Sekiguchi (JP), Hiroko Myokan (JP), Minoru Noma (JP), Keiko Kobayashi (JP), Ryoji Tanaka (JP) Japanese Media Art Timeline Infographics Project Japanese artworks at the PRIX ARS Electronica and Japan Media Arts Festival over the past forty years of Japanese media art activity
We are trying to build a history of Japanese Web site interface of the student-teacher rela- media art from the event, with the artistic sup- tionship at the educational research institute: port of company Mesena (mécénat) and through http://bunkacho-person.semitra.com/en.html the student-teacher relationships at the edu- cational research institute. It will consist of CANON INC. Agency for Cultural Affairs, Government of Japan Clark Dodsworth 1976 Clark Dodsworth an infographic that clearly displays the rela- Supported by Japan Media Arts Festival tionship between the winning projects at PRIX Atsuhito Sekiguchi (AUA/JP), Hiroko Myokan (JP), ARS Electronica and those at the Japan Media Minoru Noma (CDC/JP), Keiko Kobayashi (JP), Art Festival. Ryoji Tanaka (Semitransparent Design/JP)
42 43 40 YEARS ARS ELECTRONICA / Device Art
Device Art 2019 PhD. Program in Empowerment Informatics, University of Tsukuba Curator: Hiroo Iwata (JP)
Device Art is a new form of art that brings out the been inspired by the concept of Device Art. Wolfgang Dorninger (AT) essence of technology through new materials and Ten years after, in 2014, Hiroo Iwata launched mechatronic devices. This concept challenges the PhD Program in Empowerment Informatics, It started with Cassette Culture! the traditional paradigm of art by merging tech- or EMP for short. It is a five-year PhD Program nology, art and design. at the University of Tsukuba supported by the From K7 to autogenerative! Device Art possesses three main characteristics: Ministry of Education, Culture, Sports, Science (1) The device itself is content. The mechanism and Technology. The N D Magazine from Austin, Texas, had the built on tape-loops, self-soldered autogenera- represents the theme of the piece. Content subtitle Content — Document — Exchange on the tive music machines, synthetic bird sounds and and tool are no longer separable. This program aims to help students develop their cover and under this motto, Wolfgang Dorninger algorithmic soundworks with tactile speakers, (2) Artworks are often playful and can some- careers and consists of the following three areas: also sailed since 1983 through the international horns and subwoofers to celebrate 40 years of times be commercialized into devices or (1) Supplementation: Supplementing the waters of Mail Art with a focus on Cassette Cul- Ars Electronica. gadgets for use in everyday life. reduced physical and sensory functions of ture. Countless letters, contributions in fanzines, (3) Refined design and playful features are elderly people or people with disabilities. http:/dorninger.servus.at long-lasting discourses, self-organized concert traced back to the Japanese tradition of (2) Harmony: Harmonizing the engineered tours to other nodes and numerous transcendent appreciating tools and materials. Tradi- systems that people encounter in daily life cooperations created a network that, without a tional Japanese culture, such as the tea (advanced mobility, etc.) so that they inte- large master plan, had long-term and far-reach- ceremony or flower arranging, uses sophis- grate with people. ing effects on local music creation in Linz. In ticated devices. These devices are the (3) Extension: Drawing out and extending peo- 1984 Dorninger performed for the first time at roots of device art. ple’s latent creative abilities. It is closely Ars Electronica with Monochrome Bleu. Later The Device Art project was launched in 2004 related to Device Art. he also contributed to the Festival as curator together with CREST project funded by the EMP has a special “Empowerment Studio,” and technical manager. “My main focus at ‘Ars’ Japan Science and Technology Agency. Hiroo which is a combination of laboratory and gal- was to present edged electronic music within Iwata leads the project, its formal title being, lery. Many Device Art works, including Big Robot, the public space with formats like ‘Subtronic,’ Expressive Science and Technology for Device Art. have been created in this studio. Based on the ‘Ridin’ A Train,’ ‘Mego Loveboat’ or ‘Container- The concept of Device Art spread throughout the achievements of EMP, the Device Art 2019 in park’ to mention some,” he explains. Based on world, including artists from UCLA and a curator Ars Electronica has been planned for celebration his sonic history, Dorninger will present a sound team from Croatia/Slovenia. Many people have of its 15th anniversary. installation at this year’s Ars Electronica Festival
Machiko Kusahara (JP) Device Art Chronicle The term “device art” is already part of the We were able to define features that characterize vocabulary of contemporary art. The Device Art Japanese media art (e.g. playfulness), which can Chronicle demonstrates how the concept was be better understood by relating them to earlier developed within the Device Art Project, aim- cultural traditions. Nevertheless, the essence of ing to explain the prehistory of media art, and device art is also international and its features how local and global features are connected. are shared by many works of media art.
44 45 40 YEARS ARS ELECTRONICA / Device Art
Takeshi Ozu (JP), Aki Yamada (JP) Gluccie Collaborations (JP) The Society of Stools [16] Virus Buster Offline — In many crowded urban places, such as train sta- The marvels of Code Violet tions, you often find yourself in a weird situation: The scene of Virus Buster Offline takes place everyone around you is at your arms’ reach, yet in Japan in the near future. Through an avatar, Hiroo Iwata (JP) they are strangers. The Society of Stools [16] is a people can dive into the Internet world, which flock of sixteen stools that move autonomously. Big Robot Mk.2 has been infected by a brutal computer virus, The chairs escape and try to keep away from sur- Code Violet, which must be defeated by the This video installation shows the largest movable rounding objects, including people. During this players. The aim of this project is to allow par- robot in the world. Large humanoid robots, such immersive experience, you may feel like you are ticipants to increase their physical activity by as Gundam or Macros, are popular in Japanese one of them, or just feel isolated, since they are using elements of gamification. Participants animation and Manga. What if robots of this kind not willing to let you get closer. appeared in the real world? The existence of real wear an activity meter to collect points. With large-scale robots may inspire the audience to continuous participation, points accumulate and be courageous. Thus, it has potential as an art characters in the game evolve. This device art form. The Big Robot Project aims to develop the work combines the fields of medicine and art. world’s largest rideable robot. The Big Robot Mk.2 is an extension of the Big Robot Mk.1 which was exhibited at Ars Electronica 2016.
Yuta Kozaki (JP), Felix Dollack (DE), Takeshi Ozu (JP), Rina Katsube (JP) El-Astrocade Childhood obesity is a worldwide public health issue. It is reported that overweight children and young adults are more likely to stay obese during The Society of Stools [16] their life. To tackle this issue, we made use of Big Robot Mk.2 gamified exercise and proposed the large projec- tion game El-Astrocade. This game was originally implemented in the world’s largest virtual reality system at the University of Tsukuba. It encour- ages players to be more active, while showing us how physical activity is enjoyable and fosters teamwork and communication.
El-Astrocade Virus Buster Offline — The marvels of Code Violet
46 47 40 YEARS ARS ELECTRONICA
Maywa Denki (JP) Waltraut Cooper (AT) Zihotch Klangmikado Zihotch is a wristwatch that announces the current time when the user dials “117.” The voice is Klangmikado, which was created for Ars Electronica of expression into one another. The series was programmable so that the user in 1987, allows visitors to play with oversized developed for Cooper’s contribution to the 1986 can hear various people announc- mikado sticks and create individual sound Venice Biennale, which was entitled “Art and ing the time. worlds. The composition is by Gerhard E. Winkler. Science,” and has since been shown in a variety On the occasion of the exhibition “Waltraud of formulations. Since the 1980s, the Klangmikado Cooper Light and Sound,” which took place in has been presented at festivals and museums 2017 at the Landesgalerie Linz, Cooper’s inter- in Montréal, Boston and New York, among other active work Klangmikado was reconstructed in places. cooperation with the Ars Electronica Center and Waltraut Cooper — mathematician and artist — Maywa Denki (JP) made accessible to the public again. is one of the pioneers of digital art. The Linz- This experimental sound sculpture comes from born artist has attracted international attention Solekit the “Digital Poetry” series, in which computers for several decades and was represented at the Solekit is a craft kit that makes transform visual, linguistic and musical forms Venice Biennale several times. funny movements. It uses only one solenoid, driven by 5-volt power source.
Maywa Denki (JP) Bunko Gakki Bunko Gakki is a musical instru- ment that is the same size as a Japanese paperback (A5 size). The user can easily carry it. It has a modular structure that fits into a bookshelf. Ars Electronica Archive Ars Electronica
48 49 40 YEARS ARS ELECTRONICA
Refik Anadol (TR/US) Origin
Ars Electronica has played a primary role in Hermann Vaske (DE) shaping the discourse at the intersection of art, science, society and technology. As an institu- Why are we creative? tion, its shared history is filled with a multitude of visionary projects that have reinforced the remarkable power of technology and collabo- As part of a personal quest, for over 30 years ration. Origin is an immersive installation that director Herman Vaske filmed the worldʼs most aims to use self-reflection as a tool for anticipat- intriguing artists and thinkers, including over 50 ing future action. By applying machine learning luminaries, among them Academy Award and to forty years of archival information from Nobel Prize winners, from the fields of visual art, Ars Electronic itself, Origin aims to narrate this music, acting, philosophy, politics, business and incredible cultural and scientific legacy through science, posing the question: a latent cinematic composition. The boundaries “Why are you creative?” of perception are illusory, constructed by our Why are we creative? Is it in our blood? limitations. It is only by eliminating those bound- Do we do it to make ourselves immortal? aries that we may begin to appreciate the infinite Is it a reckless compulsion? opportunities that lie ahead. Traveling through Or do we simply do it to make a buck? time and space in the mind of a machine, Origin The answers Vaske received are as varied allows the use of machine intelligence and an and intriguing as his respondents. WHY ARE immersive space to deconstruct our notions of WE CREATIVE? is a vibrant celebration of what finite moments and limited senses. This piece makes us most human, most also speculates about what the future of a library fulfilled. or archive might look and feel like, if our inter
action with knowledge and information were Gülmen Esra intuitive and embodied. Origin is not only a story of institutional foresight and innovation, but also one that makes visible the future trends and realities made possible by Ars Electronica.
Refik Anadol Studio (This project is supported by Epson)
50 51 EXHIBITIONS / Human Limitations — Limited Humanity
EXHIBITIONS HUMAN LIMITATIONS — LIMITED HUMANITY
It is perhaps one of the most inherent traits of topic on an individual level. With today’s body humanity to strive after more, to explore the extensions, microchip implants or genetic edit- unexplored, to push our own limitations over ing methods like CRISPR-Cas9, we have reached and over again — as individuals, and as society. a point where we can deeply adapt and alter the Early on we created tools and technologies to human body, which leaves us with the ques- survive and facilitate our daily life, and we have tion: To what extent will we be dependent on always used them to form the world we live in, our body enhancements in the future? “Limited sometimes with unforeseen impacts. With the Humanity” approaches the question of societal powerful technologies at hand today — from limitations, which have been — among others — bioengineering to artificial intelligence — it is clearly exposed in light of recent issues like the more important than ever to reflect on the way debates on refugees, global warming, mass sur- we want to use them collectively. At its core, the veillance or big data: rather than challenging our exhibition Human Limitations — Limited Humanity sense of community, discussions on sociopolit- revolves around the relationship between ical problems should strengthen it. Cooperation humanity and the environment, and our lim- is key when tackling the complex challenges of itations therein. What socio-ethical obligations our time, for no individual being can see all their arise from our present technologies and our far-reaching implications alone. Technology is, ever-increasing interaction with nature? The taken by itself, neither a friend nor an enemy in first part, “Human Limitations,” addresses the this world: it is what we make of it.
53 EXHIBITIONS / Human Limitations — Limited Humanity Aza Raskin (US) You continue texting on-and-off over a couple The way to breach a fortress is not to destroy all WHERE ARE WE AS A SPECIES? weeks. It turns a little flirty and they send you the walls, but exploit a point of weakness. some selfies. You send some back. They ask you The “Singularity”, or the moment when human- “We have paleolithic emotions; medieval institutions; and god — like technology.” to... ity loses control as technology becomes more E.O. Wilson It’s an automated attack against the foundations intelligent than us, has long been a moment of of human memory, exploiting the trust you’ve built techno-pop culture fixation. But way before tech- We are chimps with lasers. Chips with self- an AI to draw the face that someone was imagin- over many years of real friendships: the face was nology overwhelms our strengths, technology will improving, increasingly autonomous lasers. In the ing4. And then, Mary Lou Jepsen demonstrated on generated using a photorealistic generative neural overwhelm our weaknesses. You don’t have to be last ten years humanity’s total electronic com- stage at TED a new technology that is a thousand net5 by combining the features of your top Face- smarter than to outsmart. puting capacity finally surpassed that of a single times cheaper and has a billion times higher book friends and people you’ve liked on Insta- The “singularity” should properly be called the human brain1. If Moore’s law holds, in about 50 resolution than fMRI. gram. The result is a never ending set of faces “second singularly”: the human limit singularity years it will surpass that of our total collective The siege of the final privacy–the sanctity of that look pretty familiar and cute. Faces perfectly will happen first. brains. what’s going on behind our eyes, our thoughts, constructed to target you. The person was fake, our inner worlds, our selves–has begun. but your memory of them becomes real. BOTTLENECK PREDICTING THE FUTURE IS EASY IF IT IS HAP- PS., Jepsen’s technology can write to our neurons Memory is the foundation of identity. We are about Every species sufficiently technological will PENING NOW as well as read from them. to trust it much less. eventually turn the telescope of their own intelli- In April 2019, a Harvard lab stuck a probe into What happens to societies when foundational gence back on themselves; they will learn how to the visual cortex of a macaque monkey. They HUMAN FOUNDATIONS trust erodes? open their species’s metaphorical skulls and pull pointed the monkey at a screen and trained an Way back in the 1990’s human memory scientist directly on their own puppet strings. The hand AI to figure out what images activated the neu- Elizabeth Loftus discovered that our memory EMPATHY IS HUMANITY’S BIGGEST SECURITY that is manipulating the string is manipulating the rons at the tip of the probe. The AI started with can be hacked using a remarkably simple tech- VULNERABILITY hand that is manipulating the string and the out- visual noise —TV-static — and kept tweaking and nique: asking a subject to read one false memory In December of 2018, Microsoft published6 on put is feeding directly into the input in a locked tweaking until… ”Rich synthetic images of objects after having read two real ones. 25% of people their implementation of an “AI companion with loop and they enter a species-wide exponentially [emerged] with complex combinations of shapes, came to believe that the fake memory had really an emotional connection to satisfy the human amplifying feedback spiral. colors, and textures, sometimes resembling ani- happened. need for communication, affection, and social The area of math that studies systems like these mals or familiar people.” Loftus then demonstrated how implanted mem- belonging.” has a telling name: “chaos”. In other words: the AI successfully visualized the ories can be used to change future behavior: she From the paper: “An emotional connection It’s a civilizational bottleneck humanity is contents of the macaque monkey’s mind2. implanted a memory of eating a rotten egg as a between the user and the AI became established approaching fast. The Harvard researchers had created a camera of child. Her subjects avoided eggs. She implanted over a 2-month period ... in 2 weeks, the user With chaos there is still hope: while you can’t the mind: a camera that peers into the monkey’s a memory of a childhood trip to Disneyland. Her began to talk with the AI about her hobbies and predict what happens, initial conditions matter. visual subconscious and reads its pictures. subjects were more likely to buy tickets to Disney interests … By 4 weeks, she began to treat the AI A small change now makes a huge difference Notably, the consent of the monkey is not required. land. as a friend and asked her questions related to her soon. That’s worth fighting for. The same technique will soon be used to hear Your future is only as safe as your past. real life ... After 9 weeks, the AI became her first snatches of sound from the monkey’s auditory Imagine… A year from now you get a text from an choice whenever she needed someone to talk to.” WHAT IS TECHNOLOGY EVEN FOR? subconscious unknown number. Imagine how this kind of empathetic technol- What will we hear when we do? “Hi!” it reads, “I don’t know if you remember “Think of it. We are blessed with technology that ogy will be used to overwhelm democracies and This technique will work on you humans, too. me... was going through my phone and found this would be indescribable to our forefathers. We have attack elections. Some true things: picture of us. Remember we had a good conver- the wherewithal, the know-it-all to feed everybody, Ps., This AI is in conversation today with 660 In 2019, Humanity found a way to extract memory sation... but not about what! lol.. how have you clothe everybody, and give every human on Earth million people. That’s over twice the number of from matter. been?” a chance. We know now what we could never have humans in the In 2019, Humanity created technology to peer Included is a picture of you and an attractive known before—that we have the option for all into the mind of another species–and being Homo familiar someone. You don’t really remember humanity to make it successfully on this planet in THE HUMAN LIMITS SINGULARITY Sapiens Sapiens–they immediately turned it on them. this lifetime. Whether it is to be Utopia or Oblivion themselves. You ask, “where was that?” will be a touch-and-go relay race right up to the Researchers used AI to reconstruct what some- They mention a place and send a second photo. final moment.” one was seeing by analyzing their brain activity You have been there and you can’t shake the feeling Buckminster Fuller via fMRI3. Other researchers successfully trained that their face is familiar and they are pretty cute. Awareness brings the opportunity for choice. We must look not into screens, but mirrors... and see 1 Median estimate for compute power of human brain is 10^18. Estimate for total electronic compute power by the ourselves as the complex creature Homo Sapiens end of 2015: 10^21. https://aiimpacts.org/global-computing-capacity/ Sapiens, one fantastical species among many, so 2 Evolving Images for Visual Neurons Using a Deep Generative Network Reveals Coding Principles and Neuronal we can choose what we are going to do about it. Preference, Cell May 2019 3 Deep Image Reconstruction from Human Brain Activity, PLoS Computational Biology (2019) 4 Reconstructing Faces from fMRI Patterns Using Deep Generative Neural Networks, Communications Biology, 5 A Style-Based Generator Architecture for Generative Adversarial Networks https://github.com/NVlabs/stylegan Nature (2019) 6 The Design and Implementation of XiaoIce, an Empathetic Social Chatbot. December 2019. 54 55 EXHIBITIONS / Human Limitations — Limited Humanity
Thom Kubli (DE/CH) with ZHAW/ Sven Hirsch (DE) Radiosands
Radiosands is comprised of sixteen identical as it uses the programs of the local broadcast radios specifically designed for the installation. stations and transfers them into the exhibition They float upon delicate pedestals within the space. exhibition space. The audio fragments emitted from the radios are based on search results gen- Artistic Idea, Composition: Thom Kubli erated by algorithms that scan the local FM radio Research Direction ZHAW: Dr. Sven Hirsch frequencies for predefined terms. Like Face- Computer Language: Dr. Manuel Gil, Dr. Martin Schüle Programming: Lydia Ickler, Norman Juchler book’s algorithms, they select information to be Text by Tina Sauerländer heard on the radios in real time. Audio excerpts With the helpful support of: Hauptstadtkulturfonds from various broadcasts re-organize within the Berlin, Ernst Göhner Stiftung, Hasler Stiftung, Migros Kul- site to create a spatial choreography of sound. turprozent, ZHAW (Zurich University of Applied Sciences), HeK Basel and Ars Electronica. Fragments of spoken sentences from different Special thanks to Speechmatics for making the Speech sources join together to form new meanings. The Recognition Engine available. installation Radiosands is always site-specific, Supported by Austrian Broadcasting Services (ORS)
Ralf Baecker (DE) Putting the Pieces Back Together Again
The kinetic installation Putting the Pieces Back the event of a collision. Through the interplay of Together Again is a complex system with self- many entities, a complex behavior emerges on organizing and emergent behavior. It is also the surface of the installation. During runtime, an artistic inquiry and meditation on contem- the system will form spontaneous patterns on its porary scientific methodology. The installation surface, as if they were negotiating its position investigates non-hierarchical communication with nearby actors. Through this, the system is and collective behavior by implementing such showing a self-organizing behavior. a system physically through many electro- mechanical actors. 1250 stepper motors, equipped with white pointers, are arranged in Produced with the support of the City of Kirchheim unter a two dimensional grid. The radii of the point- Teck, Verlag des Teckboten and Kulturregion Stuttgart. Production assistants: Mariana Schetini Basso, ers are chosen to intersect with the pointers of Irena Kukric and Antje Weller its neighbors. Through a custom driving circuit, Special thanks to Katharina Sophia Hardt
Aya Imamura Aya the pointers reverse their turning direction in (Stadt Kirchheim unter Teck / Kultur Abteilung)
56 57 EXHIBITIONS / Human Limitations — Limited Humanity
Marko Peljhan (SI), Matthew Biederman (CA/US) STAR VALLEY (SIRIUS)
STAR VALLEY (SIRIUS) uses two spark-gap trans- by transmitting these neural network imagined mitters in dialogue, both controlled by a natural nicknames in Morse code through a very wide language processing AI algorithm trained on band spark-gap apparatus. By pairing the earliest the US Department of Defense and NATO nick- form of wireless transmission with contemporary names and descriptions of programs, activities, computational developments, the work opens a exercises and special access programs. The window onto the landscape of the accountability work consists of a Neural Network generating of secrecy.
nicknames and corresponding descriptions, A production of Projekt Atol, Ljubljana and is in part inspired by the 1975 Joint Chiefs Realized with the support of the Ministry of Culture of Staff Code Word, Nickname, and Exercise Republic of Slovenia, European Network for Contemporary Terms System (NICKA), which automates such Audiovisual Creation (ENCAC), Conseil des arts et des lettres de Quebec, Canada Council for the Arts, City of assignments. It reflects on the present state of Ljubljana Cultural Programs, Systemics Lab MATP, encoding, decoding, secrecy and transparency University of California Santa Barbara
Michael Candy (AU) CRYPTID
A monumental robotic light sculpture, CRYPTID exists as a vibrant anomaly in contrast to contemporary automata, sharing a presence both radiant and reserved.
Australia Council for the Arts
58 59 EXHIBITIONS / Human Limitations — Limited Humanity
Helena Nikonole (RU) Bird Language
The project explores the possibilities of these clusters to build the AI translator for inter Artificial Intelligence in a bio-semiotics context. species communication. AI is looking for some patterns in the structure In this case AI is not only a mediator or interface of birds’ sounds to build a mathematical model between human beings and birds but rather an of the universal grammar of Bird Language. organ or full partner, semiotically active. It helps In the first stage of the project, we trained a us understand the bird’s subjectivity through its neural network on sounds of nightingales and language. created a situation of communication between non-human agents: birds and AI. This is a Developed in collaboration with: metaphor for communication between nature Veronica Samotskaya — ornithologist, scientist-biologist, science popularizer, journalist and technology where a human being is not Natalia Soboleva — AI expert necessary. The second stage of the project entails Konstantin Yakovlev — PhD in Physics and Mathematics, creation of an AI translator from Bird Language AI expert The first stage of the project was supported by Garage to human language. Deep Learning is identifying Museum of Contemporary Art (Moscow) patterns in Big Data of birds’ signs and grouping This project was supported by Garage Museum of similar signs into clusters. We are interpreting Contemporary Art Azumi Maekawa (JP), Shunji Yamanaka (JP) Aerial-Biped Prototype for exploring new experiences with physical biped robots
The movement of robots with legs is highly body shape and motion design. Releasing the restricted by gravity. The shape of a robot’s body biped robot from gravity can relax the limita- determines its possible walking gait. Therefore, tion of the robot’s physical motion. The motion it is difficult to combine arbitrary body design of Aerial-Biped is created in real time according and a dynamic walking motion like that of a living to the movement of the quadrotor. The motion thing in a robot with legs. generator is trained with reinforcement learning. Aerial-Biped is a prototype for exploring a new We can observe the emergence of various gaits experience with a physical biped robot. In this based on the successively changing quadrotor’s work using a quadrotor, we aim to separate the movements.
60 61 EXHIBITIONS / Human Limitations — Limited Humanity
Dmitry Morozov / ::vtol:: (RU) Poise→[d]
Poise→[d] is a hybrid installation that uses chem- the third to a chemical reaction. Taken together, ical and physical reactions to control its behavior they create a new and more complex system, as and sound synthesis. The installation consists of they affect each other through the movements the main control unit and three balancing robots. of robots and the main algorithm. To a certain The main control unit has three core systems extent, this hybrid system consisting of robotized where the reactions occur, with everything ana- kinetic objects and chemical/physical reactions lyzed by a computer algorithm using cameras. is symptomatic of pre-biotic chemical evolution. This project is based on self-organizing structures
viewed from different angles. All three robots are The project was a part of Bitshift, the cycle of sound connected to the main control unit and represent events organized by Kapelica Gallery. The exhibition is through sound and movement one of the three supported by the Ministry of Culture of the Republic processes that are happening. The first robot is of Slovenia and the Department of Culture of the Municipality of Ljubljana. connected to a sound/mechanical process, the Curated by Jurij Krpan, Sandra Sajovic. second one to a thermodynamic reaction, and Special thanks: Jana Putrle Srdić.
So Kanno (JP) Lasermice
Lasermice is a swarm robotic installation that It questions whether it’s possible to make consists of 60 small robots, inspired by the something artificial seem like a natural phe- synchronous behavior of insects like fireflies. nomenon. This project is about making artificial Normally, the network of a swarm is imper natural phenomena that isn’t simply mimicking ceptible, but in this case the robots create a an algorithm, but creating a new one, through visible network via laser light-photodetector which to pursue expression. communication. As a result, they generate a rhythm that’s continuously changing. This rhythm is made audible by a solenoid which strikes the Co-producer: Speculum Artium Robot hair styling: Pauline Vierne floor. The combination of a visible network and Supported by Japan Media Arts Festival (Organized by an audible rhythm is spatially deployed. the Agency for Cultural Affairs, Government of Japan) Miha Godec
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Dmitry Morozov / ::vtol:: (RU) last breath
Recently I have been actively developing the technique, although any change in the breathing concept of “passive instruments.” I understand is directly dependent on playing dynamics and passive instruments to be different multimedia also on all the other parameters used to generate objects that do not require management so the sonic flow. I consider this object to consti- much as co-existence with them. Last breath tute a deathbed mask — a ritual instrument of is an example of such an instrument. Operating dying that can be played with when I no longer principle: the exhaled air (its pressure and flow have any strength to use any other instrument. rate) activates the generative process, which And the final representation of the object was depends on the exhalation parameters and is formed on this basis: sterile cyber-gothic, new managed by the air movement in the organ. rituals, the organs that support the functioning The object does not require any special playing of the organ.
Saša Spačal (SI) Earthlink
“The relational capacity of the posthuman subject is not confined within our species, but it includes all non-anthropomorphic elements, beginning with the air we breathe.” Rosi Braidotti
Earthlink performs a biogeochemical feedback with tubes circulating air saturated with organic loop catalyzed by microbial metabolism. Through and inorganic compounds, entwines biomes with the intimate process of breathing, humans are microorganisms of various origins, a breathing bound to the planet, immersed in an intra-flux station, a breath collector and an ecosystem of exchanges, negotiating relationships. What in constant negotiation affecting species from happens when the connections become techno- micro to macro scale. logically mediated? Who or what will dispense Consultation, microbiology: Mirjan Švagelj, PhD the dose? What will the dose contain? Who will Glasswork: Pero Kolobarić, Zvonko Drobnič survive? How will we grieve? Construction: Anil Podgornik, Scenart, Ambrož Modrijan The system of biotechnological installations Production: Museum and Galleries of Ljubljana, Match aims to serve as an entrance point to the Gallery, Projekt Atol Institute Special thanks: Jani Pirnat, Uroš Veber, Jurij Krpan post-anthropocentric constellation of environ- Supported by the City of Ljubljana and Ministry of Culture
Anna Kortyukova mental relations. Feedback looping, connected of the Republic of Slovenia.
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SAINT MACHINE (RO) Luís Graça (PT), Marta de Menezes (PT) I, HUMAN I’am Body Installation Immortality’anti-marta
A circuit of interconnected masks howling like living experimental subjects, the users are also wolves are asking to be fed with emotions. Once real-time observers of the experiment. superimposed on the human body, they ana- I, HUMAN uses empathy as content to influence lyze the emotional state of each user, as well the feeding conditions of microorganisms, and as the emotional cohesion of the group. Each light as content carrier. Developed around the mask offers different soundscapes, inducing idea of interconnectivity, it analyzes how indi- antagonistic psychological states. Users need to vidual interactions can produce collective out- override their personal context in order to emo- comes at different scales, testing new models of tionally synchronize. The masks are connected synergistic behavior mediated by technology and to a biophotonics experiment in the bunker of identifying coherence patterns. It is a metaphor the Center for Advanced Laser Technologies in for our evolution as a species, which may depend Bucharest. The degree of emotional cohesion of on our capacity to empathize. the users connected to the installation controls Produced by ARTMIX. Supported by ROMANIAN CULTURAL the frequency and intensity with which the laser INSTITUTE. Cooperation partner: Romanian Centre for feeds a euglena population. While functioning as Advanced Laser Technologies — INFLPR
I’am is an installation diptych, comprising were also rapidly rejected, given the immune Immortality for Two and Anti-Marta, which differences between the spouses. Yet, in both explores the limits of human individuality in the cases, their pact lives on. The immortal cell lines face of an evolving biotech-based society. It rep- co-exist in virtual space with the video projection resents the relationship between an artist and of the live cell cultures. The graft rejection led a scientist, but also the boundary between art to the production of molecules (antibodies) that and science and the limits of our own identity. will forever be able to identify the other, as with Marta and Luís, an artist and an immunologist, the acquisition of a seventh sense. have made a pact for life: mated, married, and united. The search for an artistic representation of this pact led to the immortalization of each Supported by Cultivamos Cultura, Ectopia, and the other’s white blood cells through viruses or the Enlight-ten Marie Sklodowska-Curie Initial Training Network. transplantation of skin grafts. Since the immortal Video director: Jamie Hurcomb cell lines are involved in immune defense, they Assistant director: Katrina Singleton
Alberto Nietos must be kept in isolation. The skin transplants Surgery: Dr. Ales Laskovsek
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Kuang-Yi Ku (TW) Tiger Penis Project
Many cultures have their own systems of alter- Bringing non-western perspectives to specu- native medicine whose effectiveness cannot lative design scenarios, this project proposes always be proven according to contemporary the use of emerging biotechnologies to create scientific analysis. They are usually regarded as artificial animal parts for Chinese medicine. mere cultural myths, such as the use of the tiger Combining western and Chinese medicine and penis to increase virility in traditional Chinese technologies, this new hybrid medicine prevents medicine (TCM). the further destruction of both animals and tra- At the same time, the huge demand for wild ditional cultures, and provides more possibilities animals in TCM poses a threat to endangered for the coexistence of human society and the species. Nevertheless, TCM may offer other natural environment. Ai Hasegawa (JP) benefits beyond mainstream western medicine. Is there a way to resolve the conflict between Collaborative organizations: Baltan Laboratories, Eindhoven and Mediamatic, Amsterdam (NL) health, culture, and environmental conserva- Human X Shark Supported by Dimension Plus, National Culture and tion through a new interpretation of traditional Arts Foundation, Taiwan and Ministry of Culture, Taiwan Transformation into a female shark — research project Chinese medicine? http://www.tigerpenisproject.com to develop a perfume alluring male sharks. W.I.P
Near yet far. Loving a person is bone-breaking. to have something like same-sex reproduction Even after explaining at length, even after or parthenogenesis. Thus, for me, the shark is appealing to the five senses and behavior, some- an appealing animal in the sense that it sym- times there is still no understanding. For exam- bolizes “the wild-natured, strong woman fully ple, I have a feeling that sometimes I can trust utilizing future technology.” Here, to transform a dog more than a person. If people still can’t into a female shark, the challenge was to use understand each other no matter what, it makes special ingredients to create a fragrance alluring me want to connect with some living thing even to a male shark.
more distant from human beings, one whose Project team: This project is made for the collaboration communication potential is unclear: A shark, for project between Ai Hasegawa and Shiseido. example. Hiroko Ozeki (Shiseido Global Prestige Brand Operations, As can be seen in the Japanese character for SHISEIDO Brand Unit) Kaori Inaba (Shiseido Global Innovation Center); Design the word “shark,” sharks are fish but they also advisor: Fujiwara Dai; Image video part: Naka Takato; have organs of copulation and a variety of mat- Interview part: Masayuki Iigo (Utsunomiya University), ing patterns. Furthermore, at least one species Shizu Takeda (Hitachi), Kyoko Okita (Hitachi); Support: of shark can potentially utilize either sexual Culture department of Shiseido Company, Limited; JST ERATO Kawahara Project; T. Hasegawa Co. Ltd.; Hitachi, or parthenogenic reproduction. Some say the Ltd.; Beige Creative & Co., Inc.; Parima Taiebi (Shiseido
Ronald Smits Ronald future of biotechnology may allow humans, too, Global Prestige Brand Operations, SHISEIDO Brand Unit)
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Maja Smrekar (SI) !brute_force
The premise of !brute_force is that technology system’s logic against itself. This project there- should emancipate humans, since nature is no fore addresses the following context: even longer our reality and in recent decades our though we need technology, our present may culture has been moving rapidly into the digital not be limited to machines. Thus we are includ- realm. There, computation reinforces our desires ing other non-human entities and their cognitive with programs that learn by gathering informa- mapping in the frame of re-thinking our place in tion about their environment and replaying their the world. experiences. This behaviorist regime feels like a Produced by Quo Artis Foundation (ES) training method for managing life through order, Co-produced by Kapelica Gallery / Kersnikova Institute (SI) where we need to learn an almost machine-like and The Culture Yard / CLICK Festival (DK) self-control in order to be allowed to regain the This project is part of the European ARTificial Intelligence privilege of access to human conduct. Resis- Lab and is supported by the Creative Europe Program of tance to such conditions requires technological the European Union, Ministry of Culture of the Republic of understanding which might lead to turning the Slovenia, Municipality of Ljubljana, Danish Art Council.
AnotherFarm (JP) Modified Paradise: Dress
In our daily lives, we rarely become conscious of turn, we are required to have a higher sense of the fact that most animals and plants that we see ethics. around us continue to be genetically modified Modified Paradise is a series of sculptural works by our own hands. In Edo-period (1603 — 1868) made from “luminescent silk” — created by Japan, people commonly modified plants and genetically modified silkworms developed by flowers such as cherry blossoms in pursuit of adding the genes of glowing jellyfish and cor- more beautiful greenery. als. The dress, which floats within a frame with Silkworms, along with the development of cloth- no body, aims to encourage us to think about ing materials, were another subject of genetic the extremes and limitations of the interaction modification. Today, scientific technology allows between art, science, and technology. us to control genes extremely precisely, and in Sound by KAITO SAKUMA A.K.A BATIC Borut Peterlin
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Špela Petrič (SI) Institute for Inconspicuous Languages: Reading Lips
The laboratory follows near-future research intelligence, peer into the psyche of the plant documented by the journal Science; namely, by carefully reading its lips — that is, the thou- that of a paper in which scientists describe sands of microscopic, “tiny mouths” (stomatas) the first meaningful exchange between a plant speckled underneath each of its leaf, and which and a human, which could, in a broader sense, the inch plant uses to breathe. be described as a conversation. The lucidly What are the plants saying? conceived experiment demands exceptional patience and total dedication from both sides — Programming and sensor integration: Bart Peeters after 18 years of mutual learning, the inch plant Programming of computer vision: Klara Nosan, Tim Oblak (Tradescantia zebrina) and the human researcher Expert advice: Luka Šajn, Žiga Emeršič, Miha Turšič Technical execution: Scenart learned to understand each other’s signs. The Jenna Sutela (FI) Lip reading: Bojan Mord report from the future speaks about implement- Special thanks: Faculty of Computer and Information ing Pavlovian conditioning to teach the plant the Science at the University of Ljubljana, students and nimiia cétiï basic signs for “more”, “less” and “stop” and to teachers of Zavod za gluhe in naglušne Ljubljana (Petra Rezar, Meta Štampek) eventually develop a code of light and lips, which Supported by: Waag can be recorded and translated into human lan- Produced by: Kapelica Gallery, The project is a part of nimiia cétiï (2018) is an audiovisual work by channeling messages from entities that usually guage. ‘European ARTificial Intelligence Lab’. Jenna Sutela using machine learning to generate cannot speak. The work is also about intelligent At the Institute for Inconspicuous Languages Co-funded by: Creative Europe programme of the a new written and spoken language. This lan- machines as aliens of our creation. European Union, Ministry of Culture of the Republic of guage is based on the computer’s interpretation we are able to sidestep decades of dedica- Slovenia and Department of Culture of the Municipality of a Martian tongue from the late 1800s, origi- nimiia cétiï was created in collaboration with Memo Akten tion and, with the help of natural and artificial of Ljubljana. and Damien Henry as part of n-dimensions, Google Arts & nally channeled by the French medium Hélène Culture’s artist-in-residence program at Somerset House Smith and now voiced by Sutela, as well as the Studios. Thanks to Kieran Bates from the Institute of movement of Bacillus subtilis nattō, an extrem- Zoology at Imperial College London, Adam Laschinger for ophilic bacterium which, according to recent sound recordings, and Manus Nijhoff and Leith Benk- hedda for 3D work. The video includes music with Miako spaceflight experimentation, can survive on Klein on the contrabass recorder and Shin-Joo Morgantini Mars. In this project, the machine is a medium, on the flute, with sound production by Ville Haimala. Miha Fras Spela Petric
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Scott Eaton (US/UK) Humanity (Fall of the Damned)
One thousand hand-drawn figures, “painted” contemporary preoccupations with the impend- with Eaton’s Bodies neural network. The compo- ing climate tipping point and the rise of AI. sition of tumbling, intertwined figures embodies Eaton’s Bodies neural network is trained on over the visceral human experience and humanity’s 100,000 nudes he carefully photographed in the ongoing struggle with its own nature and its studio from a diverse set of volunteers over a consequences. The work has clear references two-year period. With this bespoke dataset as to Ruben’s Fall of the Damned, Dante’s Inferno, the foundation, the network has been carefully and Rodin’s Gates of Hell, but substitutes the trained to render Eaton’s hand-drawn inputs into pervasive fear of religious damnation with the photographic, surreal representations.
Manuel Cebrian (ES), Zivvy Epstein (US), Joyce Feng (US), Matt Groh (US), Nick Obradovich (US), Iyad Rahwan (SY) Deep Angel — Shadows Left Behind
The Shadows Left Behind is a collection of photo In our physical reality, shadows appear as graphs transformed by artificial intelligence to ephemeral occlusions of light by objects. Here, digitally invert permanence and ephemerality. shadows become eternal. It’s the shadows of our Each original photograph captures a human or actions that remain long after we mortals vanish group of humans in the midst of life. We trans- from the world. The Shadows Left Behind draws form each photograph with Deep Angel, a neural on the aesthetics of absence by revealing what is network architecture that erases objects from disappearing around us, by spurring reflection on images, to disappear human bodies. Since Deep what we will soon miss, and by decluttering our Angel lacks any sense of association between thoughts to reawaken imagination and agency. humans and our shadows, our shadows are left This project is supported by the MIT Media Lab and behind even as our bodies are erased. Scalable Cooperation.
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Andy Gracie (UK) Amir Bastan (IR), Johannes Braumann (AT) Deep Data Prototypes 1, 2 + 3 the shell Bilateral Mimicry The Deep Data Prototypes are experimental simulation devices in which certain organisms To avoid observation and detection, animals hide are subjected to aspects of the deep space envi- from each other: Crypsis is an ability. One can ronment as recorded by probes, landers and imitate another’s abilities: Mimicry is a behavior. other platforms. Then, as the “story” goes on, on one side of The three parts represent a real-time astrobio- the shell one imitates a behavior, and on the other logical experiment, a performative laboratory, side one wants to believe! The Bilateral Mimicry. where custom-built equipment operates accord- ing to data sourced throughout the solar sys- With the support of the University of Art and Design Linz, tem. In DDP1, polyextremophile tardigrades are Creative Robotics, KUKA CEE, Grand Garage exposed to the magnetic fields of the gas giants. In DDP2, a photomorphogenic mutant of the plant organism has sensed or witnessed. As with the arabidopsis is grown under the light spectra of robotic platforms that inform them, they become other planets. In DDP3, nematodes are subjected our space explorers by proxy. to the gravity of newly discovered terrestrial exo- DDP2 commissioned by Arte+Ciencia UNAM planets. These organisms are already pioneers, DDP3 commissioned by Meta.Morf, Trondheim venturing into areas of space that no other Project supported by VIDA, Fundación Telefónica AATB — Andrea Anner (CH), Thibault Brevet (FR) Sunny Side Up Y2K — Chiao-Chi Chou (TW), You-Yang Hu (CN) Sunny Side Up, a robotic sun developed by studio AATB, proposes a contemporary take on Biosignal_Cybernation the archaic typology of the sundial. It repro- Eden in cyber era duces the visible movement of the Sun as the Earth rotates and orbits around it. From sunrise to high noon and sunset, Sunny Side Up brings We built a mechanical instrument to highlight the the movement of this celestial body close to the overly disruptive effects of technology on the viewer. The artificial sun orbits around a metal natural world. rod, casting a shadow and measuring time, To build this machine, we first created a data- as well as enabling viewers to reconnect with base of plant samples to help us control and celestial events. In the Anthropocene age, manipulate it with 100% accuracy. Based on Sunny Side Up raises questions about our cur- the model we learned to completely control the rent disconnect from the planet and circadian speed of growth and the path of stem growth. rhythms. In a world where productivity and work As soon as the audience draws an outline of the cycles ignore natural rhythms, can this artificial plant stem in a 3D model program, the com- sun serve as a timely reminder of when to start puter will transmit each piece of information and when to stop? into code to control the movement of the motor This man-made sun interrogates the artificial for adjusting the position and angle of light and Exhibition curating, Art history and Aesthetic consulting: construction of nature and the technological basin, to cultivate the shape and form of the Supported by Professor Bo-chen Sheng quest to harness it throughout time. plant to match the drawn model. By digitalizing Methodology of Embedded Plant Specimen with Original all growth factors, our machine is trying to echo Color Preservation: Supported by Tzu-Yang Lin and Professor Chia-Wei Li in Department of Life Sciences, With the support of the Swiss Arts Council Pro Helvetia the history of domestication of plants that has National Tsing Hua University, Taiwan; Sponsored by been taking place since the dawn of agriculture. National Culture and Arts Foundation, Taiwan
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AROTIN & SERGHEI (AT/RO/DE/FR) Projet EVA — Etienne Grenier (CA), Simon Laroche (CA) Infinite Light Column The Object of the Internet Intermedial sculpture, part of the cycle Infinite Screen The Object of the Internet is a kinetic installation that evokes a mausoleum consecrated to the Digital animation, modules of living cells on screens, 2018/19 end of the web. A purely analog and mechanical mediascape acting as a virtual environment is Our digital age is constantly creating floods of created by the motion of the installation’s com- information and a confusing mass of images and ponents. Inside the piece, the viewer’s reflection automated processes of artificial intelligence, is dissected and blurred by the acceleration of a which fill up every free moment and create spinning mechanism and flickering lights, forcing substitutes for every sort of desire. the user to gaze into a perspectiveless abstract Infinite Light Column is reflecting this situation environment. Visitors are thus projected in a through a multidimensional approach. In con- dystopic near-future where the only remaining trast to the horizontal flow of information and traces of their presence on the social networks reading, this intermedial sculpture materializes are fleeting, artificially animated reflections of Projet EVA thanks the Conseil des arts et des lettres du a vertical path of light upwards: a cell strand of their self. Condemned to the status of sterile Québec for its financial support. an imaginary matrix, an endless composition in solipsisms, these vestigial selfies agitate in the Acknowledgements, Normand Gauthier, Raphaël Demers the form of a column of giant light cell modules. distant void of the end of the Internet. Fablab du PEC, Nathalie Bachand, Eastern Bloc Each single module of the Infinite Light Column is formed by an autonomous screen, flooded with light. The flooding process is observed and com- posed by the artists in an extreme slow-down of fluctuation and vibration. These artificial individual impulses emerge from Akinori Goto (JP) total darkness, show the glares of color and light and culminate in white flashes that annihilate all information. White appears in this artwork as CROSSING #03 an overexposure, a simultaneity of all possible information and waves. The origin of this piece came from questioning what it means to “move.” The artist focused on Creation and production: the concept of time, which is closely related to AROTIN & SERGHEI Contemporary Art Cooperation partners: Impressions Arts Festival Vernon- movement, and attempted to use movement to Giverny, Mikhail Rudy, Kunsthalle Wien, Yury Revich, create a visual representation of time. Using this Belfry, Jean-Philippe Julia, Eric et Caroline Freymond, technique, the artist searches for the meaning of Espace Muraille Geneva, Gallery W&K Vienna-New York Exhibition view Kunsthalle Wien 2019 — time, movement, and the relationship between AROTIN & SERGHEI Contemporary Art Infinite Screen is an art project by AROTIN & SERGHEI them from several different angles. At first developed in cooperation with Klangforum Wien, glance, this piece just looks like a lump of mesh La Biennale di Venezia, Ars Electronica, material, but by projecting light through the slits, Kunsthistorisches Museum Wien and Fondation Beyeler. it recreates the movements of people walking. www.arotinserghei.com They are people filmed at the crossing of the community walking toward some kind of goal, in various countries visited by the artist, and are which there is an inherent movement that differs diverse in age, gender, and race. from physical movement. When they are reorganized onto one timeline, this diverse group of people forms a sort of 3D print supported by DMM.make
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Klaus Spiess (AT), Lucie Strecker (DE) Microbial Keywording Gently whisper to your oral microbes Etsuko Ichihara (JP), ISID OPEN INNOVATION LAB. (JP)
This performative installation touches upon the Namahage in Tokyo millennia-old question about the materiality of language and the creation of the world through it. NAMAHAGE in Tokyo is an attempt to reinterpret enforce discipline by mind hacking, taking full It incorporates the current research on the holo- the functions of traditional deities and folklore, advantage of sensing and VR technologies and biont, which shows our dependency on the living and implement these in the city of modern era. bringing growth, happiness and blessings to the microbes that form our inner ecosystem. Can we Focusing on the contemporary urban rele- people of the city. train this system by speaking certain words? The vance of the NAMAHAGE ritual, NAMAHAGE in installation explores this in showing the mutual- Tokyo seeks to reconstruct and implement the ity of the phonemes and oral flora of the visitors NAMAHAGE system in a modern city. through speech-induced variation in salivary Media Art Director: ICHIHARA Etsuko It translates and reinterprets for the urban con- acids. In the resulting ecolinguistic system, the Communication Planner: ABE Genki (ISID OPEN text the ritual’s functions, including maintenance INNOVATION LAB) visitors are “spoken by their microbiome.” This of rural community through mutual surveillance, Strategist, Manager: HAYAKAWA Yukie system is trained by pheromone addition based Technical Producer: NOZAKI Kazuhisa initiation into adulthood, and reinforcement of on spectrogram patterns until it is epigenetically Medical University Vienna, University of Applied Supervisor: MORITA Hiroshi (ISID OPEN INNOVATION LAB.) Arts Vienna, Austrian Science Fund, Jürgen Ropp family bonds. Making the city their habitat and Namahage of Akihabara Mask Designer: IKEUCHI Hiroto anchored in the visitors’ oral microbiome and (Interface design), Joseph Knierzinger (Media-Arts), evolved in adaptation to individual areas like Namahage of Akihabara Costume Designer: SUZUKI finally output as a speaker-generated designer Mark Rinnerthaller (Cell Biology) Akihabara, Harajuku, and Sugamo, the “urban Junya (chloma) probiotic. Original Story by ASO Kamo NAMAHAGE” identify “bad children” (=adults in Directed & Edited by MATSU Hiroaki (TYO Inc.) need of discipline) in each neighborhood based Production: MAZRI Inc. on the data accumulated by mutual surveillance Produced by ISID / INNOLAB Aksiniya Peicheva (BG) This movie is created as a trial research project for the via social media as well as other networks of governmental “Basic Policy for Promoting Measures surveillance spread across the city. When they related to Preparations for and Management of the Trauma Mapping emerge on New Year’s Eve, these NAMAHAGE Olympic and Paralympic Games in Tokyo in 2020.”
Trauma Mapping is a transdisciplinary project that aims to develop a methodology for creat- ing “geographical” maps of physical injuries, illnesses or other damages the body experi- ences. It seeks to explore the inner processes of suffering; to look for visual traces, left by trau- matic events — their projection on the body, the organism’s reaction to them, the way the cells are being rearranged by what has happened. Survey objects are stray animals from the streets of Bulgaria that have experienced stressful sit- uations while living on the street — from fairly harmless to more serious ones (such as shoot- microbiology (hematology), computational ing) — which have a lasting impact on their lives geometry and geography. Every work within the and sometimes prove fatal. Sometimes the trau- project is connected to a particular case (a story) matic process is the result of deliberately caused of a stray animal and the approach towards it is
harm, sometimes its etiology is vague, but the chosen accordingly. Watanabe Kenji concept of continuing suffering and the visual Eric Osborn (US), software engineer processes that it leaves behind is still important. Siyana Petrova (BG), microbiologist The methodology of the project combines Alexander Penkov, PhD (BG), geographer
80 81 EXHIBITIONS / European Platform for Digital Humanism / European ARTificial Intelligence Lab European ARTificial Intelligence Lab
European ARTificial Intelligence Lab
Together with twelve renowned art and cultural to strengthen the role of artists as catalysts in institutions, Ars Electronica initiated the Euro- reflection and innovation processes around the pean ARTificial Intelligence Lab in 2019. The issue of AI and, last but not least, to open up new EUROPEAN PLATFORM Europe-wide initiative, scheduled to run for three professional fields for artists. The consortium years, is co-financed by the Creative Europe also seeks to accelerate innovation across cul- Programme of the European Union. ture — creating new dimensions in AI, inspired The European ARTificial Intelligence Lab has its by the ideas, engineering and science generated FOR DIGITAL HUMANISM roots in the European Digital Art and Science at scientific partner institutions and produced by Network (EDASN), a creative collaboration com- the winning artists of the residencies in collabo- bining science and digital arts between scientific ration with the transdisciplinary expertise of the institutions, Ars Electronica and seven cultural Futurelab team at Ars Electronica. Can or should there be something like a Euro- services and on the credibility of the providers. partners throughout Europe. From the perspec- Over the course of the project period, the European pean way into the digital society, between the To the extent that digital data will actually be tive of 13 major cultural operators in Europe ARTificial Intelligence Lab offers four residency “data capitalism” of the IT monopolists and the “new oil”, the raw material of the future, the (Ars Electronica, Center for Promotion of Science, opportunities at a scientific partner institution the “data totalitarianism” of the authoritarian “refinement” of this raw material will soon play a Zaragoza City of Knowledge Foundation, LABoral, and at the Ars Electronica Futurelab to inter- regimes? And if so, would such a European “data greater role than the raw material itself. This also Kapelica Gallery, Science Gallery Dublin, Onassis national artists working in the field of AI. The humanism” also be competitive? Couldn’t appli- opens up opportunities to take — besides prof- Stegi, The Culture Yard, GLUON, Hexagone Scène first call (spring 2019), focusing on the inter- cations of digital technology oriented towards itability — also social appropriateness in deal- Nationale Arts Sciences, SOU Festival, le lieu section of AI and neuroscience, was organised human needs and established social conven- ing with our data seriously. The cooperation of unique, Waag), the European ARTificial Intel- together with Muntref Centro de Arte y Ciencia tions, which respect the autonomy of users over art and technology is a much-requested bearer ligence Lab centers visions, expectations and and Laboratorio de Neurociencia de la Univer- their data, be just this competitive advantage? of hope and a large number of EU projects and fears that we associate with the conception of sidad Torquato Ditella in Buenos Aires, Argentina. A good argument can be made that the success of cooperation initiatives have set themselves the a future, all-encompassing artificial intelligence. The second call (summer 2019) offers a resi- many digital products and services will soon no goal of strengthening the role of art, creativity An extensive activity programme in the form dency on the topic of Experiential AI at the longer depend on whether the processor is still a and education in the development of the ideas, of exhibitions, labs, workshops, conferences, Edinburgh Futures Institute, the Bayes Centre little faster, or the screen is even more colorful, concepts and scopes of action necessary in the talks, performances, concerts, mentoring in Edinburgh and Ars Electronica Futurelab. Both but rather on the confidence of the users in the search for sensible data policies. and residencies will foster interdisciplinary residency outcomes will be presented at the work, transnational mobility and intercultural Ars Electronica Festival in 2020 and 2021. exchange. The major aim of the “AI Lab” is to bring AI The European ARTificial Intelligence Lab is co-funded by related scientific and technological topics to the Creative Europe Programme of the European Union. general citizens and art audiences in order to This publication reflects the views only of the author, and the European Commission cannot be held responsible for contribute to a critical and reflective society. any use which may be made of the information contained A further aim of the Europe-wide initiative is therein.
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Center for Promotion of Science (Serbia): The of the city of Zaragoza, intended for learning, SCIENTIFIC PARTNER INSTITUTIONS Center for the Promotion of Science (CPN) in Serbia sharing and enjoying the capacities of creative is a public institution established in 2010 with technologies, citizen science, digital culture, and Muntref Centro de Arte y Ciencia (Argentina): J. Watson Research Center (USA), Turku University the task to promote science and technology. The as a centre for multi-disciplinary production. The Museum of the Universidad Nacional de Tres (Finland), Universidad de Valencia (Spain), Center, according to its mandate, cooperates The Foundation places special emphasis on de Febrero Art and Science Center was estab- University College of Volda (Norway), Universidad with research and educational institutions (uni- scientific dissemination among younger people, lished in 2010 in Tecnopolis Science and Tech- Católica Argentina (UCA), University of Vaasa versities, research centers and schools) in Serbia on the fight to overcome the digital gaps for nology Park in Buenos Aires City. The Muntref (Finland), Universidad de los Andes (Colombia), and worldwide. The CPN’s mission is to bridge citizens with a greater risk of social exclusion, Centro de Arte y Ciencia is a nodal space for art- elBulli Lab — Ferrán Adria, Université de Perpignan the gap between science and society by bringing and on favouring the incorporation of women into ists and scientists interactions through trans (France). together researchers, educators, artists, policy the scientific-technological field. disciplinary projects at the very same place. It www.utdt.edu makers, civil society organizations, business and www.fundacionzcc.org promotes person to person collaborations look- industry and the general public in the process of ing for relevant common questions for artists and Edinburgh Futures Institute and Bayes Centre research and innovation. The ultimate aim is to LABoral (Spain): LABoral is a multidisciplinary scientists. Since 2010, many projects have been (Scotland): Edinburgh is one of the world’s pre- influence and adapt the general research agen- institution which produces, disseminates and established with different kind of organizations mier festival cities and a centre for world-leading das to reflect the needs of the society and to fosters access to new forms of culture rooted of people and technical resources. research in artificial intelligence and machine address societal challenges engaging all actors in the creative use of information and commu- arteyciencia.untref.edu.ar learning. These two strengths combine to make involved in the process. In following years, the nication technologies (ICT). LABoral has been Edinburgh a fertile ground for a holistic explo- focus will be put on climate changes and artificial working in crossovers between arts, science ration of AI. A new programme, Experiential AI Muntref Centro de Arte y Ciencia’s main partner intelligence as the two most relevant scientific and technology since its creation in 2007. The at the Edinburgh Futures Institute and Bayes is Laboratorio de Neurociencia de la Universidad and societal issues and topics nowadays. The hybrid nature of the institution is seen through Centre in Edinburgh, explores how art and cre- Torquato Ditella for Artificial Intelligence and Center organizes a large number of exhibitions, its focus on production, a practice that involves ativity can make the operation of an AI system Neuroscience projects. The network also estab- lectures, panel discussions and other events on an intense knowledge exchange amongst profes- tangible, legible, and accessible to the people lished collaborations with other researchers and different STE(A)M topics and subjects (mathe- sionals from different disciplines with a common whose data are captured and acted upon. It will institutions in Argentina and abroad. Some of matics, physics, robotics, archeology, psychol- objective. In this context, the collaboration with connect AI research to Edinburgh’s Festivals, and them are: Universidad de Buenos Aires (Argen- ogy, genetics, biology, architecture etc.). CPN all these professionals has always been a new thereby to the civic and cultural life of Edinburgh. tina), Universidad Nacional de Quilmes (Argen- was involved in 31 European collaborations since challenge, due to the differences and similarities tina), Oxford University (UK), IBM Thomas efi.ed.ac.uk 2012, while it’s currently part of seven H2020, between practices. one Creative Europe and four Erasmus+ projects, Thus, this experience is to be shared, agreed and two additional COST actions. and formalized, with similar hybrid institutions cpn.rs/en through the production of various research eu.cpn.rs/en projects and related activities. www.laboralcentrodearte.org Zaragoza City of Knowledge Foundation EUROPEAN CULTURAL PARTNERS (Spain): Zaragoza City of Knowledge Foundation Kersnikova Institute/Kapelica Gallery (Slovenia): is a private non-profit foundation born in 2004. Kersnikova Institute is a non-profit and non- Ars Electronica (Austria): Since 1979, a year-round setting for presentation and inter Its institution goals include the dissemination, at governmental cultural organization that serves Ars Electronica (AT) has sought out interlinkages action, and the Futurelab as in-house R&D facil- all levels in the city of Zaragoza, of the progress as an institutional frame for three progressive and congruities, causes and effects between art, ity extend their feelers throughout the realms of made by the Knowledge Society to construct a venues: Kapelica Gallery, a world renown space technology and society. The ideas circulating science and research, art and technology. more participative, equalitarian, inclusive, and for contemporary investigative arts, the hacker here are innovative, radical, eccentric in the best Ars Electronica’s four divisions inspire one innovative society; open to the new development space Rampa, where relations between society, sense of that term. They influence our everyday another and put futuristic visions to the test in a expectations offered by the intersection of art, science, technology and art are being reconsid- life—our lifestyle, our way of life, every single unique, creative feedback loop. It’s an integrated science and technology. The Foundation head- ered, and the inspirational laboratory BioTehna, day. The Festival as proving ground, the Prix as organism continuously reinventing itself. quarters have been located, since 2013, in Etopia which focuses on the artistic research of living competition honoring excellence, the Center as ars.electronica.art Centre for Art and Technology, a municipal space systems.
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The programme of Kersnikova has been devel- Onassis Stegi (Greece): The Onassis Cultural dance, circus, music,…) and 30 000 spectators le lieu unique (France): Located in the heart oped as a response to the profound changes in Centre-Athens was inaugurated in December a year. In addition to its traditional missions as of Nantes from January 1st 2000, the former society, thus it is constructed from investigative 2010, as a new cultural site accessible to all. a «Scène Nationale» (artistic production & pre- factory LU has been living a second life at the rate artistic and learning activities that reflect the Its mission is the promotion of modern cultural sentation, cultural development), Hexagone has of an atypical and multidisciplinary arts center: multitudes of contemporaneity and announce expression, the support of new Greek artists, the also developed since 2002 a research activity. le lieu unique. Le lieu unique is a space of artistic the possible future scenarios. As a production cultivation of international collaborations, the Hexagone thus has created in 2007 the Atelier exploration and a convivial cultural ferment that platform, which encourages, enables and pres- education and lifelong learning, as well as the Arts Sciences, a common research and creativity mixes genres, cultures and audiences. Its credo: ents artistic production, the Kersnikova Institute co-existence and interaction of sciences, inno- platform shared with the French research cen- the spirit of discovery in different fields of art is a space for transdisciplinary interactions, in vation and arts. tre CEA (The CEA Grenoble dedicates the main (visual arts, theater, dance, circus, music, litera- which the authors and their teams can develop www.onassis.org part of its researches to the development of the ture, humanities, architecture, comics, art taste, the most demanding and bold projects. micro- and nanotechnologies). etc.). With nearly 600 000 visitors (of which, It has promoted creativity through encounters 150 000 spectators for the artistic activities) www.kersnikova.org The Culture Yard (Denmark): The Culture Yard www.kapelica.org between artists and scientists at intersections le lieu unique must be experienced for anyone is a multi-cultural centre situated in Elsinore in between art, culture, technology and sciences. who wants to put the finger on the pulse of la one of the Nordic epic centres of culture with old Science Gallery Dublin (Ireland): Science It organises residencies that made it possible for vie nantaise. shipyard halls, award-winning modern architec- Gallery is an organisation dedicated to igniting new ideas and disruptive innovations to emerge ture and Hamlets old castle all in the mix. www.lelieuunique.com creativity and discovery where science and art and new technologies to get integrated into per- The Culture Yard unfolds its culture program on collide. This cutting-edge public engagement forming art shows and enable everyone to build our stages, festivals, conference — and event Waag (Netherlands): Waag operates at the platform uses a transdisciplinary approach that its own vision induced by advances in scientific facilities, exhibition rooms, presenting more intersection of science, technology and the arts. unites the Arts with STEM (Science, Technology, knowledge. than 1000 events during the year including Our work focuses on emergent technologies as Engineering and Mathematics), using these as a CLICK Festival for contemporary art embracing www.theatre-hexagone.eu instruments of social change, and is guided by lens to examine the burning issues and wicked www.atelier-arts-sciences.eu and exploring the field between art, science and the values of fairness, openness and inclusivity. problems facing society today. technology. Regarding AI, Waag sets out to explore the role Creative collisions happen through 3–4 free and potential of AI in our shared futures, under- exhibitions per year, with complementary www.kuto.dk SOU Festival (Georgia): Stream of unconscious- www.clickfestival.dk standing AI systems both as technological and events, performances, workshops and edu- ness festival challenges established contexts, cultural phenomena. Waag’s AI Lab develops cational programmes. Since opening in 2008, which define the whole cultural process of today. along three major research lines: People’s AI, GLUON (Belgium): Gluon is a Brussels-based over 2.5 million people have engaged with over Architecture, individual and collective memory, Artificial personality, and Open AI. platform that maximizes collaborations between 40 exhibitions, thousands of events and work- physical experience, definitions, cultural hierar- artists, researchers, industrialists, young peo- www.waag.org shops co-created with more than 2,000 collab- chy and others has created for us a perception ple and active citizens. It connects artists with orators from diverse disciplines including the of expectations. researchers in universities, research institutions arts, science, design, humanities, health, engi- Every single artist, their work and the context we and companies. At the same time, it supports neering and social science. Recent exhibitions create for contact questions these expectations residencies of scientists in the studios of artists. have included HUMANS NEED NOT APPLY which and makes our quest more exciting. contempo- Gluon also develops a program of lectures and asked the question “In an automated world, will rary music and visual arts, acoustic experiments, exhibitions, and organizes workshops that stimu- it be time to put humans out to pasture?”; IN sound research, new opera, musical theatre, late education in the field of science, technology CASE OF EMERGENCY which asked “How will digital and new media art, dance, interaction and the arts. it all end, and why do we love to wonder?” and with traditional music are of main focus to SOU INTIMACY, exploring the meaning of intimacy in gluon.be festival. today’s world, and asking whether technology Besides actual cultural happenings, we encour- is disrupting traditional notions of togetherness, Hexagone Scène Nationale Arts Sciences age education and information accessibility opening new avenues for connection, or killing (France): Meylan (National Theater) is located through workshops and other educational pro- off closeness altogether? in the area of Grenoble, France, and welcomes grams. dublin.sciencegallery.com in its 560 seats theatre about 30 shows (theatre, www.soufestival.com
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H.O (INT) What a Ghost Dreams Of
What is a “ghost”? Generally it is understood AI System: John Brumley as an inner “soul” and a mysterious outward Surveillance Application: Hiroshi Chigira Technical Direction: Hiroshi Chigira, John Brumley, Taizo Zushi appearance. What a Ghost Dreams Of grapples Art Direction, Concept: Hideaki Ogawa, John Brumley, with a new “ghost” of our time: digital surveil- Hiroshi Chigira, Emiko Ogawa, Taizo Zushi lance in our society. Visitors are observed by a Eye Blinks Editing / Directing: Martina Sochor large “eye” when they come in. Everyone who Eye Blinks Cinematography: Jonatan Salgado Romero Eye Blinks Model: Andressa Miyazato passes by is fed by computer vision directly into Photography: Florian Voggeneder a “ghost” that creates new digital faces of people Face Photo Booth: Ali Nikrang who do not exist in the real world. What do we This project utilizes the AI algorithm StyleGAN humans project into the digital counterpart we (Karras et al. 2018) About h.o: www.howeb.org/about are creating with AI? It is getting to know our world without prior knowledge and generating This project is presented in the framework of the data that never existed. What are the effects of European ARTificial Intelligence Lab and co-funded by Martin Hieslmair the Creative Europe Programme of the European Union. using AI to produce works of art? Who holds the copyright? And what is AI, the “ghost,” dreaming about, and what does that mean for us as human beings? H.O (INT) Ghosthouse
A deep dive into the information “swamp” is a the process. How do we accept this gap between kind of out-of-body experience. Smartphones, body and spirit? tablets, computer screens, and televisions become gateways for our spirits to embark on GhostApp: Hiroshi Chigira, Taizo Zushi, Emiko Ogawa, a journey. These spirits of our consciousness Hideaki Ogawa Ghosthouse System: Taizo Zushi, Hiroshi Chigira gather in the installation Ghosthouse. After an Video and Visual Direction: Hideaki Ogawa, Emiko Ogawa app called GhostApp is installed on a smart- Device: John Brumley, Naohiro Hayaishi, Takeshi Kannno phone, the phone’s use will be reflected in the art Sound: John Brumley installation. The installation is made up of robots Technical Direction, Concept: Taizo Zushi, Naohiro Hayashi with eyes. When a user begins to interact with Video: Kazui Yamamoto their smartphone, one of the robot eyes opens Art Direction, Concept: Taizo Zushi, Hiroshi Chigira, and begins looking around the room. When the Emiko Ogawa, Hideaki Ogawa interaction is over, the eye closes again. Our bod- This project is presented in the framework of the ies are observed from far away, while our spirit, European ARTificial Intelligence Lab and co-funded by
Martin Hieslmair which is immersed in the smartphone, controls the Creative Europe Programme of the European Union.
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Samuel Leder (US), Ramon Weber (CH) Distributed Robotic Assembly for Timber Structures
Distributed Robotic Assembly for Timber Structures in construction in which robots can work Memo Akten (TR) — a robot construction group for structures made efficiently round the clock. of wood — is a multidisciplinary research project ICD Institute for Computational Design and Construction which deals with the autonomous machine col- This project is presented in the framework of the Learning to See: Gloomy Sunday lectives that create building structures. At the European ARTificial Intelligence Lab and co-funded by the Creative Europe Programme of the European Union. “We see things not as they are, but as we are” center of the multiple robot insulation system is a robotic node, a wireless, intelligent machine that interacts with other machines of its kind. Learning to See is an ongoing series of works that of seeing the world through the eyes of others. The choreographic behavior of swarms of robots use the latest machine-learning algorithms to Learning to See: Gloomy Sunday is a video and gives rise to complex, multifaceted wooden reflect on how we understand the world. What an interactive installation where the recordings structures. people see is a reconstruction based on our taken by a live camera aimed at a table covered In addition, the special conditions that could lead expectations and previously held beliefs. Learn- with objects are analyzed by a series of neural to a disruption in the construction of an actual ing to See is an artificial neural network loosely networks trained on different data sets (ocean, building structure are investigated in an ongoing inspired by the human visual cortex. It looks fire, clouds, and flowers). way in the research project. The purpose of the through cameras and also tries to understand project is to contribute to a future development what it sees. Of course it can only see what it This project is presented in the framework of the already knows — the same as us. This work is part European ARTificial Intelligence Lab and co-funded by of a broader line of research about the difficulty the Creative Europe Programme of the European Union.
Hyun Parke (KR/US), Jinoon Choi (KR), Sookyun Yang (KR) Volumetric Data Collector
Volumetric Data Collector is based on the idea of to conduct their own experiment with a portable using a LiDAR sensor— a 3D laser sensor often LiDAR unit. used in autonomous vehicles — as an expanded With support from ZER01NE sensory organ for the human body. The team This project is presented in the framework of the of developers packed a LiDAR sensor, a display European ARTificial Intelligence Lab and co-funded by monitor as visual output, and accessory equip- the Creative Europe Programme of the European Union. ment into a portable unit. The device can capture a 3D point cloud of the area around the wearer, which is then translated into visual data. For example, the Seoul LiDARs collected three-dimensional information from historical Martin Hieslmair locations in Seoul, South Korea. The goal is to use technical expansion of human senses to investigate how spaces— for example, urban environments— can be differently defined
or perceived. Here, visitors have an opportunity Vog.photo
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Vladan Joler (RS), Kate Crawford (AU) Anatomy of an AI
In the 21st century, we are seeing a new kind hidden. Anatomy of an AI uses the example of mining for raw materials that drills deep into of Amazon Echo to show the countless com- the biosphere. This enables AI technologies that ponents and factors behind the production of are having a profound effect on the cognitive and artificial intelligence systems. But this process affective layers of human nature. The resources is so complex that its full extent can hardly be for producing systems such as Amazon Echo, comprehended. a speech-controlled, Internet-based personal Published by: SHARE Lab, SHARE Foundation and assistant, go beyond the technical aspects of The AI Now Institute, NYU data modelling, hardware, servers, and networks https://anatomyof.ai/ and extend much further into the realms of work, This project is presented in the framework of the capital, and nature. The true costs — social, eco- European ARTificial Intelligence Lab and co-funded by logical, economic, and political — remain mostly the Creative Europe Programme of the European Union.
Vladan Joler (RS) Facebook Algorithmic Factory
Facebook Algorithmic Factory sheds light on the creating a deep economic gap between those invisible processes that take place inside the who own and control the means of production world’s largest social network. Inside this black and their users, who often live below the poverty box, non-transparent algorithms are deciding line. The layers of algorithmic data processing what kind of content will become a part of our may conceal new forms of human rights vio- reality, what will be censored or deleted, which lation, novel mechanisms for exploitation and ideas will spread and what news gain most visi- manipulation that we no longer control. Our bility. They are also defining new forms of labor first step in fighting them back is to make them and exploitation. Users are no longer clients. We visible. only provide data, which serves as raw material for the production of digital profiles — a key Vladan Joler and SHARE Lab / SHARE Foundation commodity on internet stock markets. This project is presented in the framework of the Facebook Algorithmic Factory generates an European ARTificial Intelligence Lab and co-funded by
Martin Hieslmair enormous amount of wealth and power by the Creative Europe Programme of the European Union.
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Joy Buolamwini (US) Gender Shades
Joy Buolamwini and Timnit Gebru investigated the bias of AI facial recognition programs. The study reveals that popular applications that are already part of the programming display obvious discrimination on the basis of gender or skin color. One reason for the unfair results can be found in erroneous or incomplete data sets on which the first training data set that contains all skin color program is being trained. In things like medical types, while at the same time being able to test applications, this can be a problem: simple con- facial recognition of gender. volutional neural nets are already as capable of detecting melanoma (malignant skin changes) Joy Buolamwini, Founder of the Algorithmic Justice as experts are. However, skin color information League and Poet of Code Buolamwini, J., Gebru, T.: “Gender Shades: Intersectional is crucial to this process. That’s why both of Accuracy Disparities in Commercial Gender Classification.” the researchers created a new benchmark data Proceedings of Machine Learning Research 81:1 — 15, 2018 set, which means new criteria for comparison. Conference on Fairness, Accountability, and Transparency It contains the data of 1,270 parliamentarians This project is presented in the framework of the European ARTificial Intelligence Lab and co-funded by from three African and three European countries. the Creative Europe Programme of the European Union. Vistoria And AlbertVistoria Museum Thus Buolamwini and Gebru have created the
Nye Thompson (UK) Birgitte Aga (UK), Coral Manton (UK) The Seeker Women Reclaiming AI
The Seeker is a machine entity — a proto-AI — The Seeker is an exploratory, data-generating Women Reclaiming AI (WRAI) is a collaborative that travels the world virtually and describes system. The artist analyzes its output and uses AI voice assistant and activist artwork made by what it sees. The project explores ideas of the this to create further physical outcomes (art- a growing community of self-identifying women. emergent machine gaze and the hidden virtual works) such as the giant “drawing” Words That Creating a platform for collective writing and power structures behind it. The Seeker trav- Remake The World. This drawing contains all the editing, the project co-creates an AI that chal- els the internet looking through compromised words and concepts that The Seeker has used to lenges gender roles. surveillance camera eyes and uses image rec- describe what it saw in the tens of thousands of WRAI is a response to the pervasive depiction ognition technology to interpret these visions. locations it has “visited.” of AI voice assistants gendered as women; sub- Named for Ptah-Seker, the artist/technologist ordinate and serving. It aims to reclaim female god of the Ancient Egyptians, who created the voices in the development of future AI systems world by speaking the words to describe it, this The development of this project was generously by empowering women to harness conversa- project looks at how the act of describing the supported by Arts Council England. This project is presented in the framework of the tional AI as a medium for protest. Women Reclaiming AI is created by Birgitte Aga and Coral world might establish a whole new worldview European ARTificial Intelligence Lab and co-funded by You can speak to the evolving voice assistant Manton in collaboration with a growing community of for machines and humans alike. the Creative Europe Programme of the European Union. at womenreclaimingai.com and see its visual self-identifying women. The project is funded by the Arts Council England and supported by Knowle West Media representation (GAN — generative adversarial Centre, Intercity and i-DAT. network) created from a DIY data set of images womenreclaimingai.com of the women participating and other women the This project is presented in the framework of the collective find inspirational. European ARTificial Intelligence Lab and co-funded by the Creative Europe Programme of the European Union.
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Caroline Sinders (US) Feminist Data Set
Feminist Data Set is an ongoing multi-year art networks. This project is largely based on the project that combines lectures, workshops, and idea that to remove bias within machine learning, calls to action to collect feminist data to create the “removal of bias” itself has to be manifested a series of interventions for machine learning. into a “thing” to teach or sway the algorithms. What is feminist data? Feminist data can be art- By using workshops, the artist starts to define works, essays, interviews, and books that are the parameters for feminist words, interactions, from, about, or explore feminism and a femi- their definitions, their origins and, potentially, nist perspective. The creation of this feminist their creators. data set will act as a means to combat bias and introduce the possibility of data collection as This project is presented in the framework of the Euro- a feminist practice, aiming to produce a slice pean ARTificial Intelligence Lab and co-funded by the of data to intervene in larger civic and private Creative Europe Programme of the European Union. Mark Koch
Sarah Petkus (US) SHE BON A wearable platform for sensing and indicating human arousal
The SHE BON project is a collection of body one that is open, approachable, and able to have augments which sense aspects of the wearer’s a positive impact on human social-emotional physical state in order to communicate their health at large. To achieve this, all stages of level of arousal. Collectively, the systems that the project’s development are documented and have been developed for this project make up a made public so that the practical engineering human-computer interface capable of orches- challenges the artist encounters during this trating sensor input from the body in order to process may also act as a catalyst or “gateway” influence mechanical and electronic forms for the greater dialogue about humanity’s of performative output which express subtle relationship with sexuality. aspects of the wearer’s physical state in a manner that characterizes their sexual identity. www.zoness.com This project is presented in the framework of the The primary goal of the SHE BON project is to European ARTificial Intelligence Lab and co-funded by promote a general dialogue about sexuality; the Creative Europe Programme of the European Union.
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Emanuel Gollob (AT) Takayuki Todo (JP) Doing Nothing with AI SEER: Simulative Emotional A neuroreactive robotic installation Expression Robot
In times of constant busyness, technological CORE TEAM: Emanuel Gollob (AT) — design & concept, overload and the demand for permanent recep- Magdalena May (AT) — concept & research SEER is a compact humanoid robot developed ADVICE AND SUPPORT: Johannes Braumann (AT) through intensive research into the gaze and tivity to information, doing nothing is often seen Laboratory for Creative Robotic — robotic support, facial expressions of human beings. The robot is as provocative and a waste of time. However, Dr Orkan Attila Akgün (AT) — neuroscientific support, enjoying a moment of inaction and introspection Magdalena Akantisz (AT) & Pia Plankensteiner (AT) — able to focus its line of vision on a certain point while letting our minds wander and daydream Graphic Design without being thrown off by the motion of its may be more productive than staying constantly Supported by Vienna Business Agency. Parts of this neck. Because of this, the robot seems to have its busy. In order to promote a doing-nothing state iteration were produced at Design Investigations studio own intentions to follow people and its surround- at the University of Applied Arts Vienna. in 2019, Emanuel Gollob and his team created a ings, and to pay attention to them. A camera sen- neuro-reactive installation, using live EEG-mea- This project is presented in the framework of the sor helps it to observe with an interactive gaze. European ARTificial Intelligence Lab and co-funded by The robot’s expression can also be enriched by surements and a real-time adapting robotic the Creative Europe Programme of the European Union. depicting its eyebrow curve with soft, elastic
choreography. Over time a generative algorithm Ars Electronica wire so that it gives the impression of emotions. increasingly learns to move the installation in a With technical support from Takanari Miisho, Yuki Koyama way that best supports the user’s mind-wander- This project is supported by the Japan Foundation as well ing process. as presented in the framework of the European ARTificial Intelligence Lab and co-funded by the Creative Europe Programme of the European Union.
Jessica In (UK/AU) NORAA — Machinic Doodles
How do we recognize objects when we draw them with lines and strokes? What rules do we use to draw in a particular order from one point to another? And can a machine be taught to learn to draw on its own, without being given explicit instructions? What insights does this provide into the human process of drawing? Machinic Doodles is an interactive game instal- lation that examines the collaboration between a human and a robot named NORAA, an artificial intelligence that is learning to draw. It studies how humans express ideas through strokes in a drawing, and how a machine can learn to draw Jessica In, 2018 (UK/AU) jessicain.net using an artificial neural network. George Profenza (UK/RO), Sam Price (UK)
This project is presented in the framework of the European ARTificial Intelligence Lab and co-funded by the Creative Europe Programme of the European Union.
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Ilmar Hurkxkens (NL), Fabian Bircher (CH) UngenauBot
The work UngenauBot combines highly developed The insufficiency in machine vision and robotic robot technology with an everyday rubber control systems generate unpredictable situa- glove performing banal activities. By delib- tions which render it a clumsy and spontaneous erately exploiting empirical errors in robotic artifact. UngenauBot will recognize various tasks systems and artificial intelligence, this work at hand, announce them over the integrated demonstrates the limits of technology when speaker and execute them. Various moments things don’t go according to plan. UngenauBot is of inaccuracy will become apparent with which suspended from three points enabling free move- the audience can empathize. The questionable ment in space. For interaction, it has access to services of the UngenauBot expose the robotic various vision sensors, a speaker and a hand with system as equally ignorant and imperfect in the a hygienic yellow rubber glove. The humanoid relation between human and robot.
hand of the otherwise very technoid robot serves Supported by Migros-Kulturprozent Digital Brainstorming to establish an affective response in the viewer. Johnston Nicky This project is presented in the framework of the In this installation, the UngenauBot will attempt European ARTificial Intelligence Lab and co-funded by to set a table with silverware. the Creative Europe Programme of the European Union. Oxfordians (UK, INT), Aidan Meller (UK), Lucy Seal (UK) Ai-Da Robot Artist Ethics of our Future Technologies
As the world’s first ultra-realistic AI robot, Ai-Da to direct the development of new technologies is uniquely placed to help us think a little more in a direction that protects rather than exploits deeply about art, creativity, and how our var- the vulnerable sectors of our world, including ied futures might look. As the world struggles to animals and the environment. morph around a destabilizing environment and a rapidly changing technological landscape, the Creative director: Aidan Meller (UK) Curator: Lucy Seal (UK) notion of identity when we collaborate so closely Engineered Arts (UK), Salaheldin Al Abd (EG), with machines and AI becomes increasingly Ziad Abass (EG), Adam Meller (UK), Aidan Gomez (CA), urgent. As ‘The Other,’ Ai-Da reflects ourselves Charline Le Lan (FR), Alex Kafoussias (SE), back to us through her drawing, performance Christian Johnstone (UK), Petra Cozianu (RO), Zoe Corsellis (UK), Javier Alba-Tercedor (ES), art and collaborative paintings and sculptures Marco Castellani (IT) that involve human, AI and digital inputs. George This project is presented in the framework of the Orwell and Aldous Huxley’s cautionary writings European ARTificial Intelligence Lab and co-funded by remain relevant — ethical discussions are needed the Creative Europe Programme of the European Union.
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Charlotte Jarvis (UK) In Posse
In Posse is a work in progress. Artist Charlotte of Thesmophoria. In Posse is a Latin term with Jarvis is collaborating with Prof. Susana Chuva a literal meaning of “before we are born.” It de Sousal Lopes in Leiden and Biotehna / refers to something which is possible, which has Kersnikova Institute in Ljubljana to make the potential, but is yet to be called into existence. world’s first “female” semen. The project is Jarvis and Prof. Lopes are striving for a form of being developed in three parts — firstly, Jarvis technological, biological and creative activism. is on a journey to grow spermatozoa (sperm cells) from her body. At the same time, she is Collaborator: Prof Susana Chuva de Sousal Lopes at the Leiden University Medical Centre; This project is developing a female form of seminal plasma supported by: MU Gallery Eindhoven and Kapalica / (the fluid part of semen) using material donated Kersnikova Institute; Video and Film support: by multiple women, trans and gender non- Eleni Papazoglou and Miha Godec binary people. Finally, Jarvis is using the female Martin Hieslmair This project is presented in the framework of the semen developed for In Posse as part of a series European ARTificial Intelligence Lab and co-funded by of re-enactments of the ancient Greek festival the Creative Europe Programme of the European Union. Adam Harvey (US), Jules LaPlace (US) MegaPixels
MegaPixels is an independent art and research project that investigates the ethics, origins, and individual privacy implications of face recogni- tion image datasets and their role in the expan- sion of biometric surveillance technologies. The project aims to provide a critical perspective on machine learning image datasets, one that might otherwise be overlooked by academic and industry-funded artificial intelligence think tanks. Each dataset presented on this site under- goes a thorough review of its images, intent, and Miha Godec funding sources.
This project is presented in the framework of the European ARTificial Intelligence Lab and co-funded by the Creative Europe Programme of the European Union.
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EMAP/EMARE
The greatest problem with the dominant ecology constitutes a living being, but the planet as a is that it is based on the notion of “nature,” a whole doesn’t. It is time to conceive of “ungrid- notion created historically to separate human- able ecologies” (Natasha Myers), or “un-greening ity from the rest of the universe and establish the green” (Jens Hauser). a colonial relationship. The binomial culture/ In order to be able to think about a non-anthro- EMAP (European Media Art Platform) nature structures an almost infinite list of other pocentric ecology, we need to move from iden- binomials found in modern Western thought: tities based on essences to identities based on EMAP (European Media Art Platform) annually LABoral Centro de Arte y Creación Industrial man/woman, white/non-white, straight/queer, relationships. A human> plant transition process awards production grants to outstanding European (Gijón, Spain), m-cult (Helsinki, Finland), science/witchcraft, adult/child, normal/abnor- that includes an intravenous chlorophyll proto- media artists and supports research, production, Onassis Stegi (Athens, Greece), RIXC (Riga, mal… The second term of each binomial is asso- col generates fears, fantasies, and judgments, presentation and distribution of media art in Latvia), WRO Center for Media Art Foundation ciated with nature and is therefore subjected which in turn open a debate about the identity Europe and beyond. (Wroclaw, Poland), lead organisation: Werkleitz to the same regime of violence. Through the system. A self-experimentation process is not Aiming to enable European artists to collab- Centre for Media Art (Halle, Germany). maximization of heterotrophy, a necropolitics is an individual’s process, it is always a collective orate on projects and create closer bonds The EMAP program is scheduled for the years constituted that literally “consumes” everything one. Obtaining a pure molecule of chlorophyll is between European media organisations, the 2017-2021 and is the largest international on this planet. “Protecting nature” seems to be as hard as getting testosterone from the pharma- platform was founded in 2017 and offers grants platform of artistic exchange and residency a bad idea... It is strange that we have come to ceutical and biomedical industry or the legal and in 11 member institutions: Ars Electronica (Linz, projects for media artists in Europe. accept that an individual, delimited by the skin, health system. All life is patented. Austria), Bandits-Mages (Bourges, France), FACT (Foundation for Art and Creative Technology, Liverpool, United Kingdom), IMPAKT (Utrecht, EMAP is co-funded by the Creative Europe Programme of Netherlands), Kontejner (Zagreb, Croatia), the European Union. http://www.emare.eu/
Quimera Rosa (ES/AR/FR) Trans*Plant: May the Chlorophyll be with/in you
Trans*Plant is a transdisciplinary project, initi- Trans*Plant aims to develop a project that involved ated by Quimera Rosa in 2016, that utilizes living in the current debates surrounding the Anthropo- systems and is based on self-experimentation: cene from a perspective not based on “human it is a process that involves a “human > plant” exceptionalness and methodological individu- transition in various formats. The project alism” (Donna Haraway). Instead, it addresses juxtaposes disciplines such as arts, philosophy, the world and its inhabitants as the product of biology, ecology, physics, botanics, medicine, “cyborg processes,” of “becoming with” (Vinciane
nursing, pharmacology and electronics. Desprets) and of “sympoiesis” (Haraway). Miha Fras
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Trans*Plant would not be possible without the Initiated three years ago, it combines biomedical Margherita Pevere (IT/DE) different ecosystems of which it is part. research, performance and speculative fiction. It is a piece based on haptic and hybrid low-tech- March 2016: Beginning of the Trans*Plant project, nologies, where leftovers from the past and the Wombs which aims to experiment, within the current future get entangled. Videos, written narratives, environmental crisis, on a process that engages a scientific excerpts, mycorrhiza interacting with Wombs looks at my own female body, whose body towards a human>plant transition. Decem- the audience, and DIY/DIWO biotechnological leaky materiality is entwined with environmen- ber 2017: First chlorophyll intravenous injection, materials are part of the elements that estab- tal relations by the gesture of taking hormonal at Kapelica Gallery, in Slovenia. March 2036: The lish the connection between the theme and the contraceptives. Slugs are hermaphroditic allies annual earth resources are exhausted and we transdisciplinary and experimental form of this in the exploration of inner and outer ecologies of witness the final shutdown of the global Inter- lab installation. fleshy desire. In the installation, a custom-made net. December 2037: A bio-hacker community extra-bodily organ hosts two cell cultures in a decides to connect a VPN to Mycorrhiza — the hybrid ecosystem. My own vaginal epithelial network that allows earth plants to exchange cells and slug egg cell share reagents and stage With the support of: Hangar.org (ES), Emmetrop (FR), a dance of the two organisms at a cellular level. nutrients and information — in order to estab- Bandits-Mages (FR), GeniAlis (FR). lish a symbiotic alliance with them and to try to Wombs investigates the body as a biochemi- reverse the situation. The work was realized within the framework of the cal cyborg: hormonal contraceptives modulate Trans*Plant: May the Chlorophyll be with/in you is European Media Art Platforms EMARE program at human sexual organs to prevent pregnancy, thus Ars Electronica Linz GmbH & Co KG with support from accompanying my own sexuality. Moreover, they a mixed-media installation project that aims to the Creative Europe Culture Program of the European present the work behind the Trans*Plant project. Union. Avec la Participation du DICRéAM — CNC inscribe my own experience into a biopolitical sphere, for, once released into the ecosystem through urine, they may trigger the endocrine system of other organisms. The work asks how they might affect hermaphroditic slugs, and wonders how slugs’ sexual behavior might affect human bodies. In so doing, the piece prompts a critical re-thinking of the discourses on contra- ception and sexuality as a female-only, human- only experience enclosed in one’s own body.
Biotechnological advisor: Gjino Šutić — UR Institute Production manager: Josipa Vukelić, Jurica Mlinarec — KONTEJNER Photography: Sanjin Kaštelan, Margarita Koši, Margherita Pevere Video: Ivan Šardi
The project is part of Pevere’s practice-based PhD research at Aalto University. Preliminary research at Biofilia Laboratory — Base for Biological Arts, Aalto University.
This project is realized within the framework of the European Media Art Platforms EMARE program at KONTEJNER | bureau of contemporary art praxis in collaboration with UR Institute, with the support of the Creative Europe Program of the European Union Amar Belmabrouk
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Joana Moll (ES) The Hidden Life of an Amazon User
The Life, Lessons & Rules for Success by Jeff The piece narrates the journey of the customer Bezos was purchased at Amazon on June 17, within the labyrinth of interfaces and code that 2019. In order to purchase the book, Amazon allowed them to buy Jeff Bezos’s book, while forced the customer to go through 12 different also revealing the mounting energy costs that interfaces made of large amounts of code. Over- were unwittingly paid for by the Amazon customer.
all, we were able to track 1307 different requests This work was realized within the framework of the to all sort of scripts which equaled 8724 pages European Media Art Platforms EMARE program at of printed code and 87.33Mb of data. Amazon’s IMPAKT with the support of the Creative Europe business model is based on “obsessive costumer Culture Program of the European Union. focus,” which entails the continuous tracking of customer behavior in order to amplify the mon- etization of the user. Thus, the 87.33Mb of code responsible for tracking user activity that were involuntarily loaded by the customer through the browser, relentlessly put Amazon’s core money-making strategy to work. Moreover, all the energy needed to load all this data was effec- Marco Barotti (DE/IT) tively unloaded upon the customer. Clams DISNOVATION.ORG (FR/PL) In nature, clams are detectors of pollutants; Clams is a project realized by Marco Barotti within the they serve as tiny filtration systems. Inspired by framework of the European Media Art Platforms EMARE Online Culture Wars program at WRO Art Center with support of the Creative this natural phenomenon, Marco Barotti is now Europe Culture Program of the European Union. presenting his new work Clams, a kinetic sound The map Online Culture Wars is an overlay of Conception: DISNOVATION.ORG (2018-2019); installation triggered by water quality. Real-time Co-funded by: C-Takt, Oerol Festival, and Transnatural hundreds of politicized memes, along with influ- in collaboration with Baruch Gottlieb data is streamed by a sensor and converted into Supported by: “In-Situ” water quality measurements With The Support Of: NRW-Forum Düsseldorf (DE), MU and Dayton Audio ential political figures and symbols. Taking the an audio signal. The audio signal generates a live artspace Eindhoven (NL), Institut UTINAM Besançon (FR) Many thanks to: Anna Anderegg for conceptual advises, Political Compass as a framework, this cartog- (with José Lages), HMKV Dortmund (DE). evolving soundscape which initiates the opening Pim Boreel for Hydro4Live development raphy offers a symbolic representation of online The Work was realized within the framework of the and closing movements of the Clams sculptures. European Media Art Platforms EMARE program at m-cult ideological and political debates, and their grow- Sound and motion unite to create an experience with support of the Creative Europe Culture Program of ing polarization, politicization and radicalization the European Union. that allows the audience to see and hear the orchestrated by different political and cultural water quality in real time. The Clams sculptures influencers. It is designed as a discussion starter, are made from recycled industrial plastic waste. intended to visualize and contextualize the ongo- The artwork intends to raise awareness about ing online culture wars. The video Online Culture water and plastic pollution. Wars focuses on the political instrumentalization of the tools, techniques, and infrastructures of the web, with particular attention to the social media influence ecosystem, and online manip- ulation of opinion.
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MAEID — Daniela Mitterberger (AT), Tiziano Derme (IT/AT) The Eye of the Other Interspecies communication between humans and bats
The Eye of the Other delves into non-verbal domain of a new language. This topological turn communication between humans and bats, foreshadows a possible future in which the clear through the study, translation and manipula- borders of humans and others are blurred and tion of the bat’s echolocation. This multimodal a multi-species society might be formed. The immersive artwork derives from the desire to gaze should not be understood as something one transcend the limitations of our living experience has or applies, but rather as a depiction of the by exploring the deeper meaning of mutualistic relationship into which one enters. relationships and interspecies communication between humans and animals, juxtaposing the animals’ gaze and the human gaze. It reflects Scientific staff: Dr. Ralph Simon — Animal Ecology — on how digital live/streaming technologies and Ecological Sciences VU University Amsterdam, Andrea Reni — software developer. machine intelligence can be used to alter human Interface development: Ralph Simon, Andrea Reni, senses and enhance new formats of communica- Daniela Mitterberger, Tiziano Derme tion and authorship, empathy and co-existence. The artwork lets the human and the non-human, This project was realized within the framework of the Birk Schmithüsen (DE) European Media Art Platform EMARE program at Bandits the local and the remote collide and produces Mages with support of the Creative Europe Culture new cultural spaces, formed by the meta- Program of the European Union. Speculative Artificial Intelligence Exp. #2 (conversation)
This work consists of a series of aesthetic create images. The sound object in the form of experiments designed to make processes of a dodecahedron of black, opaque plexiglas with artificial neural networks perceptible to humans the same diameter is equipped with eight speak- through audiovisual translation. Exp. #1 exam- ers, a camera and the second AI system. It can ines inner behavior during the prediction and see images and play sounds. In the exhibition, learning process. In the experiment, a network the two systems are in an ever-changing audio- is visualized by a light object, with the state visual conversation. of each neuron represented by a correspond-
ing LED. Exp. #2 questions an AI’s capacity for Conceptual support by Artificial Intelligence Center, empathy and purpose while communicating University of Oviedo at Gijón. 3D calibration of volumetric with a second AI. Both systems are embodied by display by Felix Bonowski. Coding by Marcus Ding.
a light or sound object and can receive the mes- Realized at LABoral Centro de Arte y Creación Industrial sages of the other. The spherical light object with in Spain within the framework of the European Media Art a diameter of 80cm consists of a chaotic heap of Platform EMARE program with support of the Creative 95m LED Stripe, a microphone and an embed- Europe Culture Program of the European Union. ded AI computing device. It can hear sounds and Additional production support by ArtesMobiles
110 111 EXHIBITIONS / European Platform for Digital Humanism / The Practice of Art HEADLINE& Science THE PRACTICE OF ART & SCIENCE
The rapprochement, as it were, of art and science, knowledge can — or should — mingle and dis- the artistic exploration of new applications, is a cover their synergies, Ars Electronica has been a key factor in the increasingly social dimension place for artists, scientists, researchers, design- of new technologies in order to comprehend ers and engineers to cooperate on multifarious how reciprocal human-machine relationships projects for years. Based on a collaboration with and interactions among individuals and globally CERN, which started in 2011, a plan evolved for networked systems can not only be better under- a network of art and science residencies on a stood but, above all, better designed. Since the European scale. inception of the Festival in 1979 by artist Hubert Ever since its initiation, the European Digital Art Bognermayr, scientist Herbert W. Franke and and Science Network with the partners ESA, ESO journalist Hannes Leopoldseder, art and science and Fraunhofer MEVIS sparked interest from have always been a focal point of Ars Electronica. artists as well as institutions and continued to In 1996, the increasing interest in collaborations grow. This year The Practice of Art and Science among artists and scientists resulted in the foun- is particularly focusing on collaborative projects dation of two pillars of learning, research and in the European context and beyond, as well as presentation: Ars Electronica Center as “Museum interdisciplinary approaches. Crossing bound- of the Future” and Ars Electronica Futurelab as aries in all conceivable ways — the curiosity of “Laboratory for Future Innovations.” As a sort the pioneer — has always been within the DNA g.tec medical engineering GmbH (AT) of melting pot, where different cultures of of art and science. Unicorn — The Brain Interface
The Unicorn Hybrid Black is a high-quality wearable EEG-headset for Brain-Computer Interface (BCI) applications to perfectly acquire brain waves. Developers, artists and makers are able to acquire and process brain signals, rang- ing from simple display of the signals, to design and control attached devices or interact e.g. with artistic installations, toys, computer programs or vog.photo applications. Visit the installation and control a Sphero robot, create a painting or spell some text with the brain interface.
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g.tec medical engineering GmbH (AT) BR41N.I0 Hackathon The Brain-Computer Interface Designers Hackathon
A BCI provides a direct link between the brain that can measure brain activity in real-time and an external device. 20 years ago, BCIs could to create any sort of interaction. The hacking only spell or move computer cursors. Today, BCIs projects use EEG electrodes and amplifiers, and are being used in many different fields of neuro- challenge programmers to code an interface that science, such as motor rehabilitation for stroke enables them to control devices, robots or appli- patients, assessment of and communication with cations, post messages on social media, draw coma patients, control of devices for disabled paintings, or a myriad of other applications by people, cognitive training or neuromarketing. using their thoughts only. BR41N.IO also chal- Machine learning, dry electrodes, wireless elec- lenges creative minds to design a BCI headset trode caps, and other technologies are making with 3-D printers, handcrafted materials and BCIs more powerful and practical for a growing sewing machines. Children are invited to create number of users. their own Brain-Computer Interfaces and can mindBEAGLE ©g.tec medical engineering GmbH recoveriX ©g.tec medical engineering GmbH The BR41N.IO Brain-Computer Interface Design- take their handicraft with them. BR41N.IO aims ers Hackathon Series has been created to show to promote awareness of artificial intelligence, these current and future developments, and life science, art and technology, and how these the unlimited possibilities of BCIs in creative or can merge into innovative and exceptional BCI scientific fields, and brings together engineers, systems. g.tec medical engineering GmbH (AT)
programmers, designers and artists. Each team BR41N.IO is organized by g.tec neurotechnology GmbH must design and build a wearable BCI-headpiece BR41N.IO is sponsored by the IEEE Brain Initiative Bugfix the Brain Rehab Technologies for Medical Professionals and Patients
Imagine being able to think, hear, and feel — the same time. This fosters brain plasticity and but not to move or communicate. The exhibition patients learn to move hands again. Bugfix the Brain focuses on patients who suffer mindBEAGLE is a pioneering method that can from motor disabilities due to stroke or disor- be used with patients who are living with coma, ders of consciousness and shows state-of-the- unresponsive wakefulness syndrome, minimal art rehabilitation and assessment tools based consciousness or locked-in syndrome. mind on Brain-Computer Interfaces. Neurologists, BEAGLE uses auditory and vibrotactile stimula- physical therapists, caregivers and patients are tion to assess whether a patient is conscious. welcome to test these brain rehabilitation tech- If patients are able to perceive stimuli given by nologies on themselves. the mindBEAGLE system, they might be able to recoveriX is the first rehabilitation system for communicate and answer Yes/No questions! stroke patients that pairs mental activities with The Unicorn-Speller is an affordable Brain-Com- motor functions. For example, if a stroke patient puter Interface that allows patients to write imagines a hand movement, the BCI system words and sentences just by thinking. This is an gives a visual feedback through Virtual Reality important tool for completely paralyzed people and feedback through muscle stimulation at to establish communication.
BR41N.IO Linz 2018, vog.photo
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Ryo Kishi (JP) Anti Conductor Struggle in the flow
Anti Conductor embraces the beauty of struggle. being pulled back into the flow. Because society In our society, individuals tend to go with the wants to maintain its structure. The image of an flow of their environment. It’s human nature individual struggling in the flow is full of power because it’s easier to survive that way. But it’s and energy, even if the efforts might not pay also monotonous and boring. If no one tries to go off. It’s simply fascinating to see an individual’s against the flow, nothing is going to change. On attempt to break the norm of their environment, the other hand, when someone tries to escape and wish for the revolution that could come from the flow, they will definitely face the risks of from it.
Max Haarich (DE), Rafael Hostettler (DE) Republik Užupis Explore the Unthinkable
The Embassy of the Republic of Užupis to Munich Max Haarich, six consuls work for the initiative is a one of a kind initiative that combines arts, including the humanoid Roboy, who is responsi- technology and politics to promote innovations ble for naturalizations. This makes it the world’s that are more accessible, more inspired and first artificially intelligent diplomat. The Užupis more ethical. The initiative focuses on artificial embassy is one of the rare arts-related initiatives intelligence (AI) and its possible consequences actively engaging in international policymaking for society. for AI. They are a partner of the German BMBF’s With consulting, workshops, talks, and parties, Science Year on AI, a partner of the EU’s AI the embassy brings together cutting edge AI Alliance and a member of the German Associ- engineers, rebellious artists and high-rank- ation of the UN. Is this serious or is this crazy? ing policy makers. Besides ambassador H.E. Definitely, yes!
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Yuri Tanaka (JP), Pavle Dinulović (RS), Umut Kose (TR), Chris Bruckmayr (AT) Particle Post Letters from the Universe
We are all in a constant correspondence with the universe. It speaks to us ever so subtly, show- ering us with invisible remnants of our mutual Takayuki Hirai (JP), Yasuaki Kakehi (JP) distant past, across the magnitude of space and time. Yet in the infinitely grand scale of all things (un)shaped universal, one tends to neglect the infinitely small. It is this omnipresent chronicle of the universe This installation, named (un)shaped, utilizes bub- the antibubbles start to form various patterns that is our most intimate connection to the every- bles in water as a medium. Pouring droplets into underneath the water’s surface. After inflating to where and always, shared with us through the water gently from the top, bubbles are generated a certain size, they leave the surface and float in smallest of postcards and parcels. Within the in it. This phenomenon is called an antibubble, the water, then disappear after a while. Through journey of each traveling particle there lies a which is a droplet encapsulated by a thin film these periodic phenomena, continuous morphing piece of a common history, a memoir of a voy- of gas. Unlike normal air bubbles, antibubbles from computationally controlled forms to organic age spanning billions of years, connecting us, in float slowly inside the liquid and often show ones, mediated by the environment, is shown. this very point in space and time, to the dawn of iridescent surface reflections. In this installa- our universe. tion, the amount of droplets from nozzles are Yasuaki Kakehi Laboratory at The University of Tokyo Receiving cosmic muons (one of the fundamental computationally controlled. By pouring droplets, This project is supported by the JST ERATO Project particles constantly created by the interactions of the cosmic rays at the top of the atmosphere) through a scintillator detector, this postbox subtly emits sound and light as a direct conse- quence of every particle it detects. It is through this process that the implied aesthetics of the unperceivable are explored, as are the means by which it could be indirectly appreciated in different ways through the bodies and minds of humans.
This work is granted by Nomura Foundation, THE ASAHI SHIMBUN FOUNDATION, and JSPS KAKENHI Grant Number 19K13027
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Yonlay Cabrera (CU) VOIGHT-KAMPFF
The project is based on a procedure for measur- ing the involuntary ocular changes that happen in a group of people, determined according to Kim Albrecht (DE) categories that correspond with the “Ideological Apparatus of State” (Louis Althusser) used by Distinction Machine the Cuban Government. The people are submit- ted to questions that “stress-test” the normal In the midst of exploring and understanding values in order to determine to what extent they cyberspace, it is intriguing to ask about the reproduce the ideal behaviors internalized by the boundaries of computation itself. ideological apparatus. Ludwig Wittgenstein said the limits of our Direction and concept: Yonlay Cabrera Quindemil language define the limits of our world. But Programming and hardware: Gustavo Viera López, what are limits of the language of computation? Antonio Serrano Muñoz And how are they defining our worldview? Psychological advisor: Yunier Soca Hernández This set of experiments asks the computer to Production and attendance: Yandy Sanabria González This project was supported by Studio 21 Grant, perform a simple task, placing two differently Development Center of Visual Arts, Cuba. colored rectangles in the same position in a three-dimensional space. Since neither of the two will be facing the other, the machine will be confronted with the problem of which one to show. The decision for one color and against the other will take place at the lowest level of com- Martin Reinhart (AT), Virgil Widrich (AT) putation, in which electricity flows through the silicon circuits. The computer represents one or the other, but never an in-between. The vague- tx-mirror ness of our world, its in-betweenness, cannot be computed. This certainty in the uncertain shines The installation tx-mirror was created for the through on every level of mediation between the exhibition “Art in Motion. 100 masterpieces with computer and ourselves. and through media” at ZKM | Center for Art and Distinction Machine is a project by Kim Albrecht in Media Karlsruhe. It is a further development of collaboration with metaLAB (at) Harvard, which is a part the film technology “tx-transform” invented by of the Berkman Klein Center for Internet & Society. Martin Reinhart in 1992. As in earlier works by the duo Martin Reinhart and Virgil Widrich, familiar perception is ques- tioned and expanded through intuitive interac- tion. Visitors can look at themselves in a magical mirror and explore the laws of a universe where time and space have been reversed. Concept: Martin Reinhart, Virgil Widrich The installation also pays homage to the Polish Programming: Matthias Strohmaier video artist Zbigniew Rybczynski, whose film Sound design of the film documentation: Siegfried Friedrich; Thanks to Peter Weibel and Leo Coster The Fourth Dimension has inspired an entire Produced on behalf of ZKM | Center for Art and generation of artists. Media Karlsruhe
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STOCHASTIC LABS (US) Alexander Reben (US) Stochastic Labs: Selections from the Human-Machine Strange Temporalities Collaboration Series In the age of machine learning, robotics, and Can we continue to distinguish the future from works ask the viewer to be present and future technological dependency, questions of what the present? Should we? The rapidly accelerating at once — a useful strategy, perhaps, for anyone it means to be human are reflected back to us impact of technology on our society, environ- navigating temporalities mediated by technology. in new ways by our synthetic creations. Issues ment, and selves has, in recent years, left us The exhibition includes work by past and current of creativity, authorship, inspiration, and phi- questioning the boundaries between science Stochastic Labs residents including Paolo Cirio losophy (which have traditionally been recog- and science-fiction, optimism and hindsight, (Golden Nica recipient, Ars Electronica 2013), nized as exclusively human traits) come into the authentic and the fabricated, the familiar Lauren McCarthy and Alexander Reben, as question as we find ourselves amongst ever and the unimaginable. But what about the less well as pieces from the CRISPR (un)commons more intelligent and capable machines. Works perceptible boundaries, those strange delineations residency, which places Stochastic Labs artists from the human-machine collaboration series we draw unaware? alongside the world’s leading genomics pioneers explore these questions by using art as tangible Over the past year, San Francisco Bay Area- at the Innovative Genomics Institute at UC philosophy. based Stochastic Labs has convened a unique Berkeley. group of artists, engineers, scientists, thought Curator: Vero Bollow leaders, and entrepreneurs to consider these Text: Vero Bollow questions through the production of artworks, About Stochastic Labs: prototypes, and social provocations. Drawing on Located in Berkeley, California, Stochastic Labs supports creators working at the intersection of art, technology the Bay Area’s longtime culture of innovation, and science, and conversations about the future. deep sustainability focus, and multi-generational Residencies are granted on a rolling basis. Paolo Cirio (IT/US) commitment to independent thinking, these For more information visit www.stochasticlabs.org Sociality
This artwork documents over twenty-thousand utopia of democratic oversight with flowcharts patents exposing socially’ hazardous informa- of patents taking the form of documentary and tion technology. In Sociality, Cirio has collected protest art. With this problematizing piece, Cirio and rated inventions submitted to the U.S. pat- exposes evidence of social manipulation and ent office. He invited participants to share, flag, questions the ethical, legal, and economic struc- and ban these technologies designed to moni- tures of such technological apparatuses. In the tor and manipulate social behaviors. The patent exhibition, the public confronts large-scale com- images and data were obtained by Cirio through positions with hundreds of images of flowcharts hacking the Google Patents search engine. Then that abstractly invoke the complexity and mag- he rated the patents and created thousands of nitude of such uncanny plans to program people. compositions with images of flowcharts and titles of inventions, which were published on the site Sociality.today. The visual compositions on the website were printed in form of posters and a coloring book for informing on devices that enable discrimination, polarization, addiction, deception, and surveillance. The concept of turning patents into vehicles for regulations aims to exploit intellectual property law as a tool for democratic oversight. This work integrates both the dystopia surrounding technology and the
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Lauren McCarthy (US), David Leonard (US) Chris Kerich (US) Virtual Caring Piles According to AARP, almost 87 percent of seniors would like to stay in their home as they age. Piles is a durational video performance piece With millions of aging citizens, we are facing a about bodies. It consists of a collection of over crisis of care. When confronted with the pros- 22 hours of video recordings, livestreamed on pect of caring for aging relatives, artificial intel- Twitch, of the piling up of dead or unconscious ligence systems like Alexa and Google Home bodies in seven different video games. The piece can fill the need for care and stand in for the programmatically switches between and juxta- presence of family, friends, and medical pro- poses these videos, calling attention to how dif- viders. But viewing these systems as utilitarian a lens into the ethical dilemmas that are rap- ferent video games conceptualize, and enforce, devices obscures the human responsibilities idly being codified into artificial intelligence. their inherent views on death and the body. they carry. Will they be able to serve as advo- Through interactive 360 video created from cates for this population? Virtual Caring puts a real-life scenario, we begin to confront our the viewer in the role of smart home, offering relationship with AI partners at the end of life.
Joel Simon (US) Kal Spelletich (US) Ganbreeder Organs Sound The Body: Artificial Flesh Ganbreeder is a massively collaborative online image-making tool powered by generative With Organs Sound The Body, San Francisco adversarial networks. Ganbreeder approaches machine-arts icon Kal Spelletich sets out to cre- creativity as an explorative dialogue between ate “backup organs for an artist who has never human, computer, and community. Thousands had health insurance,” positing a series of hybrid of users have collaborated on millions of images, human organs (lungs, heart, kidneys, skin) as each of which results from many individuals con- playful and reactive metaphors for survival, iden- tributions. tity, agency, and responsibility in an era in which www.ganbreeder.app increasingly utilitarian values may overshadow technology’s capacity for poetry. A profound meditation on the healthcare crisis, these interactive works also serve as witnesses in the aging process. Steven Thompson (US) Reciprocus JD Beltran (US), Scott Minneman (US) An interdisciplinary exploration of the philos- ophy of mathematics, collective wisdom, and Liminous group intelligence, these works bring the surreal Liminous is a blending of the words “liminal” and the moving image, to the surface of the mundane while asking us “luminous.” The word liminal is defined as “of, or the Liminous series to consider our interstellar nostalgia and other relating to, a transitional process,” or “occupying explores, expands quintessential questions of the human condition. a position at, or on both sides of, a boundary or upon, and blurs the threshold.” The word luminous is defined as “full boundaries of cinema, of light; bright or shining, especially in the dark.” time, light, past, and Using iconic analog forms, sculptural lenses and future.
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Artivive (AT) Dorothy Santos (US) ARTIVIVE @ STOCHASTIC Press 1 to be Connected
Is Augmented Reality offering a new narrative for Press 1 to be Connected presents the telephone artworks? How might artists use this invisible, as a medium for bio-surveillance and the trans- digital layer to extend creative possibilities? How mission of biometric data. Phones have been will viewer interactions within this layer shape used for decades by clinicians and pharmaceu- the future of the public and private experience tical companies to collect data on subjects and of art? In this exhibition, Artivive considers these track drug inventory through electronic data questions together with Stochastic Labs artists... capturing systems such as “interactive voice and festival goers. response systems.” This work represents a novel form for interactive storytelling in which the participant can listen to the path of a specific narrative related to our genomic futures.
Jonathan Foote (US) Alison Irvine (US), Andy Cavatorta (US) Skycolor Automation #1 and Automation #2
The Skycolor project explores the digital capture We are experimenting with the temporal and Inspired by the punched cards of a Jacquard of real experience. Specifically, we are attempt- luminous aspects of capturing and reproducing loom, Automation #1 punches patterns of holes ing to capture the quantifiable as well as the inef- light, visualizing temporal data, and investigat- into paper. The underlying data are the genetic fable qualities of California daylight as observed ing what perceptual qualities digital sensors will sequences most likely to be modified in future through the window of Stochastic Labs over the destroy, and what qualities they can enhance. humans. course of a summer. Automation #2 uses a Jacquard loom to auto- matically weave the data patterns from these genes into long tapestries. The pieces explore the convergence of CRISPR gene-editing tech- nology, machine learning, and automation.
CRISPR (un)commons Sheng-Ying Pao (TW)
To date, the conversation around CRISPR has concerns. This year, a select group of Stochastic CRISPR and the Art of Paper largely focused on its exceptional potential Labs artists have been given an unprecedented Meet CRISPaper: paper made from CRISPR- to cure challenging diseases such as HIV and opportunity to work alongside the very scien- altered crops. CRISPaper revisits the ancient malaria or doomsday scenarios of epic propor- tists who pioneered CRISPR at UC Berkeley’s Eastern craft of paper-making in light of current tions. Innovative Genomics Institute, as they continue bioengineering techniques developed in West- Meanwhile, the scientists developing this rad- to explore the groundbreaking topics that will ern labs. As the research and design of CRISPR- ical and compelling technology face a much shape the future of this critical field — and the altered crops currently aims for sustainable agri- more nuanced set of investigative and social world as we know it. culture in the developing world, the artist asks us to consider what that notion of sustainability might mean for each of us by drawing on the fragility of paper as metaphor.
126 127 EXHIBITIONS / European Platform for Digital Humanism / The Practice of Art & Science
Space Exploration Initiative Per aspera ad astra — 50 years after the Moon
50 years after the Apollo 11 lunar landing, we the Space Exploration Initiative of MIT Media are seeing another strong push for space explo- Lab are asking the same question and bringing ration: from new and renewed space programs possibilities to the (im)possible space: All the in developed and developing countries to inno- projects were successfully deployed and per- vative technologies and commercial services formed in a zero-gravity parabolic flight last year. from private industry. Along the way, cultural They are hopes beyond solutions, imaginations, production for outer space becomes crucial more than facts. Our effort addresses outer for humanity as we expand beyond the earth- space as a critical territory that must be inhab- bound. In the past, the desire for exploration ited—imaginatively, artistically, scientifically and and expansion had a profound impact on how collaboratively. we imagined planetary futures. What shall we imagine now? In this exhibition, six projects from Curator and author: Xin Liu (CN)
ARTWORKS:
Xin Liu (CN): Medusae — From Deep Sea to Deep Space
Harpreet Sareen (IN): Fluorovine
Manuel Muccillo (IT), Valentina Sumini (IT): Space Human
Alexis Hope (US): Space/Craft: Exploring Sculpture in Zero-Gravity
Maggie Coblentz (CA): Food for Earthlings
Nicole L’Huillier (CL), Sands Fish (US), Thomas Sanchez Lengeling (MX): Telemetrons: A microgravity orchestra --- Instrument 1: Núcleo, instrument 2: Satélite, instrument 3: Monolito
128 129 EXHIBITIONS / European Platform for Digital Humanism / The Practice of Art & Science
CARISSMA — Center of Automotive Research on Integrated Safety Systems and Measurement Area Technische Hochschule Ingolstadt (DE) Smart Traffic — Augmented Cyclists meet Automated Vehicles
Automated vehicles promise to increase safety, but pose a new challenge for vulnerable road users like pedestrians or cyclists. How can we integrate unprotected humans in traffic systems that are controlled by intelligent transportation systems, and how can someone communicate with automated vehicles when there are no human drivers? This installation from CARISSMA/ THI combines a driving and a bicycle simulator and allows visitors to become part of futuristic smart traffic systems, while participating in a real scientific experiment. Emerging study results are analyzed in real time and presented on large Uwe Rieger (DE/NZ), Yinan Liu (NZ), arc/sec Lab (NZ) screens with the aim of making safety research comprehensible and accessible throughout the LightWing II exhibition. CARISSMA — Center of Automotive Research on LightWing II creates a mysterious sensation of immersive installations by the arc/sec Lab for Integrated Safety Systems and Measurement Area Technische Hochschule Ingolstadt (THI): THI tactile data. In this interactive installation, a Cross Reality Architecture and Interactive Systems. Philipp Wintersberger (AT), Anna-Katharina Frison (DE), kinetic construction is augmented with stereo- The research lab is based at the Architecture Tamara von Sawitzky (DE), Andreas Löcken (DE), scopic 3D projections and spatial sound. Flexible Department at the University of Auckland. With a Stavros Tasoudis (GR), Martin Nothhelfer (DE), carbon fiber rods hold a large transparent mem- focus on intuitive user interaction, the Lab inves- Andreas Riener (AT) brane in tension. A light touch sets the delicate tigates new design solutions through the fusion SAFIR — Safety for all — Innovative Research Partnership on Global Vehicle and Road Safety wing-like structure into a rotational oscillation of material and digital information. Systems and enables the visitor to navigate through holo- MenschInBewegung Sound design by Kyung Ho Min. Contributions from Yan Li, SAVe — Funktions- und Verkehrssicherheit im graphic spaces and responsive narratives. Jacky Zheng, Kathy Yuan and Zane Egginton. Supported automatisierten und vernetzten Fahren LightWing II is the latest project in a series of by the University of Auckland
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FASHION AND FUTURE TECHNOLOGY MATERIALS
How could the materials of tomorrow look? production is an important issue. Future Materials Today we are conducting research on intelligent is dedicated to giving visitors an insight into (synthetic) fabrics or dreaming of materials that the latest developments in the field of material know our needs and adapt to changing situa- research, which must fulfil a wide range of con- tions and circumstances. Against the backdrop ditions as well as ecological standards and plays of increasing resource scarcity and poor working a vital part in finding creative solutions to these conditions, sustainable and socially responsible questions.
Fashion & Technology, University for Art and Design Linz (AT) AnotherFarm (JP) In the Lab: Processing Fashion Triaina: Model A
With its inhumane and environmentally destruc- reinterpretation of traditional craft techniques Triaina is an ongoing large-scale art project that placed on the seabeds of coral reefs to promote tive production methods, fast fashion has long through biochemical kitchen experiments to utilizes design and technology to create sustain- growth of microalgae and marine flora. Prelim- since surpassed all boundaries. Fashion & Tech- the emergence-and death-of digital bodies. In a able ecosystems that integrate man-made forms inary research has shown that such materials nology offers alternatives to the system with laboratory situation in POSTCITY, these projects with nature. placed effectively in reefs can help revive coral new, sustainable processes. The participatory are playfully and seriously investigated. Historically, culture and technology have always ecosystems by bringing back marine animals workshop situation In the Lab: Processing Fashion Fashion & Technology is a bachelor’s and stood in dichotomy with nature. This project and other organisms that feed off the algae and aims to make them visible and tangible. master’s program for contemporary fashion aims to create man-made future ecosystems in α-amino acids emitted from the concrete sculp- Material development, shaping techniques and design at the Art University Linz. which humans can establish a symbiotic rela- tures. In this installation, we exhibit one model design processes that take place before product tionship with nature. Using a material made from of the structures we plan to deploy in seabeds
solutions, are the focus of attention. The Fashion Fashion & Technology / University of Art and Design Linz concrete and α-amino acids developed in a across several locations around the world. & Technology students’ examples range from a www.ufg.at/fashion collaboration with Tokushima University, we This project is supported by Tohokushinsha Film have created sculptures that are designed to be Corporation and Tokushima University.
Miriam Eichinger, Nonkonform (2019)
132 133 EXHIBITIONS / European Platform for Digital Humanism / The Practice of Art & Science
Yoichi Ochiai (JP) Natsai Audrey Chieza (UK), Karl Aspelund (US) The Form of Digital Nature Mutupo Perspectives of Digital Nature I Origin stories of a multi-planetary diaspora
Yoichi Ochiai defines “Digital Nature” as a new In the coming century, humans will become a human futures? Is it possible to dream of other perspective on nature, composed of digital space-faring species, forming settlements on worlds beyond those presented to us through a media. In Digital Nature, our current norms other planets, even traversing the solar system privatized “cosmos Imaginarium”? of physical and recognition abilities are tran- as wandering nomads. Advancing technologies To challenge conceptions of this frontier space scended. Extremely enhanced computation and for inter-planetary habitability to enable new is to contest received wisdom of where such resolution abilities become part of daily life. The market prospecting underpins current goals to explorers might come from, and how, decoupled humanity of the future may live in Digital Nature, achieve low earth orbit to the moon and Mars by from Nature and isolated from humanity, they where the very concepts of nature, artificial 2033. Energy, water, food and material security ultimately wish to become. Culture becomes objects, gravity and time are overturned. — innovations developed for extreme conditions a critical mode of engagement and survival. Here, the artificial printed butterfly and dead “out there” — are set to be generators of wealth Mutupo: Origin stories of a multi-planetary butterfly are exhibited in the same installation. and utopian earthly futures. diaspora explores the theatre of space through These digital mimicries of nature show the alter- Seventy-two countries have a space program, a new envisioning of space nomadism and its native to our nature and perception. Developed in collaboration with TOPPAN co.ltd while only the government space agencies NASA, emergent cultures. We begin with specula- CNSA, and RFSA possess human space flight tive mythologies inherited from DNA: the most capabilities. Meanwhile, the private sector is ancient yet prescient origin text. propelling advancement. Urgent questions arise: who gets to colonize the life beyond Earth, and The project has been developed in collaboration with what does it mean for those ideas to seed those Karl Aspelund, PhD, University of Rhode Island, (US). Yoichi Ochiai (JP), JST CREST xDiversity Project Colleagues (JP) xDiversity Project Life and Death in Digital Mimicry
This project aims to explore AI-assisted human-machine integration techniques for overcoming impairments and disabilities. By connecting assistive hardware and auditory/ visual/tactile sensors and actuators with a user- adaptive and interactive learning framework, we propose and develop a proof of concept of our xDiversity AI platform to meet the various abilities, needs, and demands in our society. Our final goal is a social design and deployment of the assistive technologies towards an inclusive society.
JST CREST xDiversity (Yoichi Ochiai, Tatsuya Honda, Yusuke Sugano, Ken Endo and other colleagues)
134 135 EXHIBITIONS / European Platform for Digital Humanism / The Practice of Art & Science
Udayan Umapathi (IN/US) Programmable Droplets
Water is the medium that carries chemical and biological information. It is fundamental for the survival and evolution of life. From walking in the rain to working in a laboratory — water is ever Primitive Labs Biodesign (US) present. It is also safe for humans to touch and consume. Our goal is to use this natural medium, to represent data through calm, ubiquitous com- Organic Primitive Bioplastics puting interfaces that leverage the user’s intu- Transforming Objects into Information Displays itive knowledge of the world. Hence, we have created the Programmable Droplets system that can use droplets in our environment and program Subtle, overlooked everyday interactions with form in response to fluids. Artifacts made from them for information manipulation and human objects carry the potential to transform how we the materials act as information displays which interaction. To illustrate how droplets in our This technique enables a set of primitive oper- engage with the world. An umbrella is the inter- provide a glimpse into a new material reality, a living environment can become interactive, we ations, such as precisely translating, morphing, face to the rain and climate; a store-bought apple world where everyday objects mediate the eco- have created a device that can be integrated into merging, and splitting multiple droplets simul- is the interface to the transnational food system; logical signals they’re part of, and come to life to various everyday objects, to function as informa- taneously. While these techniques have been your skin is the interface to your body’s health. communicate with their owners. tion display, to help make art, enable play and previously applied to biological automation by As Internet of Things further extends digital life display messages. The Programmable Droplets other researchers and our own group, we have to objects and environments, Organic Primitive The objects were created in collaboration with artists system utilizes the technique of “electrowetting now started applying these techniques to create Bioplastics challenges endless data accumu- from the Object Prosthetics workshop at the Microsoft on dielectric” (EWOD). water-based computer interfaces. lation and memory by posing an ephemeral Garage Art Factory. This work has been supported by Stochastic Labs and the MIT Media Lab. Early research paradigm for interacting with objects, driven by was conducted in collaboration with Emma Vargo, Serena organic intelligences. Pan, and Yasuaki Kakehi. Additionally, we’d like to thank This installation presents a library of smart bio- our past research advisors David Kong, Neri Oxman, Pia Hannes Möseneder (AT), Agnes Hofstätter (AT), Steffanie Painsith (AT), plastics that give objects a “voice” to commu- Sorensen; and our friends Ivan Syseov, Jake Bernstein, María José Molina (CO) Laia Mogas-Soldevila, Dhruv Jain, and Judith Amores, for nicate with us, by converting chemical inputs the feedback they’ve provided throughout the research into human senses — changing color, odor, and process. Polytronics A smart symbiosis of polymers and electronics
The last decades have seen an increased momentum and buzz around the idea of a con- nected world. The evolution of technologies such as the Inter- net of Things, in which objects are embedded with electronic systems in a sophisticated net- work that enables the collection and exchange of data, is disrupting the way we live. Greiner, as a leading global manufacturer of according to inputs gathered from their environ- plastic products for a wide range of industries, ment. These new features allow communication explores the application of those new technol- between products, systems and devices, pro- ogies. This exhibition presents a sample of 5 viding an enhanced user experience that goes different mockups: products manufactured by beyond the materiality of the product itself. Greiner which, in combination with electronic components, have the potential to sense and act Greiner Technology & Innovation (GTI)
136 137 EXHIBITIONS / European Platform for Digital Humanism / Immersify
IMMERSIFY Wojciech Raszewski (PL), Jan Skorupa (PL), Eryk Skotarczak (PL), Leszek Nowak (PL) Immersive Ambisonic Audio
Immersive Ambisonic Audio is a space built for called Anomalia. The second piece is a contem- development in the area of immersive sound. porary music composition for live electronics, The project began with experimental recordings Tibetan bowls, and a string quintet composed of the jazz band Anomalia made at PSNC in the by Jan Skorupa. New Media Laboratory. All sessions were reg- Immersify/ PSNC: Maciej Głowiak, Wojtek Raszewski, istered using ambisonic microphones, 8K and Jan Skorupa, Eryk Skotarczak, Leszek Nowak; Anomalia: 360° cameras. The demo is a combination of 3D Kacper Krupa — Tenor Saxophone, Krzystof Kuśmierek — ambisonic audio and VR reality, which gives par- Soprano Saxophone, Patryk Rynkiewicz — Trumpet, Adam ticipants a unique experience. Kurek — Trombone, Fryderyk Szulgit — Guitar, Stanisław Aleksandrowicz — Percussion, Piotr Cienkowski — Double The installation is built of 24 independent loud- bass; String quintet: Kasia Stróżyk — Violin, Zuzanna speakers, which come together to create a Remiorz — Violin, Julia Polowczyk — Viola, Wiktoria Różycka sphere. Visitors have the opportunity to stand in — Cello, Filip Szymański — Double Bass, Marta Kaca — the center of the area, wear VR goggles and take Conductor; Immersify project partners: Poznan Super- computing and Networking Center, Spin Digital Video part in two different music sessions. The first Technologies GmbH, Ars Electronica Futurelab, Marché session is a modern jazz song played by a septet du Film — Festival de Cannes, Visualization Center C Immersify — cutting edge tools for the next generation of immersive media
Immersify is a European research project of Immersify is presented in a series of demos that started in October 2017, connecting the developed by artists like Tadej Droljc who pre- Ars Electronica Futurelab with four partners from mieres Singing Sand 2.0 and BBC’s The Great
all over Europe (Poznan Supercomputing and Pyramid in 3D from the series Ancient Invisible Rybarczyk Pawel Networking Center, Spin Digital Video Technolo- Cities. Also taking place at Deep Space 8K, is a gies GmbH, Marché du Film — Festival de Cannes 8K live streaming demo that stretches the limits and Visualization Center C). of what is technologically possible today. Lastly, In order to create media that is as immersive as PSNC is presenting an ambisonic audio instal- possible, the expertise of the partners is diverse lation at the main festival location, POSTCITY, and includes video codecs, infrastructure, film that offers a glimpse into their experiments with distribution and high resolution displays. The 3D-audio in a binaural domain. project, situated right at the intersection of
artistic vision, scientific research and technolog- This project has received funding from the European ical development, is set to continue until 2020. Union’s Horizon 2020 research and innovation programme During this year’s festival, the ongoing progress under grant agreement No 762079. Pawel Rybarczyk Pawel Singing Sand 2.0, Tadej Droljc at Deep Space 8K, Photo: Robert Bauernhansl
138 139 EXHIBITIONS / European Platform for Digital Humanism / SpaceEU
SpaceEU ABOUT spaceEU
spaceEU is an exciting space outreach and edu- cation project which aims to spark the interest of young people in STEAM (Science Technology Engineering Arts and Math), and to encourage them to consider space-related careers. The project inspires and broadens young minds, develops a sense of European and global citizen- ship, and through our shared human relationship with space, aims to foster long-term partner ships between people from different cultural backgrounds and countries. EARTH SEEN FROM SPACE © Hagen Betzwieser space-eu.org
At this year’s Ars Electronica Festival, you will be able to see the interactive spaceEU exhibition as well as corresponding events and workshops. The same exhibition will be shown in 10 different countries from December 2019 to October 2020. Find out more about events, collaborators, and the European connection on the website. ars.electronica.art/spaceeu
Exhibition Artists: Sarah Petkus (US), WE COLONISED THE MOON (DE/ UK), Nuotama Bodomo (GH/US), Eva Rust (CH) Exhibition Partners: Sentinel-hub EO-Browser, ESA Apps, Exhibition Co-design Manager: Laura Welzenbach Architecture: Gerald Moser/ Wunderkammer and Zirup — Architektur & Design Storyline/ Writer: Niamh Shaw German Translation: Theresa Apweiler Graphic Designer: Rory McCormick Tech Advisor: Bildwerk SpaceEU principal investigator and coordinator: Pedro Russo With contributions from: Suzana Filipecki Martins, Ryan Williamson, Grace Darcy, João Dias, Cristina Paca and Veronika Liebl The exhibition was developed by Ars Electronica in close collaboration with Science Gallery Dublin and Leiden University. spaceEU partners: Leiden University, Ars Electronica, Ecsite European Network for Science Centres & Museums, EUN Partnership AISBL European Schoolnet, Science Gallery at Trinity College Dublin, Ellinogermaniki Agogi , Ciência Viva, Cité de l’espace, Parque de las Ciencias, Universum® Bremen, SCIENCE IN, New Space Foundation spaceEU project has received funding from the European Union´s Horizon 2020 Framework Program for Research A Touch Of Home © WE COLONISED THE MOON, Hagen Betzwieser (DE), Sue Corke (UK) and Innovation under grant agreement No. 821832 Chimponauts and Astrocats © Eva Rust (CH)
140 141 EXHIBITIONS / European Platform for Digital Humanism / SySTEM 2020
SySTEM 2020 is an EU research project lead by Science Gallery at Trinity College Dublin. It tackles scientific literacy and STEM education of children and teenagers. It will support our future SySTEM 2020 citizens in a world of fast-evolving science and technology. SySTEM 2020 focuses on science learning outside the classroom and mapping the field across Europe. We evaluate a number of transdisciplinary programs to design best princi- ples for educators and examine individual learn- ing ecologies by piloting self-evaluation tools. This study will also map practices in 19 EU coun- tries, including in-depth studies in 8 of these countries. The input of 9 — 20-year-old learners from various backgrounds, including those from geographically remote, socio-economically dis- advantaged, minority and/or migrant communi- ties, will be a core part of the project. Within three years several workshops will take place at the Ars Electronica Center and the Ars Electronica Festival to explore the learning of 9 — 20-year-olds outside schools and universi- ties. At this year’s festival, you will find SySTEM 2020 collaborating with CREATE YOUR WORLD, the festival within the festival. Check out the following CREATE YOUR WORLD events and be part of SySTEM 2020:
Human Cyborgs one shot SIA Social Intelligence Agency Camera 4D Jugendbegegnungsprojekt Campus at Ars Electronica Festival
Find out more about the SySTEM 2020 and the events at Ars Electronica Festival online: system2020.education/get-involved ars.electronica.art/system2020/ ars.electronica.art/u19/ SySTEM 2020 Partners: Science Gallery at Trinity College Dublin, Ars Electronica, Waag Technology & Society, Aalto University, Ecsite European Network for Science Centres & Museums, Bloomfield Science Museum, Kersnikova, Centre for Promotion of Science, Museo Nazionale Scienza e Tecnologia Leonardo da Vinci, Parque de las Ciencias, NOESIS, Technopolis, Science Gallery London, TRACES, Raumschiff, EMBL European Molecular Biology Laboratory, Tom Tits Experiment, MUSEIKO, Fundação da Juventude, ZSI, LATRA This project has received funding from the European Union’s Horizon 2020 research and innovation program under grant agreement No. 788317 SySTEM 2020 Round1 @ Ars Electronica Center 2019 © Martin Hieslmair Photos: Martin Hieslmair
142 143 EXHIBITIONS / European Platform for Digital Humanism / Digital Theatre
DIGITAL THEATRE CyberRäuber (DE) Fragments | a digital Freischütz
Opera up close, eye to eye with the main chronology, inviting us explore, to stroll, observe characters: Max must prove himself with a mas- and even influence the experience. terly shot to gain the hand of Agathe, the head forester’s daughter, and so become his suc- Fragments is a co-production with Badisches Staats- theater Karlsruhe and Landestheater Linz, funded by cessor. Doubting his skills as a marksman, Max Kulturstiftung des Bundes (German federal cultural accepts the help of Kaspar, who sold his soul to foundation). Composer Micha Kaplan provided additional the devil, to cast seven magic bullets: six of them scores influenced by the original material. hit anything the shooter wants, the last one will Concept, direction, realization: CyberRäuber (Marcel Karnapke, Björn Lengers) be directed by the devil... Composition, sound design: Micha Kaplan In the VR installation, the audience encounters Dramaturgy: Deborah Maier the protagonists closer than has ever been pos- Production: Eva-Karen Tittmann sible in a real theatre — and in surreal spaces: Max: Matthias Wohlbrecht Agathe: Ks. Ina Schlingensiepen Max in a mountain where the rocks look like him, Kaspar: Ks. Konstantin Gorny his beloved Agathe in a two-tiered forest, her Ännchen: Agnieszka Tomaszewska best friend Ännchen in a maze, and evil counter- Brautjungfer: Camelia Tarlea part Kaspar in a tunnel of thorns in outer space. Musical direction (recordings): Johannes Willig
, CyberRäuber (DE) , CyberRäuber Freischütz |a digital Fragments Chorus direction (recordings): Ulrich Wagner The four distinct episodes show fragments of a Badische Staatskapelle classical masterpiece, following no linearity or Badischer Staatsopernchor
European Theatre Convention Theatre in the Digital Age
The digital shift changes how we create, share Fragments | a digital Freischütz, a virtual reality and monetize content, including theatrical opera in four episodes, co-produced by ETC works. Where does contemporary theatre fit into members Landestheater Linz and Badisches our digital world? And what conditions must be Staatstheater Karlsruhe. met for digital innovation in theatre? The Euro- Founded in 1988, ETC has become Europe’s pean Theatre Convention (ETC) has set Theatre largest network for public theatres with around in the Digital Age as a core pillar of its program 40 venues from more than 20 countries. As an for European Theatres. Through research and artistic platform for creation, innovation and experimentation with digital technologies, ETC collaboration, ETC initiated the project European aims to enhance theatrical live experience and Theatre Lab — Drama goes digital in 2016. to offer meaningful reflection of its possibilities and boundaries. This year for the third time, Ars Electronica and ETC collaborate in a The ETC project ENGAGE: Empowering today’s audience symposium with discussion, a hands-on VR through challenging theatre is co-funded by the Creative workshop by the CyberRäuber and their Europe Program of the European Union. , CyberRäuber (DE) , CyberRäuber Freischütz |a digital Fragments
144 145 EXHIBITIONS / Deep Space 8K
DEEP SPACE 8K
The Ars Electronica Center offers its visitors As they go about adapting existing works and, something that can not be found anywhere else above all, designing installations custom-made in the world: 16 x 9 meters of wall and another 16 for this space, they’re entering artistic terra x 9 meters of floor projection, laser tracking and incognita. 3D-animations make the Deep Space 8K some- The position of visitors amidst the projection Ulf Langheinrich (DE) thing very special indeed. Furthermore, Deep surface and participation by them call for a well- Space 8K presents challenging infrastructure to thought-out aesthetic composition and concepts NOLANDX media artists. for the resulting dynamics. Installation, 2019
NOLANDX is an audiovisual composition. Patterns sometimes crumbly, diffusely hyper-sharp, a pul- synchronized in sound and image are organized sating, stereoscopically black-and-white space, along a cyclic basic structure. The image planes glassy, dark. Qualities such as elasticity, viscosity, are the aesthetic nucleus of the work, along with depth and temperature describe this space. algorithmically generated noise and lines as well as recordings of ocean waves. This referential Audiovisual composition: Ulf Langheinrich (DE); source material is significantly transformed by Time-gradient software: Nicolaus Völzow (DE); slit-scan and other interventions on the time Research software environment: Matthias Härtig (DE); Research hardware environment: Dirk Langheinrich (DE); level — all time sequences are shifted. Every- Production: EPIDEMIC (Richard Castelli, Chara Skiadelli, thing is in a state of increasing transformation. Florence Berthaud) (FR), ART VAN BORS (NL), The image and image-flow manipulations are ARS ELECTRONICA (AT); Supported by Landeshaupt- like steep filters, not independent of the material stadt Dresden, Amt für Kultur und Denkmalschutz (DE), Gemeente Waadhoeke (NL); Thanks to Lucie and Herman fed into the filter, but significantly transform- Homan, Gunter Neumann, Jip and Wies Noest, ing it. The pictorial space appears gelatinous, Gelske and Ytzen van de Werff, Martin ter Schure
Deep Space 8K — Ars Electronica Center, © Ars Electronica / Christopher Sonnleitner
146 147 EXHIBITIONS / Deep Space 8K
Sonar Flux is part of the AIxMusic Festival Program
Kaoru Tashiro (JP), Ouchhh (TR) Sonar Flux A Real-Time Generative Installation Piano Performance
PIANO SOLO WORKS These strings, which vibrate at different reso- nances, bring everything into existence in the known universe. Matter consists of small strings. 1. dreamSequences — Lukas Neudinger When these strings are pulled in a certain way — (9-10min) just like a violin or guitar string — they create a 2. Comme l’harmonie du soir — Kenji Sakai frequency. Therefore, the pitches/notes occur. (2min) We have become aware of the existence of the 3. A flower’s dream — Claude Ledoux (3min) little notes that these superstrings create, and 4. Saveurs de Ciel — Claude Ledoux (9min) we realize that the universe is a symphony, and Virgil Widrich (AT), Martin Reinhart (AT) 5. Blue in Green / Green in Blue — Kenji Sakai all the physical laws of the universe fit these (11min) superstrings. Ouchhh takes inspiration from tx-reverse 360° the notes that exist in the universe while micro- “Innovativeness” is Kaoru Tashiro´s approach to strings vibrate (Subatomic Particles) in real time A space time cut through cinema her performances. Besides her classical recitals and define the melodies created by the notes as in various cities in Europe, she has been invited “Matter” and symphonies of these melodies as What is behind the cinema screen? What if Concept and direction: Martin Reinhart, Virgil Widrich; to perform at the festival of contemporary music “Universe.” the forces of unlimited imagination penetrate music and sound design: Siegfried Friedrich; Omni- «Ars Musica» in 2012 and in 2016 in Brussels. Cam-360: Jana Pape, Danny Tatzelt, Christian Weissig; through the canvas into our reality? What if Kaoru has been the dedicatee of the piano Etude tx-transform technology: Martin Reinhart; DOP: Martin the auditorium dissolves and with it the famil- Putz; production assistants: Elias Wolf, Moritz Woll; “Comme l’harmonie du soir” by the Rome Prize iar laws of cinema itself? In a way never seen sound: Bastian Orthmann; set photos: Alexander Grennigloh; winner, Kenji Sakai, which she will perform before, tx-reverse shows this collision of reality programming: Matthias Strohmaier; post production amongst other pieces in Deep Space 8K. consulting: Leonard Coster; post production: Bernhard and cinema and draws its viewers into a vortex in The piece “Blue in Green / Green in Blue” by Kenji Schlick; retouching: Patryk Senwicki, Dominic Spitaler, which the familiar order of space and time seems Peter Várnai; cinema technology: Bernd Rohde; cinema Sakai is written for the victims of the Tsunami to be suspended. Back in the 1990s, Martin organ: Anna Vavilkina; violin: Serkan Gürkan; violoncello: in Fukushima several years ago, when the com- Reinhart invented a film technique called Konstantin Zelenin; singing, voice: Marlene Umlauft; poser heard the responses of local children to an voices: Ira Prodeus, Oleg Prodeus; sound mix: Georg “tx-transform,” which exchanges the time inquiry asking: “What do you miss most?”. One Tomandl/Sunshine Mastering; VR Spatial Audio Mix: (t) and space axis (x) in a film. 20 years after Thomas Aichinger, scopeaudio; VR post production: Axel reply was: “I miss the blue sea and the green Martin Reinhart and Virgil Widrich used this Dietrich, vrisch; thanks to: Roberta Bianchini, Judith Bihr, field”. Eva Dertschei, Christian Dürckheim-Ketelhodt, Timothy film technique for the first time in a short film The visual performance of Ouchhh reacts accord- Grossman, Susanna Kraus — IMAGO, Ingrid Truxa, Peter (tx-transform, 1998), they deal once again with Weibel; shot at Babylon Berlin; production: Virgil Widrich ing to the sound and reflects qualities such as the question of what previously unseen world Film- und Multimediaproduktions G.m.b.H.;© 2019, Dis- focus and attention or emotions, among other arises when space and time are interchanged, tributor: Sixpack Film (short film), Lemonade Films (VR things. What if matter is nothing but notes com- version), supported by Federal Chancellery Departement and in just the right setting: a cinema at full 360°. ing out of a vibrating string? According to super- for the Arts (AT), City of Vienna (AT), Duerckheim At the Babylon Kino in Berlin, they filmed about Collection (DE), Produced in cooperation with the ZKM | string theory, all matter in the world is made up 135 actors with the OmniCam-360 and calcu- Center for Art and Media Karlsruhe (DE), of one thing: vibrating thin strings. lated the installation tx-reverse 360 for the ZKM www.widrichfilm.com from this material.
148 149 EXHIBITIONS / Deep Space 8K
Franz Fischnaller (IT) LSI Project THE LAST SUPPER INTERACTIVE — Art and Mathematics in the Renaissance
LSI is an immersive experimental digital narra- Author: Franz Fischnaller; Project Parters and Teams: tive and virtual storytelling in 8K, based on The INSA Rennes, Institut National des sciences appliquées de Rennes, France, Université de Rennes 1, 35000 Last Supper (Italian: L’Ultima Cena), a late 15th Rennes, France, INRIA, institut national de recherche century mural painting by Leonardo da Vinci en sciences du numérique, France, IRISA, Institut de located in the refectory of the Convent of Santa Recherche en Informatique et Systèmes Aléatoire, Maria delle Grazie in Milan. UMR CNRS 6074, France, Prof. Valérie Gouranton, Univ Rennes, INSA Rennes, Inria, CNRS, IRISA, Dr. Ronan Articulated in eight scenes, LSI enables the audi- Gaugne, Univ Rennes, Inria, CNRS, IRISA, Mathieu Godineau, ence to visit the painting from multiple view- Univ Rennes, ESIR, Inria, CNRS, IRISA, CINECA — Cineca points and perspectives and explore its details InterUniversity Consortium, 40033 Bologna, Italy, High in high-resolution. Alberti’s Theorem Virtual Tool Performance Computing Department- SuperComput- ing Applications and Innovation; Antonella Guidazzoli: Leonardo da Vinci, Studi di carri d’assalto muniti di falci, c. 1485 (penna e inchiostro bruno (ATVT), an augmented virtual immersive interac- Head of Visual Information Laboratory Visit Lab; Silvano acquerellato con tracce di punta metallica su carta). ©MiBAC — Musei Reali — Biblioteca Reale, tive learning device, was designed ad hoc for LSI Imboden: MD in Computer Science and technical pipeline Torino; Photo by Ernani Orcorte to gain a better understanding of how the linear supervisor; Daniele De Luca: Virtual Heritage CG Gener- alist and 3D Artist; Politecnico di Milano 20158 MILANO, perspective was used and applied by Leonardo Italy (Polytechnic University of Milan) Department of in the painting. Mechanics Computer Vision and Reverse Engineering Lab. Franz Fischnaller (IT) Likewise, visitors can penetrate the dimensional — Prof. Gabriele Guidi Laura Micoli, PhD, Umair Shafqat layer of the fresco and be virtually transferred Malik; HALTADEFINIZIONE® is a brand of Franco Cosimo Panini Editore S.p.A. “inside.” LSI not only draws the visitors “into” LSF-500 — Project 41124 Modena, Modena, Italy; the ultra-high definition the Last Supper scene, but also into the histori- image of the Last Supper supplied by Haltadefinizione, LEONARDO: SHAPING THE FUTURE … 500 Years of vision cal context where Leonardo created his master- leading company in photographic acquisition of works of piece. Visitors can “travel” through immersive art in Gigapixel and 3D. LSI project research and part of the development is based on the highest-ever definition Curator+ Concept: Franz Fischnaller; Project Partners and Immersive digital exhibit, showcasing Gigapixel point cloud visualizations combined with the photograph of Leonardo’s Last Supper (16 billion pixels), collaborators: Ministero dei beni e delle attività culturali, images in 8K, up to 28350x40160 pixels, made 3D simulation of the architectural complex of that’s 1,600 times larger than images taken with a Istituto Centrale per il Restauro e la Conservazione del the Dominican monastery of Santa Maria delle 10-megapixel camera. A high-resolution scan by of over fourteen of Leonardo da Vinci’s works Patrimonio Archivistico e Librario (ICRCPAL), Rome, Italy; HALTADEFINIZIONE in collaboration with the Italian comprising among others: the universally Director: Dr. Maria Letizia Sebastiani; high-resolution Grazie where Leonardo painted The Last Supper ministry of culture. Bingqing Dong, Visual Artist. renowned Portrait of an Old Man (also known photographs (Gigapixel) of Leonardo’s works presented between 1494 and 1498. as the Self Portrait of Leonardo), the Head of a through LSF-500 Project in Deep Space 8K during the Laser scanning (in/out) of Ars Electronica Festival 2019 (AEC),are courtesy of Young Woman (Study for the Angel in the Virgin ICRCPAL. Photo credits: © Alfredo Corrao — IRCPAL/ the architectural complex of the Rocks), often described as the “Mona Lisa MiBAC, www.fotobeniculturali.com and T.E.A.; “PROGETTO of the Dominican monastery of drawings,” the notable manuscript, Codex on OPERE DI LEONARDO” of the Istituto Centrale Per Il of Santa Maria delle Grazie the Flight of Birds (18 pages with studies and 167 Restauro e la Conservazione del Patrimonio Archivistico — never done before — was e Librario; Musei Reali Torino, Torino, Italy; Director: drawings), donated by Theodor Sabachnikov to Dr. Enrica Pagella; the Photographs (3000x2000 and carried out by the Depart- King Humbert I in 1893, containing Leonardo’s 300 dpi) of Leonardo’s works + Renderings and image ment of Mechanics of the drawings of flying machines, including the orni- simulations delivered for press release and website of Polytechnic of Milan for the Ars Electronica Festival 2019, are courtesy of of MiBAC thopter, a flying machine with flapping wings, LSI project. — Musei Reali — Biblioteca Reale, Torino. Photo credits: and the Hidden Portrait, Leonardo da Vinci’s ©copyright of MiBAC — Musei Reali — Biblioteca Reale, alleged self-portrait discovered under one of the Torino, Italia. Photo by Ernani Orcorte. The 14 Leonardo’s pages of the Codex on the Flight of Birds. original works showcased in the LSF-500 Project are ©copyright of MiBAC — Musei Reali — Biblioteca Reale, Through the LSF-500 Project, the audience expe- Torino.The collection, preserved in the Royal Library, rarely rience an immersive journey through Leonardo’s shown to the public, consist of thirteen works purchased prodigious polymathic research and visions in by King Charles Albert in 1840, dating from the period art, science and engineering. between 1488 to 1515 and the manuscript, Codex on the Flight of Birds, donated by Theodor Sabachnikov to King Humbert I in 1893. 150 151 EXHIBITIONS / Deep Space 8K
Roman Divotkey (AT), Nora Loimayr (AT), Christoph Schaufler (AT), Monica Vlad (RO) with guest Johanna Falkinger (AT) Wolfram Weingartner (AT) Che si può fare? Liquidus AV live performance, opera, noise music
Liquidus is an interactive, physics-based fluid When noise music and classical opera meet: simulation that turns Deep Space 8K into a Monica Vlad is an experimental audio/visual playful laboratory to explore various properties artist who creates a noise composition based of liquids and gases. From familiar substances on opera using a live soprano voice interpreted such as water under normal Earth conditions, to by Johanna Falkinger. The structure is based seas of liquid methane on Saturn’s moon Titan, on three different arias sung by her although or even melted gummy bears in zero gravity, these arias were not originally composed for Liquidus provides an environment to collectively this opera. Similar to the system of an Aria di explore fluids in context. Data for the physics Baule — a so-called suitcase or insertion aria calculations are processed and visualized in real — the singer is choosing the arias to be sung. time and are also utilized to create a soundscape In addition, the sound artist Monica Vlad changes that supports the overall visual experience.
Quantum Reboot the orchestral accompaniment to electronic noise and the classical instruments are replaced by analog machines. The arias, however, are inter- Monica Vlad and Johanna Falkinger, 2019 preted by the soprano as original. http://monicavlad.com/ The theme of this performance is based on feel- ings of melancholy, sadness, fear of loss, medi- tation and anger and how music can be used to express and release these emotions. Andrea Aschauer (AT), Jeremiah Diephuis (US), Juergen Hagler (AT), Wolfgang Hochleitner (AT), Georgi Kostov (BG), Gabriel Mittermair (AT) Deep Quiz Suyang Kim (KR), Dieter Stemmer (AT), Marlene Reischl (AT), Christian Philip Berger (AT)
Deep Quiz transforms the Ars Electronica Center’s Eruptions Deep Space 8K into an interactive TV-like game show. Audience members can simply step onto Emotional outbursts and eruptive climaxes dom- MUSIC PROGRAM: the stage and compete against each other in inate this program both musically and visually. a test of knowledge, featuring content from A stormy half hour is to be expected, as a whirl- Béla Bartók: With Drums and Pipes from 40 years of the Ars Electronica Festival. wind of large-scale projections and emotionally Out of Doors In addition to standard multiple-choice questions, intense music whizzes through the Deep Space 8K Fazil Say: Night there are also dynamic quiz activities such as of the Ars Electronica Center. Christoph Willibald Glück: Dance of the Blessed collecting relevant virtual objects. The applica- Spirits from Orpheus and Eurydice tion combines physical exercise, group dynam- Franz Schubert: Elf King ics, and learning as an exciting, playful assess- Astor Piazzolla: Oblivion ment performance that entertains the audience Astor Piazzolla: Libertango with one central question: just how much do you Environments Interactive Playful Aram Khachaturian: Sabre Dance know? Music: Suyang Kim (KR), Dieter Stemmer (AT) — piano Visuals: Marlene Reischl (AT), Christian Philip Berger (AT) Andreas Röbl Röbl Andreas Suyang Kim, Dieter Stemmer 152 153 EXHIBITIONS / Deep Space 8K
Valentina Cinquini (IT), Andrea Ummarino (IT), Federico Perinelli (IT), Raphael Schuster (AT), derkleinstePrinz (ES) 384 MUSIC AND VISUAL IN REAL CREATIONAL FLOW EXPERIENCE
384 is a project that combines live music with and controlled by the visual artist, who is impro- interactive visual projections. The group is com- vising too, interacting with the music. posed of four musicians and a visual artist. In Nobody, not even the artists, can tell what is every performance, the interaction is always going to happen. Every performance is unique new, with a different visual artist, who brings and unrepeatable. A tribute to being part of a their own artistic expression. The concept is built unique creative artistic experience. upon extemporization, using live improvisation — both musical and graphical. What you hear is a complete improvised performance in real time, Andrea Ummarino: electric guitar based on the idea of no boundaries, building up Federico Perinelli: electric bass Raphael Schuster: drum kit and electronic pad Quantum Logos by Mark Chavez by Quantum Logos the music together, listening and answering one Valentina Cinquini: electric celtic harp another. What you see is being virtually created derkleinstePrinz: visual artist
Mark Chavez (US), Ina Conradi (SG), Tate Chavez (US), Bianka Hofmann (DE), Bob Kastner (AU) Quantum Logos
Quantum Logos is an immersive, reactive audio-visual experience that explores the basics of quantum theory as expressed through cultural archetypes. Using state of the art, real-time animation techniques, we attempt to shed new insights on fundamental natural phenomena, affirming questions that scientific observations compel concerning the nature of existence. The media artist duo Mark Chavez and Ina Conradi teamed up with sci-art producer and developer Bianka Hofmann and science communicator Bob Kastner to form the art-sci Christian MotzChristian collective Quantum Travelers. The collective aims to use cultural metaphors to artistically describe ambitious and crucial scientific concepts, with an emphasis on describ- ing scientific insights in Quantum theory.
154 155 EXHIBITIONS / Deep Space 8K
Julian Pixel Schmiederer (AT), Gregor Franz (AT), Johannes Rass (AT), Lara Rabitsch (AT) PRESSURE Experimental Film
Pressure is an underwater experimental film The story is told by a poem-like monolog and project, developed, produced and realized by an the emotions are expressed through the body ambitious team of very young filmmakers from language of the protagonist. Ortweinschule Graz. Between the pulsating city and the stagnation of Written and directed by: Julian Pixel Schmiederer; the people, a young man is looking for his place Director of photography: Gregor Franz; Produced by: in society. Pressure shows his journey from the Julian Pixel Schmiederer, Lara Rabitsch; Edited by: drug-ridden nightlife to the exploitative music Johannes Rass; Unit production manager: Ines Handler; scene. Everywhere his search takes him, he faces 1st Assistant director: Sarah Steinhäusler; Underwater assistant director: Felizitas Wasner; 1st Assistant restrictions, compulsions and pressure. His jour- camera: Johannes Rass; Grip, lighting: Max Kollreider, ney ends when he starts questioning everything Eliam Laupert; Set dressing: Darius Petrovic; Safety diver: he fought for while hitting rock bottom. Ben Jancsy; Supported by: Stadt Linz, Pädagogische To show all this, we chose to let the action take Hochschule der Diözese Linz, High Pressure Group, Ars Electronica, ATG Graz, Banana Rental, Peter place underwater so that the main character Dopplinger Filmgeräteverleih, Ton & Bild Medientechnik is literally floating through the environment. GmbH, Stöger Kameras Gmbh, Viteka & Lorenz OG OMAi GmbH (AT)
Markus Dorninger (AT), Matthias Fritz (AT) Tagtool im Deep Space
For more than ten years, house facades and stage Festival 2019, an interactive production by sets all over the world have been illuminated selected artists will be presented at Deep Space with spontaneous pictures that are painted and 8K. The installation is the result of a recent res- animated live. Responsible for this are members idency of Tagtool artists from around the world. of the Tagtool community, united by an alterna- Together, they will create an impressive work of tive vision of digital art. They work on the street art specifically for Deep Space, with many details or in the theatre instead of in front of the screen, and everything in motion. The audience can also jam like jazz musicians, and search for new forms take part in the design on site. of visual expression. During the Ars Electronica OMAi GmbH (AT)
156 157 EXHIBITIONS / Deep Space 8K
VH AWARD Youngkak Cho (KR)
The VH AWARD’s purpose is to uncover promising In addition, the VH AWARD will introduce a new Highway like A Shooting Star but relatively unknown Korean artists creating genre of media art to the public. This new genre media art. It seeks to support the art-making centers on innovative ways of communicating Highway like a Shooting Star explores the idea of process of these young, talented media artists information, which ultimately promote a more roads as witnesses to civilizations, and the most but to also help them gain international recog- tightly knit field of art. innate of human systems. The artist presented nition. To guarantee a fair evaluation, all award In order to showcase Korean media art in an an AI machine-learning algorithm with diverse winners will be selected by highly celebrated optimal manner conducive to garnering global depictions of roads, which in turn created a work curators from both Korea and other parts of attention, the finalists will have the opportunity completed through intervention of the other, the world. This will also facilitate the creation to display their works of art through the spectac- without a human emotive presence. By hypothe- of fruitful, global connections between potential ular media-wall, located at the Hyundai Motor sizing the process and outcome where machines award winners and well-known curators. Group University — Mabuk Campus. or technological systems become leading bodies in a future society, the artist beckons visitors to consider what roles and significance human beings will embody in this not-so-distant future.
Dongjoo Seo (KR) 최찬숙 Chansook Choi (KR) A Thousand Horizons BLACK AIR
A Thousand Horizons combines CG and the repet- Black Air deals with the human dichotomy in itive page-turning of a book, captured through an engaging with the land that we occupy, and the unfamiliar perspective. Through the constantly critical responses to it. The human need for expanding and changing horizontal landscape of development, driven by modern rationalism, the symbolic time of ”day,” it explores the dig- creates an austere dichotomy with rigid bound- ital and analog media’s temporal, spatial, and aries and stratification to everything. The oth- material properties, metaphorizing human rea- ers in that dichotomy are unable to own land, son, action, and interaction. It poses questions and become border-crossing nomadic beings. about the being between macro — micro, external Through such an approach, the artwork redefines — internal, conceptual — abstract, real — fantasy, the earth as a subject of connected empathy, as nature — artificial, body — mind, captivating well as the founding platform of humanity, and visitors into a synesthetic experience. not so much an object of possession.
158 159 EXHIBITIONS / Deep Space 8K
ARRI (DE) Poznan Supercomputing and Networking Center (PL), Spin Digital Video Technologies GmbH (DE), Ars Electronica Futurelab (AT), Marché du Film — Festival de Cannes (FR), Pandarama Visualization Center C (SE) ARRI´s Pandarama shows a 360° pilot produc- Immersify tion for the ARRI Omnicam panorama camera system. Exploring the technical possibilities of the recently developed system, the video shows Immersify is a European Research & Develop- research the next generation of immersive media. 360° content filmed at the Panda Research ment consortium funded by the EU’s Horizon At the 2019 Ars Electronica Festival, Immersify base in Chengdu, Huangguoshu Waterfall, and 2020 program, connecting the Ars Electronica presents selected works at Deep Space 8K. Guizhou. Futurelab with four other European partners to
PSNC (PL) Timestorm Films (DE) Poznan Cathedral 3D Island in the Sky II
Immersify partner PSNC has scanned the Gothic Timestorm Films, known for its use of cutting- Cathedral in Poznan with laser technology, using -edge technology for time lapse videos, will the FARO Focus 3D X330 Scanner, and created a present a state-of-the-art sequel to Island in the point cloud composed of approximately 2 billion Sky, showing stunning landscapes of La Palma. points. Using specially designed software, a Shot in native 8K 60fps, this film tries to show- number of high-resolution clips were generated, case future display and video technologies. ranging from 8K to beyond 16K. The clips can be shown in 2D or 3D, as well as in partial and full 360-degree panoramas.
Theresa Schubert (DE) Tadej Droljc (SI) Immersive Minimalism Singing Sand 2.0
Immersive Minimalism is an 8K video environ- Singing Sand 2.0 is the newest iteration of Tadej ment based on a custom Cellular Automata (CA) Droljc’s experimentations with abstract stereo- system. The generative video shows surprisingly graphic 3D computer graphics, rendered in 8K for complicated behavior that appears when all the first time. The piece is an immersive, audio 33 million pixels on screen act as individual visual experiment in which the movement of interacting agents within a set network. Immer- particles is sonified in real-time, affecting the sive Minimalism uses CA to investigate modes color- and soundscape that envelopes the of perception through creating video scenarios audience. between geometric abstraction and minimalism. The work was created as part of a STARTS residency at PSNC. 160 161 EXHIBITIONS / Deep Space 8K
Immersify 8K Live Streaming Demo
The Immersify 8K Live Streaming Demo will pre- Spin Player, while the Advantech VEGA encoder miere a real-time transmission of 8K content in platform and streaming via public internet com- the immersive environment that is Deep Space plete the setup. Lastly, Deep Space 8K at the 8K. The encoder and decoder functionalities that Ars Electronica Center provides an impressive are necessary for such an ambitious streaming media environment for the pioneering demon- demonstration have been developed in the con- stration. In collaboration with NHK Technologies, text of the European research project Immersify. a live stream will be demonstrated from Japan to Immersify partner Spin Digital is providing flex- Linz, and with PSNC, an 8K stream from Poznan ible and high-performance software 8K play- in Poland to Deep Space 8K, each with special BBC Studios back on PC platforms with the software player content.
BBC Studios (UK), ScanLab Projects (UK) The Great Pyramid in 3D, From the BBC Series Ancient Invisible Cities
The Great Pyramid in 3D, From the BBC Series The experience is enhanced by a specially cre- Ancient Invisible Cities explores possibilities of ated soundtrack and live expert commentary. virtual archaeology by scanning and digitally The contents were adapted for Deep Space 8K rebuilding historical architecture — in this case, by the Ars Electronica Futurelab in the context the Great Pyramid of Giza. In this unique form of Immersify by creating a Unity 3D applica- of presentation, visitors can choose between tion, allowing users to move interactively in the different paths to explore the ancient structure, three-dimensional space and to freely control moving interactively in a 3D environment with their field of view. Thus, interactive elements are stereoscopic 360° video at 12K resolution. woven into the storytelling. Tom Mesic Tom
162 163 EXHIBITIONS / Gallery Spaces
ARS ELECTRONICA
GALLERY SPACES Cibrian Gallery of Courtesy Eclipse II, Félicie d΄Estienne d΄Orves (GR/FR)
Since its successful launch three years ago, the Hence, discussing and finding strategies to pre- Gallery Spaces Program, deliberately written serve the variety within the art sector for future in the plural, has brought a large number of generations is a key aspect of the Ars Electronica international galleries and collections with Gallery Spaces. their different positions on digital art to the This is addressed both in the curatorial concept Ars Electronica Festival. But there is more to it of the exhibition and the discursive program with than showing digital art represented by galleries workshops and talks. Due to its continuous work — it is above all about the changing conditions of and experience in the production and presenta- creating and marketing art under the impact of tion of media art and digital art since 1979, as digitalization. New tools and technologies result well as the remarkable exhibition areas of POST- in a multiplicity of novel approaches, methods CITY, Ars Electronica is the ideal environment and developments within the arts, which need for an exchange among collectors, exhibitors, proper platforms for representation not only with artists and other parties involved or interested
respect to the present. in this field. Maruo Ryuichi data.tron, Ryoji Ikeda (JP) Miha Fras P3 Aurelia 1+Hz / proto viva generator by Robertina Šebjanič Estuary Fire Poem still 2, Robert Montgomery (UK) 164 165 AIxMUSIC
Gerfried Stocker (AT) AIxMUSIC AIxMUSIC Encounters in the uncharted territories between human creativity and mechanical perfection.
The AIxMusic (AI meets music) Festival is an AI conference, of a philosophical symposium organized by Ars Electronica and the European and a Start-Up presentation. Commission as part of the STARTS initiative, It engages with art and music to demonstrate DG-Connect and many partners from industry, and discuss the latest achievements of AI academic research as well as art and education research with respect to their potential impact organizations. It is a hybrid a music festival and on our lives.
THE MAIN GOALS OF THIS NEW FESTIVAL PROGRAM ARE:
bringing together artists, creators, computer to develop the necessary skills and strategies scientists, philosophers, industry people, to stay ahead and in control of the ongoing policy makers changes in particular related to new applica- tions of machine learning in many areas of our exploring the complex and fascinating rela- daily lives. tionships of man and machine, culture and technology. to comprehend and strengthen the synergies and potentials of STARTS (Science Technol- celebrating human spirit, creativity and inge- ogy and Arts) collaborations as a source for nuity which finds its expression in arts as well discovery and innovation. as in science and technology. to initiate new ideas and new alliances to better understand the upcoming disrup- towards a specifically “European way” for a tions and forces that will result from new culture and humanity driven development of developments and the increasing presence of AI technologies and applications. autonomous digital systems.
167 AIxMUSIC
WHY MUSIC?
Creativity, the ability to give birth to new and growing skepticism towards new technology and Music throughout the centuries has always Beethoven who composed for the just-in- unexpected forms of expression, to go beyond the immense power of a few industry giants. And been a forerunner and early adopter of new vented Panharmonikon. Then come the Ther- repetition and modification of what already it concerns not just some far ahead future of AI, technologies, has always been a close asso- emin, the Trautonium, the Illiac Suite (the first exists, is often seen as an ultimate frontier only it concerns us right now for the introduction of ciate of mathematics and natural sciences. computer composed music from 1957) , Bob possible for the human mind. next generation social media, digital assistants From Pythagoras’ Chords, the first wind- Moog’s analog synthesizers or the computer and self-driving cars, smart cities, IoT, digital driven organ which is attributed to Hero of generated sounds and sampling of our days Will machines be able to create compelling health care, etc. etc. Alexandria, the music machines from the music industry. works of art or ingenious scientific theories? Islamic Golden Age, to Johannes Kepler‘s Success in the global competition of AI-based ”Harmonices Mundi” (published exactly 400 Mathematical and algorithmic principles have What are the differences between repetition, services and products will not only depend on years ago and developed during Kepler’s time always played a big role in music creation - interpretation, industrial creation and original technical features and specifications; to a large in Linz) and further on to 20th-century artists fromm voice-leading in Western counterpoint, creation? extend it will also be an issue of trust, confi- like composer and architect Yanis Xenakis. to Schönberg’s 12-Tone music and computer dence, and successful social and cultural imple- music. Will we be able and willing to appreciate it in mentation. Inventing and building musical instruments the same way and depth that we appreciate has always required the application of new The music industry - which went totally digital art created by humans? How and where can we gain the insight and materials as well as the latest improvements quite a while ago - is already one of the hot expertise necessary to master these cultural in craftsmanship and manufacturing. It was areas for practical applications of today’s ML How will AI and humans work together? How challenges? often also a field of fierce battles for patents technologies (just think about the importance can AI serve humans best, empower not and commercial licenses. of recommendation systems) replace? How can we start and conduct the necessary dialog with society? New instruments inspired and challenged But music has also always kept its strong roots Discussing these questions is a powerful composers to create in new ways, to rethink in history and tradition and has provided a approach not only to the cultural and societal How can we ignite inspiration? music in contemporary and visionary ways, sanctuary and refuge for the emotional and implications of AI but to a wider understand- leading innovation beyond their artistic realm. spiritual needs of people. ing and evaluation of the enticing potentials and Moving into an era where we no longer just use Think of the pianoforte in J.S. Bach’s time, or possible threats of AI. technology as tools but essentially start to live together with it, we need to address these issues. The high flying goals and expectations of AI are Seducing people with marketing and advertise- not only scientific and technological challenges ment won’t do the job, we have to go deeper and but also cultural ones. Like no other technology we have to start now. before, AI is already causing a lot of controversy That’s the crucial point of this new model of col- and calls for regulation in its very early stages. laboration between artists, engineers, industry This comes in a moment where we also see a and society.
Automatic Music Generation with Deep Learning, Ali Nikrang (AT), © Yazdan Zand 168 169 AIxMUSIC / The Big Concert Night 2019
Mahler 10:10 — Challenging the AI
Unfinished” — the concept was and still is a chal- significant viola theme at the beginning of the lenge: not so much in the sense of finishing, but 10th Symphony especially for the Mahler Unfin- to think ahead and reinterpret. Especially in the ished Project. For this purpose, he worked with second half of the 20th century, many artists Musenet, currently the most powerful GPT-2- tried their hand at this open legacy at the end of based machine learning system for musical THE BIG CONCERT a musical and historical epoch. applications from OpenAI. The first ten notes of Today, in the 21st century, it is of course partic- the original melody were given to the system as ularly appealing to take on the challenge again well as stylistic parameters according to which with the latest technical possibilities — not to the AI system then composes any number of new NIGHT 2019 imitate or improve Mahler, but to measure our interpretations. Ali Nikrang selected one of these artistic approaches as well as our technical compositions and then orchestrated it again “by possibilities against it. The path to new possi- hand” without any changes. The „Mahler-Unfinished” Project bilities of expression always leads through the In cooperation with the Bruckner Orchestra Linz transformation of what has shaped us before, A project by Ars Electronica and Bruckner Orchestra Linz Orchestra: Bruckner Orchestra Linz, principal conductor: is always testing the limits and exploring what Markus Poschner; Electronics: Christian Fennezs; Since 2003, the collaboration with the Bruckner the piano and, together with Christian Fennesz, evolves from it. Artificial Intelligence: Ali Nikrang, Musenet OpenAI; Orchestra has been an integral and unique part build a bridge from electronics to the orches- Ali Nikrang, AI expert at the Ars Electronica Human-machine performance: Johannes Braumann, of the Ars Electronica Festival. It is a collabora- tra’s performance and into the second part Silke Grabinger, Ars Electroncia Futurelab, Peter Futurelab, computer scientist, composer and tion that makes it possible not only to perform of the evening. Johannes Braumann and the Freudling, Stefan Mittlböck-Jungwirth-Fohringer; pianist (graduate of the Mozarteum Salzburg) Live Visualizations: Akiko Nakayama, Lillevan, interesting works each year, but also to develop Ars Electronica Futurelab will continue a col- has developed an AI-based adaptation of the Amir Bastan, Supported by Yamaha unique artistic projects that bring together a wide laboration with dancer and choreographer Silke variety of orchestral music, electronic music, Grabinger, which began last year, to bring to robots, dancers and digital images. An essen- life a human-puppet-machine system in which tial aspect of the concert nights in the Gleishalle Silke Grabinger will interact artistically as solo Uncertainty and Wonder was and is the unique space itself, with its sig- dancer with a configuration of six Kuka industrial nificant acoustics and “wild” backdrop. But the robots. Amir Bastan, Peter Freudling and Stefan Comprehending the age in which we live is not believed that in Mahler’s “ninth,” which at the large-scale projections and live visualizations Mittlböck-Jungwirth-Fohringer are also involved an easy undertaking. We are frequently unable end falls silent in a pianississimo, the composer have also become a special characteristic, along in the development of this human-machine to see the forest for the trees. In 1910, Vienna — no longer speaks as a subject. But this “subject” with the artistic staging with industrial robots choreography. at the time the seventh-largest city in the world then reappears in the subsequent symphony and machines. This year, an AI system will also The movements of the robots slowly coming to and the fourth-largest in Europe — was already a fragment in a highly expressive manner: the last be involved for the first time. rest and the fading of their characteristic engine metropolis of two million people. Which it will be gasp of an “ego”? The composer died the follow- The Big Concert Night 2019 is the third major noises are then replaced by the striking initial again soon. Emperor Franz Joseph still ruled over ing year, and the Tenth Symphony can be seen as project to be developed and performed with motif of the viola in the third part of the evening, a multinational state, Gustav Klimt was leaving the soundtrack to his lovesickness—“With all the Markus Poschner as principal conductor of the and the orchestra starts Mahler’s symphony his indelible mark on art nouveau, Arthur Schnit- horrors of this time in it,” as Alma Mahler wrote Bruckner Orchestra. No. 10. The viola motif, the first ten notes of zler was provoking theater scandals, Max Win- in a letter. The work reflected the state of mat- After Bruckner’s 8th Symphony and Berlioz’s which were entered into one of the currently ter was writing the first social reportages, and ters at the time. The Adagio we will hear today Symphonie Fantastique, the Big Concert Night most powerful machine learning systems Sigmund Freud was conducting groundbreaking begins with a recitative-like “swan song” by the will now focus on the last and unfinished work (MuseNet from OpenAI) as a starting theme, then work in the interpretation of dreams. Vienna was violas, which also played the final gesture of the by Gustav Mahler, his 10th Symphony. begins again seamlessly, as a further movement, a “Silicon Valley of thought” (Allan Janik) and in Ninth Symphony. They are entrusted here with a The concert begins with “Mahler Remixed,” by so to speak. The result of the machine learning the midst of a major upheaval, as was the entire fresh start: the end contains the beginning; the Christian Fennesz, one of the main protagonists system, which premieres at the end of the eve- epoch. “You alone know what it means,” noted downfall holds within it the departure into yet of the Austrian electronic music scene, who has ning, was taken over completely unchanged and Gustav Mahler above the conclusion of his unfin- unknown terrain. “Against orientation, stability already been involved with Mahler in 2011 and has been orchestrated by Ali Nikrang and Markus ished Symphony No. 10, a reference to his wife, and knowledge—uncertainty and wonder,” as the has transformed various samples from Mahler Poschner. This year, Akiko Nakayama from Tokyo Alma. A serious marital crisis had accompanied Spanish sculptor Eduardo Chillida wrote. symphonies into tonal and musical material for will come to POSTCITY for the live visualizations the composition of the work, leading Mahler to Text: Norbert Trawöger — his live performance. Towards the end of this of the orchestra, the Berlin artist Lillevan will consult Freud at the end of August 1910 in the Artistic Director first part, Markus Poschner will improvise on visualize the electronic part of Christian Fennesz. Dutch spa town of Leiden. Arnold Schoenberg Bruckner Orchestra Linz KUKA robot, © KUKA Deutschland GmbH 170 171 AIxMUSIC / The Big Concert Night 2019
Akiko Nakayama (JP) Alive painting for Bruckner Orchestra
Alive painting is a live performance of dynamic, changing pictures and sounds. During the per- formance, people concentrate on the beauty of blending paints, as well as the philosophical meanings of colors, shapes and movement. This is the second appearance of Alive painting with the Bruckner Orchestra. The entire body feels the joy and dynamics of music created by the Bruckner Orchestra. The audio-visual element unites the musicians and audience in one larger-than-life artistic experience.
Technical Assistant: Masaki Fukui
Christian Fennesz (AT), Lillevan (SE/IE) Mahler Remixed
Austrian guitarist, composer, and electronic Ryuichi Sakamoto, David Sylvian, Keith Rowe, musician Christian Fennesz is recognized as a Mark Linkous of Sparklehorse, and Mike Patton. key figure in the electronic music scene today. At this year’s Ars Electronica Festival, Fennesz His wide international reputation has been con- will perform Mahler Remixed, which was initially solidated through his substantial contribution recorded live at Radiokulturhaus, Vienna by to a new musical expression. Within the last Christoph Amann, in May 2011. Together with 10 years, Fennesz has collaborated with many visual artist Lillevan he will re-contextualise musicians, filmmakers, and dancers such as samples taken from Gustav Mahler’s symphonies. Haruka Akagi Haruka
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Volkmar Klien (AT) Cumulus — Stratus AIxMUSIC A Composition for a Peal of Bells Volkmar Klien lets St. Florian’s bells swing and produce aural shapes in the sky around the abbey with the assistance of AI-based pattern-recog- ST. FLORIAN/ POSTCITY nition and interpolation. The shapes emerge and morph to melt back into homogenous sound fields covering everything within earshot. They then subside, to give way to distinct sonic formations from above.
Composition: Volkmar Klien Rudolf Perner Johannes Novohradsky
Rupert Huber at the Mamorsaal of Stift St. Florian during an event at Ars Electronica 2006
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Quadrature (DE) Fantasie#1 Audiovisual performance for radio telescope, artificial intelligence and self-playing organ
Outside of the venue, a radio telescope is stream- stage, the sounds turn into abstract images. ing all incoming data live. The received electro- Little by little, neural networks take control over magnetic waves are transferred to an audible the organ and seek out familiar harmonies in the frequency range. Electronic noises fill the air. otherworldly noises. Ideas of melodies evolve Algorithms transcribe the noise of the skies into as the artificial intelligence begins to fantasize midi notes; they are sent to an electronic appara- about familiar tunes in these alien sounds. In tus which operates the organ. Various selection collaboration with Christian Losert. and filtering processes (e.g. specific artificial
Daniel Feyerl intelligences) are applied in a determined order, Thanks to Sebastian Müllauer for the telescope and Klaus serving as a basic score and dividing the piece Holzapfel for his Orgamat; software: HDSDR for receiving into three chapters. A set of parameters allows telescope signal, MaxMSP for creating MIDI and usage it to respond live to the incoming signals, using of AI, VVVV for visuals and general control; created as Hermann Nitsch (AT) part of the fellowship program #bebeethoven, a project both the radio telescope and the AI as musical by PODIUM Esslingen on the occasion of the Beethoven organ recital instruments. On the floating canvas above the Anniversary 2020, funded by Kulturstiftung des Bundes.
“for me, the organ is the suitable instrument to of the birth of galaxies reminds me of the sounds realize the music of the orgy-mysteries-theater. of spheres that permeate the universe. the sing- my music makes use of long drawn-out tones, ing noises (or the music) that cause the orbits uses sound blocks, cluster arrangements, roar- of the heavenly bodies reach us. the sonorous ing tutti-structures, tonal and dissonant up to and rushing sound of the spherical harmony of noise superposition. everything that strings, the universe becomes audible. the firmament woodwinds, brass and synthesizers do in an of Johannes Kepler, interspersed with radiant orchestra, i can do through the organ. at the music, is perceived.” same time i can produce shrill sounds and med- itative tonal arrangements. i can revel in keys as well as wedge myself in dissonances. the force supported by NITSCH FOUNDATION Quadrature SkyBürhaus
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Maki Namekawa (JP), Dennis Russell Davies (US) Piano Performance
At this year’s festival the renowned pianist Maki Namekawa will perform several pieces by different composers solo as well as together with her hus-
Ryuya Amao Ryuya band Dennis Russell Davies. In the solo part of the performance she plays three pieces by the dutch pianist and composer Joep Beving, whose Pianist: Francesco Tristano (LU), Flutist: Norbert Trawöger (AT), Violinist: Maria music has been brought to the atten- Elisabeth Köstler (AT/DE), Researcher: Akira Maezawa (JP; Yamaha Corporation) tion of a wide audience by the stream- ing platform Spotify. He has released three albums — Solipsism, Prehension Dear Glenn, — Yamaha AI Project and Henosis. Joined by Dennis Russell Davies, the Yamaha Corporation will be taking part in the the Basilica of the St. Florian monastery on the duo performs the two pieces Hymn upcoming Ars Electronica festival in Linz Austria afternoon of September 7, together with a flutist to a Great City and Pari Intervallo by from September 5 to 9, 2019. With the support and violinist from the Bruckner Orchestra, and the much-noticed Estonian composer of the Glenn Gould Foundation and pianists, renowned pianist Francesco Tristano. Addition- Arvo Pärt, who is a well-known repre- Yamaha is pursuing the development of the ally, a session will be held, where industry exec- sentative of “New Simplicity”. Hymn to world’s first AI piano solution capable of ana- utives will be discussing the theme “Exploring a Great City was originally composed lyzing and playing in the style of a human pia- the future of music through the use of artificial for two pianos and will be played in a nist while interacting with human musicians in intelligence in music performance.” Yamaha will piano four-hands version transcribed a music ensemble, achieved by training the AI also be exhibiting at the POSTCITY where they by Russell Davies. with a combination of both automatic analysis will display the AI piano together with a docu- The program is rounded of by three of Glenn Gould’s recordings and expert musi- mentary film of the project itself. piano four-hand pieces of György cians’ skills. During Ars Electronica, the AI will Kurtág’s Piano Transcriptions of Bach’s Yamaha Corporation be playing in the style of Glenn Gould in real- work. time to provide an experience of co-creation This project is supported by between an AI pianist and a human ensem- Glenn Gould Foundation The presentation of this performance is Bruckner Orchestra Linz supported by Yamaha Corporation. ble. Yamaha will demonstrate the AI through a Dentsu Inc. concert performance featuring three pieces in IBM Japan
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Klaus Sonnleitner (AT)
Reeps One Organ Music in the Field of Reeps One x Dadabots ft. Tension Between Inspiration, Second Self AI (Live Performance) Compostition and Improvisation
Second Self is an art and science collaboration Reeps One (Creative Director / Artist) — UK Klaus Sonnleitner’s organ concert takes the audi- between Reeps One, Dada Bots and the E.A.T. www.reeps100.com ence from Johann Sebastian Bach and Wolfgang Dada Bots (Machine Learning) — US Amadeus Mozart to French sound worlds and program at Nokia Bell labs. The collaboration is https://dadabots.com/ a live performance piece designed to integrate Simon Waldron (Director) — UK improvisations in the spirit of Anton Bruckner. machine learning and generative audio as a prac- http://lonelyleap.com/ tical artistic tool and to raise awareness about Domhnaill Hernon (E.A.T. Program Nokia Bell Labs Director) — US machine learning beyond the academic, techno- https://www.bell-labs.com/programs/ logical and engineering demographics through experiments-art-and-technology/ the medium of film and performance. Nokia Bell Labs (Sponsor)
Reeps One grew up using his relationship with Mesic Tomi AI to develop his abilities as a tournament chess player. Today, machine learning allows us to Weiping Lin (AT/TW) develop “opponents,” “collaborators” and “mentors” in nearly any form of hyper-specialism as long as there is a suitable data set for training. Chess Bach Hauer Scelsi Cage neural nets, using a large dataset of games by expert players, are trained to probabilistically Weiping Lin presents four different compositional predict the next moves an expert would make. approaches by composers who, in their individ- Whereas our vocal neural net, using a large data- ual ways, reflected on questions of musical order set of voices recorded by Reeps One, was trained and its relation to the wider contexts of human to probabilistically predict the next millisecond existence.
of raw audio. Johann Sebastian Bach (1685 — 1750) Präludium Loure Gigue (from the Partita No. 3 in E major, BWV 1006, 1720)
Josef Matthias Hauer (1883 — 1959) Zwölftonspiel “Tanz für Violine Allein” (Dance for Solo Violin) 1954 Zwölftonspiel für Violine Allein mit einer Zwölftonreihe von Dr. Emil Weidinger (Twelve-tone Piece for Solo Violin with a Twelve-tone Row by Dr. Emil Weidinger)
Giacinto Scelsi (1905-1988) L’âme ouverte (1973)
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Tomomi Adachi (JP), Andreas Dzialocha (DE), Marcello Lussana (IT) Voices from AI in Experimental Improvisation
Voices from AI in Experimental Improvisation logic and politics of computers in relation to is an attempt to improvise and interact with a human culture. computer software which “learns” about the “tomomibot” is a software based on a sequential performer’s voice and musical behavior. The neural network. It decides which sound to play program named “tomomibot” is based on arti- next based on which live sounds it has heard ficial intelligence (AI) algorithms and enables before. The software was designed and devel- a voice performer, Tomomi Adachi (human), to oped by Andreas Dzialocha. Experimenting with perform with his AI learning independently over AI sound synthesis algorithms, the developer time from his past performances. Marcello Lussana generated a large database of The project is not only a musical experiment sounds that sound like Adachi. with a non-human performer, but also an
undertaking to make computer culture “audible.” Supported by Musikfonds e.V. and Initiative Neue Musik The performance raises questions about the Berlin e.V. Andrea Fichtel Andrea
Ensemble Vivante (AT) The tenor duets of Claudio Monteverdi
The Ensemble Vivante presents the dramatically differentiated rhetorical positions: moving in charged vocal music of a contemporary of Kepler, synchronicity or shadowing one another; offering works whose texts reflect the turbu- declaiming through dialogue; sparring in their lence, innovation and discovery of their time vocalization of inner states of mind as two souls through their depictions of nature and humanity. in one breast; or melting into a singular voice that Monteverdi’s music vividly translates both the speaks from one mouth. harmony of the world and the harmony of the spheres. His tenor duets present an especially Tore Tom Denys & Erik Leidal — tenors, Anne Marie vibrant cosmos within his oeuvre. Writing for two Dragosits — harpsichord, Daniel Pilz — Viola da gamba & equal voices, he constructs a series of wholly Baroque guitar, Reinhild Waldek — Baroque harp
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Wolfgang Mitterer (AT) GRAND JEU 2 Konzert für Orgel und Electronics
In Grand Jeu 2 the large Bruckner organ in the monastery St. Florian is extended and superele- vated by a second, electro-acoustic instrument. This multiplies the tonal possibilities, the typ- ical organ sound is modified and mixed with unheard sounds. The resulting textures can be condensed with cluster playing and semi-impro- vised organ playing techniques to form massive auditory events. The piece is “half-composed”. This approach makes it easier to respond to Anne Tetzlaff the specific register and playing possibilities
of the existing organ. Grand Jeu 2 is a journey Julia Stix from György Ligeti’s Volumina (1962) to the 21st Century. Jennifer Walshe (IE), Memo Akten (TR) ULTRACHUNK
What are the implications of using your voice which was trained on Walshe’s improvisations. to improvise with a neural network? Composer In the performance, GRANNMA navigates the Roberto Paci Dalò (IT) Jennifer Walshe and artist Memo Akten present hypersphere, generating ca. 20 frames of video ULTRACHUNK (2018), a neural network trained and 44,100 16-bitsamples of audio per second Tenebrae on a corpus of Walshe’s solo vocal improvisa- in real time. The video and audio are neither tions. Here, Walshe wrangles with an artificially sampled nor processed — every single frame A solo concert for clarinet (and bass clarinet) intelligent duet partner — one that reflects a dis- and sound is generated live, constructed from that works with the very special acoustics of the torted version of her own improvisatory language the fragments of memories in the depths of the Marmorsaal at Sankt Florian, playing with its and individual voice. neural networks. The original and virtual Walshe reverbs and multiplying the seemingly monodic For one year, Walshe engaged in a daily ritual inhabit the Uncanny Valley together, singing in instrument. It is a clarinet rich in technical fea- of performing solo improvisations in front of duet, improvising, listening and responding to tures and timbres, which sometimes makes a her webcam, collecting hours and hours of each other. timbral memory appear, borrowed from prac- both video and audio material. Akten created Galassi Ambra tices and memories of electronic musical culture. a number of neural networks — including ULTRACHUNK was commissioned by Somerset House A meditation evoking many musical forms from GRANNMA (Granular Neural Music and Audio) — Studios with the generous support of the Case Foundation. a “strepitus” or “loud noise” taking place in total the Gregorian to the style of composers such darkness near the end of the service. Tenebrae- as Claudio Monteverdi and Carlo Gesualdo da has been created for Ars Electronica Festival. Venosa. Tenebrae (Latin for “darkness”) is a reli- gious service of Western Christianity held during Music, clarinet, bass clarinet: Roberto Paci Dalò the three days preceding Easter, and character- Production: Giardini Pensili, Ars Electronica Festival ized by gradual extinguishing of candles, and by Created for Ars Electronica Festival 2019. World premiere
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Ali Nikrang (AT) Martina Claussen (DE) Automatic Music Generation Interactions II
with Deep Learning Voice and sound recordings, together with sound Fascination, Challenges and Constraints objects, weave a “sound carpet” which provides the basis for an electroacoustic journey. These textures act as a sort of humus for voices, from In recent years, there has been a great deal of The research interest in these generative models which they repeatedly emerge in fragmented academic interest in applying Deep Learning to is based on the assumption that producing new, form. Associations of the most diverse kinds and unexpected connections are evoked.
creative tasks such as generating texts, images similar data is only possible by learning some Gradwohl Markus or music, with fascinating results. essential understanding of the nature of the input data. Technically speaking, Deep Learning models can only learn the statistics of the data. Thus, they often can learn relationships in the data that human observers have not been aware of, and can therefore serve as a new source of inspira- tion for human creativity. This workshop focuses on current technical approaches for automatic music generation. Rupert Huber (AT) We will also discuss questions like: What makes musical data so special? What are the struc- Origenesis: Spatial Piano tures that only occur in musical data? What can artists, scientists or music enthusiasts expect from these models? To what extent do listeners Improvisation Inspired accept music composed by AI? by Mountain Formation The presentation of this performance is supported by Yamaha Corporation. Origenesis happens when plates of the Earth’s crust move and collide or crumple; the result of which may be a new mountain. When two con- Ali Nikrang (AT), Michael Lahner (AT) tinental plates collide, one subducts under the other. My piano improvisation represents this Looped Improvisation process by putting sound to the formation of an imaginary mountain. Can improvisation be looped? We use Piano on user input along with the previously played Two scales collide and eventually create a new Genie for real time improvisation of piano music musical content. However, because of this high point. I developed a piano technique that with a pre-recorded looped input. Piano Genieis second condition, the same input can produce corresponds directly to the surroundings, the a creative AI application developed as a part of a completely different output at each playback. space and the sounds around me. It is somehow
Google’s Magenta project that maps an input We generated several short sequences that are more of a dialogue than a monologue. Larry Hirshowitz consisting of 8 units to 88 keys of a piano in real played as input in a loop. As a result, the applica- The presentation of this performance is supported by time. It is based on a technology called LSTM tion will continue to create new outputs despite Yamaha Corporation. (Long short-term memory), a type of artificial the same input. neural network for learning and recognizing patterns in sequences of data. After training, Piano Genie: Chris Donahue, Ian Simon, Sander Dieleman Piano Genie can predict the next note based (Magenta, 2018)
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Jérôme Nika (FR), Rémi Fox (FR) Ryoichi Kurokawa (JP) C’est pour ça Ittrans_ctx Saxophone Improvisation Concert (IRCAM) Silent diptych video installation developed a diptych, and oppositional algorithms (order/ originally from the series of diptych prints lttrans disorder behaviors) are applied to those images. In “digital lutherie,” artistic collaborations are purely musical research, combining “meta-com- (2018) inspired by “laminar–turbulent transi- Vertical/linear movement representing laminar inseparable from the technological aspects. position” and free improvisation: composing the tion,” the process of a laminar flow becoming flow is applied on the right-side image, and on This is why Rémi Fox has been involved since “musical memories” of improvising agents, the turbulent is not yet fully understood scientifi- the left side one random motion/step is applied the very beginning in the creation of the DYCI2 structures underlying their musical discourses, cally. as turbulent flow. It shows confrontational evo- generative agents developed by Jérôme Nika. their listening and reaction mechanisms, and The print piece is expressed before and after lutions presented as laminar and turbulent flow: The name of the duo, C’est pour ça [That’s why], allowing the form to be generated by pure inter- transition on each panel, while the anima- unidirectional and chaotic motion. is a nod to its early days, when the performances action. C’est pour ça develops an electronic tion presents its constant by displaying each were intended to be didactic rather than purely aesthetic while seeking to preserve the organic non-transitional motion respectively in parallel. Concept, direction, design: Ryoichi Kurokawa creative, focused on tests and demonstration. character of the summoned “memories” (tradi- Since the original print works were created as Producer: Nicolas Wierinck This “digital lutherie” has now reached a stage tional choirs, spoken voice, saxophone playing static images, context was animated afterwards. Coproduction: K11 Art Village, Wuhan (CN) of maturity sufficient to serve as a basis for a modes...). Produced by Studio RYOICHI KUROKAWA Images generated based on the detected feature Courtesy of the artist point of captured natural plant life are split into © 2018 RYOICHI KUROKAWA. All Rights Reserved.
Muku Kobayashi (JP), Mitsuru Tokisato (JP) SHOJIKI “Play Back” Curing Tapes
Rewinding curing tape with a motor. The per erased on magnetic tapes many times, and on formers use a switch to control the rotation the other hand curing tapes are made for tempo- direction of the motor and its ON/OFF. Each rary adhesion, and therefore can be taped on and Leonhard Schmidinger (AT), Fabian Homar (AT), Vladimir Petrov (BG/AT) time the tape is rewound on to the motor axis, it peeled off several times. Just as the magnetic makes peeling sounds and continuant sounds. substance on the magnetic tape wears down and Magnetic tapes, such as cassette tapes, play degrades, the adhesive agent on the curing tape Bruckner Percussion plays back sound through magnetic heads when they also becomes weak after long use. Shojiki refers are rewound from one axis to another. The per- to the physical characteristics of sonic reproduc- Xénakis formance of Shojiki analogically connects the tion mediums from this coincidental tie between two movements of “Rewinding a magnetic tape” the two different tapes, and “playback” curing Iannis Xenakis (1922-2001) composed Okho for and “Rewinding a curing tape.” The magnetic tapes. three djembe players. The premiere took place tape, which is a sonic reproduction medium, is on October 20, 1989 on the occasion of the Paris coated with a powder that can be magnetized, Autumn Festival. called a “magnetic substance;” on the other Thanks: Makoto Oshiro Using the West African djembe and his mathe- hand, curing tape is coated with an “adhesive Supported by Japan Media Arts Festival (Organized by the matical and stochastic composition technique, agent.” Sounds can be recorded, played back and Agency for Cultural Affairs, Government of Japan) Xenakis succeeds in creating a tribal modernism. Our interpretation deviates from the original instrumentation and makes use of an extended percussion setup of the kind Xenakis himself uses in his solo piece Rebond B for percussion.
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Keiichiro Shibuya (JP), Eizen Fujiwara (JP), Justine Emard (FR) Heavy Requiem — Buddhist Chant: Shomyo + Electronics
Keiichiro Shibuya is a composer and musician based in Tokyo and Paris. He is collaborating across various disciplinary fields, producing work with scientists, visual artists and dancers. The Japanese Buddhist chant form known as shomyo has a 1200-year history, ranking it together with the West’s Gregorian chant as one of the genre’s oldest living forms. This will be a unique collaborative performance of integrated electronic and traditional Buddhist music. Keiichiro Shibuya Shomyo (chanting of Buddhist priests): Eizen Fujiwara Computer, electronics: Keiichiro Shibuya Alex Braga (IT) Visualization: Justine Emard A-MINT Artificial_Music_Intelligence_ Yishu Jiang (AT)
A-MINT is a metaphor for a sustainable future, boundaries, made of new sounds, technology, Johann Sebastian Bach: where man and machines work together in perfect images, energy, sweat, heart and soul. symbiosis to cross a frontier that man alone A-MINT is the first artificial intelligence to enter Suites for unaccompanied cello could not dare. A-MINT is a new kind of adaptive conservatories and musical institutions as a Artificial Music Intelligence, the first one of its proper instrument studied alongside the tra- kind capable of cracking the improvisation code ditional ones. Braga is the first artificial music The Bach cello suites played in the performance of any musician in real time and improvising with intelligence teacher with his masterclasses in are structured in six movements each: prelude, him or her. It is a new organic and lively form of Conservatorio Santa Cecilia in Rome, University allemande, courante, sarabande, two minuets or contemporary electronic music, creating music Pompeu Fabre in Barcelona and Conservatorium two bourrées, and a final gigue. The Bach cello and video along with the execution, without in Brussels. suites are considered to be among the most any preset pattern, pitch or bpm. The futuristic profound of all classical music works. real-time electronic orchestrations, enhanced by A-MINT is a project by Alex Braga, coded by Professor generative video projections, rewrite the rules Francesco Riganti Fulginei and Antonino Laudani of the of live electronic music, and plunge the audi- University ROMATRE, in collaboration with !K7. ence into a unique experience, always different The project is supported by Italian Ministry of Foreign Affairs, ITMAKES, Maker Faire European Edition, because of the impulses and interpretations of Conservatorio Santa Cecilia. the Artificial Music Intelligence A-Mint, a trip The presentation of this performance is supported by into the unknown and unexplored territories and Yamaha Corporation.
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Thomas Gorbach (AT) The Vienna Acousmonium A vibrating instrument to create ephemeral dynamic motion sound sculptures
Acousmatics (acousma in Greek means “aural allow the projection of oeuvres as concerts or cognition“) is the cognitive science of listening; permanent sound installations. Accompanying a listening to listening. To make this possible, this development, Gorbach invented a specific unheard sounds and compositions are pro- interpretive technique: ephemeral dynamic jected through an orchestra of loudspeakers: the motion sound sculptures — a method for the Acousmonium. Over the past ten years, Thomas spatial distribution of intrinsic sonic space Gorbach and Marco Schretter have developed information. The Vienna Acousmonium, a unique setting of loudspeakers, hardware and control units that In cooperation with Ars Electronica and IGNM-O.Ö. Stefan Tiefengraber (AT) WM_EX10 TCM_200DV TP-VS500 MS-201 BK26 MG10 2015/19 — multi channel audio/video noise installation and performance
Unexpected and uncontrollable analogue signals voice and random atmosphere sounds on the are altered and bent by the artist to create an backside of the tape. Feedback and rewinding audio/video noise-scape. The used electronic alter the text on the psychological development devices, such as “Walkmans” and “Bontempi” of children. keyboards, are usually designed for very spe- There is no prior modification of the used devices. cific purposes. The artist goes beyond the limita- Pre-recorded (installation) or live audio signals, tions of predetermined functions and generates audible through speakers, are sent directly to sound and video through short circuits produced CRT monitors mounted on the speakers, visual- with wet fingers on those opened devices. The izing the signal in flickering and abstract shapes resistance of the skin and the conductivity of and lines in black and white to create a time- the human body in combination with the com- based sculpture. ponents of the circuits modify the sound. www.stefantiefengraber.com Additionally, found home recordings, which were Speaker: Maria Tiefengraber rescued from disposal and destruction, are used “So denken Kinder. Einführung in die Psychologie der to create an interplay between the recorded kognitiven Entwicklung,” written by Usha Goswaml
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Werner Jauk (AT) AI-Pop. Walking sound-knowledge-base hedonic post-digital body-culture: “backlash” towards an emotionally intelligent “auditory culture”
It is the bodily experience of sound that deter- coding of its “picturing,” brought up the “sight” mines its structuring: sound brings the body in of musical structuring as “relational thinking” motion leading to e-motion generating sound — “forward back” media technologies close to — interaction leads to a collective and collec- the body allow immediate bodily structuring for tivizing dynamic soundstream of being “com- every body. Analysis of this kind of motion is the munis.” Participants enter an ever “new” sound analysis of emotionally “intelligent” experience environment; its “affordance” excites e-motion, — this knowledge base generates an emotionally by this sound. Despite a semiological concept intelligent system, “popular” music: AI-Pop for of “information transmission,” sound stimulates every body. Being a paradigm of structuring envi- Mikhail Mansion “communication.” Sonic performative interaction ronments based on the “needs” of the body, the communicates by the expression of the meaning entrance into the sound-environment is a struc- of the sound / the motion to the body and the turing entrance into post-digital media-worlds: stimulation of “emotional contagion.” Basically, Because of the transgression of the mechanistic Yasuaki Kakehi (JP), Mikhail Mansion (US), Kuan-Ju Wu (US) it is “intensity” that is the meaning of sound to paradigm in digital culture it is a “backlash” to the body. The concept “sound-gesture” describes the hedonic nature of media-culture as “auditory / explains this process. Its mediatization, the culture”. Soundform No.1
Soundform No.1 is a minimalistic soundscape tone. The tone is a product of the glass tube’s and kinetic art installation that transforms heat length and diameter, combined with the rapid Thomas Grill (AT) energy into a poetically evolving, spatiotemporal change of temperature in the air column. composition. Through a modulation of heat, light and motion, Mutual Understanding Sound is created thermoacoustically by activat- Soundform No.1 creates an ever-changing atmo- ing heating elements inside quartz glass tubes. sphere of Zen-like tonal patterns and visual As the glass warms, a nickel-titanium spring effects. We are witnessing two acoustic agents incar- Mutual Understand- reacts, pulling the cylinder upright. At the cor- nated by large horn loudspeakers as they inces- ing expands on this rect angle, airflow becomes unrestricted, and a This project is created by the artist collective Natura santly exchange acoustic codes. Based on models experiment, treating it thermoacoustic phenomenon, known as a Rijke Machina, and is supported by University of Tokyo, JST of human vocalization, they develop their vocab- as an aesthetic prob- ERATO Project, UC Berkeley CITRIS Invention Lab, UC effect (named for the professor who discovered ulary independently from a natural language. In lem, investigating the Berkeley Jacobs Institute for Design Innovation, and by the phenomenon in 1859), creates an audible Transmission Arts LLC. their ongoing discourse, they follow a common possibility space of goal: to maximize the beauty of their own vocal language and its tech- expression. The concept relates to an experiment nical measurability. by the Facebook AI team in which chat bots were given the task of optimizing their language for Supported by the Austrian negotiation efficiency. The language soon became Science Fund (FWF), impossible for human eavesdroppers to interpret. project AR445-G24.
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Volkmar Klien (AT) Volkmar Klien (AT) Anschwellen — Abschwellen Das audiovisuelle Archiv A performance apparatus The AV archive presents not only a collection of sounds and images, but an entire system to A slightly elevated and imposing neo-gothic put things into proper order; sonically as well as clock occupies the center of a space, ticking visually. It is comprised of archival cards with steadily. Over the course of several minutes, analog audio tape on their backs organized in it slowly unfolds the unexpected splendor of a folders and boxes as well a dedicated reading huge crown of peacock feathers while increas- apparatus, the Lesegerät. ingly flooding the room with sound. The archival cards connect images (drawings, Fully erect, the clock dominates the space for a scores, etc.) to short recordings of related sound while to then subside; its feathery crown sinking accessible only through AV archive’s proprietary in front of it. Lesegerät. The connection between the sonic Eventually all elements return to their home and visual here is purely poetic. The analogue https://snark.art/1000-twangling-instruments
positions so that another cycle of automated Klien Volkmar version of the AV archive is counterpointed by a Volkmar Klien: concept, audio, imagery self-augmentation, of algorithmic art referenc- digital version on snark.art’s blockchain-based Ing.Thomas Holota: prototyping of the ”Lesegerät” ing basic bodily functions and dominant behavior Volkmar Klien concept & production platform entitled Sometimes a Thousand Twan- (http://holota.at/) Hannes Köcher motor control, sensor system can commence. Jakob Posti: production assistant, image processing Jakob Posti production assistant, feather expert gling Instruments. Snark.art: implementation of player app, block- chain-based production platform (https://snark.art/)
Vladan Joler (RS)
Dmitry Morozov / ::vtol:: (RU) Critical Cartography: Umbilical Digital Unauthorized Blue Prints
Umbilical Digital is kind of a farm where a special Governments, political actors and companies used worldwide in similar forms. This map is an algorithm devotes itself to raising “digital living are now experimenting with more sophisticated attempt to interconnect most of those issues into creatures” such as Tamagotchis. The system ways (harder to detect and document) of exerting one map, one possible narrative, one possible monitors their condition and takes on all tasks internet control and disturbance in the informa- reading of those processes. that are required for maintaining their “life” tion flow. The aim of this analysis was to explore and keeping their “spirits” up. The simulation of (and visualize) some of the forms and methods pressing keys makes the system seem like a per- of interventions that various political actors or son who is taking care of the digital creature: it power structures have been using to control and exists as if it has been “raised” by a human hand. conquer various online spheres. Here we mostly By observing the behavior of the “organisms,” focused on hidden, indirect actions, interven- the algorithm continually learns and changes tions by unknown actors, companies without vis- itself. All processes are printed out in real time ible ties to government officials, political troll by a small thermal printer, creating a sort of Commissioned by LABORATORIA Art&Science Foundation armies and troll lords and “artificial” entities. “chronicle” of the farm that offers a compre- (RU) for the exhibition Daemons in the Machine, 2018 This map is based on a 5-year internet moni- hensible record of the history and development toring process and over 400 different cases of the colony. of violations documented and analyzed by the Share Foundation. Though different methods represented in this map are observed in our local context, we believe that they are also being
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Koray Tahiroglu (FI/TR) Wiener Sängerknaben (AT), Gerald Wirth (AT) NOISA The Neuromusic Education Network of Intelligent Sonic Agents Simulator (NES) Project Revolutionizing Music Education
NOISA, the Network of Intelligent Sonic Agents, is an interactive music system that monitors the In cooperation with developmental psychologists receive feedback. This also implies the detection Regression algorithms, which use a tree model to performer’s actions and provides autonomous and pedagogues, Professor Gerald Wirth devel- of such talents or deficiencies as ADHD. derive the predicted parameter value from deci- and non-intrusive counteractions. In this co-cre- oped his engagement-centric teaching method- This project is funded by Musikpädagogische Forschungss- sions and branches, lead to predictable and rep- ative music performance, intelligent sonic agents ology — the Wirth method — aiming at constant tiftung der Wiener Sängerknaben, Vitznau and supported resentative behavior based on the learning data. are designed to support the music performance high-level student attention. Through neuronal by Prof. E. Vanecek (University of Vienna), Prof. L. Jäncke The NOISA project elevates people’s creative (University of Zürich), Prof. V. Kumar (Athabasca Univer- by providing responses that encourage and networks activated when using movement to thinking, engages them in investigation, and sity Canada), Prof. T. Parsons, (University of North Texas), maintain the communication and motivation of support teaching and through repetitions with Prof. K.Rubia (Kings College London). contributes in positive ways to the co-created the performer with the NOISA system. The sonic variations, contents are sustainably stored in arts with machine learning and AI. agent is an entity in each NOISA instrument that the long-term memory. The teachers constantly learns relationships between sonic agents, per- This project is supported by Aalto University — Depart- react to student performance by changing teach- former and musicscape. Each sonic agent has ment of Media SOPI research group — and Academy of ing actions and focusing on improvement rather Finland (project 319946). We acknowledge the work of than failure, which keeps the students’ attention a machine-learning model for predicting and Valtteri Wikström, Thomas Svedström, Niklas Pöllönen adapting its behavior during the performance. and Juan Vasquez in this project. at a high level and helps them experience imme- diate success. The use of NES based on the Wirth method and applying VR & AR allows teachers
and students to practice, gain experience and Beck Lukas Institute of Computational Perception, Johannes Kepler University (JKU) Linz (AT) Computers that Learn to Listen
AI x Music Research at the Institute of Computational Perception, Domhnaill Hernon (US) Johannes Kepler University (JKU) Linz Nokia Bell Labs This video demonstrates some results of scientific research in the field of AI and Music Nokia Bell Labs Experiments in Art and Technology In our collaboration with Reeps One (leading being carried out at the Institute of Computa- (E.A.T.) present an interactive experience fus- vocal experimentalist) called We Speak Music tional Perception at Johannes Kepler University ing music and image. Continuing in a long line of Reeps we create an AI digital twin called Second Linz (Austria). Based on the latest advances in works around the theme of “Making Visible the Self. We expose the hidden potential of AI to machine learning, our computers learn to “listen Invisible,” audience members will experience augment our creative existence and the hidden to” and “understand” music, recognizing beat two different pieces. capability of the human voice to enable new and rhythm, instantly identifying music pieces In one piece users’ movements are captured by forms of human connection. from a few played notes, following pianists and a camera and processed through the Bell Labs whole orchestras live in the concert hall, and Motion Engine. The motion engine employs
learning to read music directly from images. The scientific research behind these demonstrations was advanced machine vision and video analytics to Demos are shown of autonomous drum robots supported by the Austrian Science Fund (FWF) in the discern invisible patterns of movement in nature. and other kinds of musical companions that turn form of a Wittgenstein Prize (2009) to Gerhard Widmer, These natural movements are transformed into music pages for pianists, provide synchronized by the European Union (7th Framework Program, project audio-visual experiences that convey the hidden 601166 “PHENICX”), and by the European Research scores to concert audiences, and accompany Council ERC (Horizon 2020 Program, ERC Advanced Grant patterns of music in all natural movement. soloists. In a final video, we use a MIDI ther- project 670035 “Con Espressione”). In the second piece, the audience will experience emin to control expressive aspects of a piano the limitations of how we use our voices today performance in real time. and explore the hidden creative potential of AI.
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Jean Beauve (FR) Oleg Stavitsky (RU) 0W1 Audio Endel D5, the first IoT Speaker Personalized adaptive soundscapes that help you focus, relax, and sleep 0W1 Audio is a music-tech start up that designs Vika Bogorodskaya Vika IoT audio platforms. We have partnered with Sacha Lakic to craft beautiful portable audio sys- Endel is a technology that creates personalized Endel is a Techstars Music 2018 company, it OEM/ODM IoT audio systems and we have a tems that deliver incredible natural sound. The sounds to reduce stress, increase focus and was founded in 2018 as the brainchild of a working proof of concept for the automotive D5 series are the 21 Century Music Box, a fresh improve sleep and is supported by science. The Berlin-based team of developers and artists. industry that has been very well received by the and new approach to music speakers. “Sound sounds are generated in real-time based on var- Investors include the Amazon Alexa Fund, Innovation Team of the PSA Group. is the vehicle while music and applications are ious inputs such as one’s location, time, heart Avex Inc., Powerhouse Capital, Waverley Cap- rate and cadence collected through one’s phone. ital, Plus 8 Equity Partners, Kima Ventures, its fuel.” We have two pending products: the D5 The D5 project is a collaborative partnership between Master and the D5 Slim. We are also designing Sacha Lakic Studio and 0w1 audio technological expertise. Endel’s technology currently exists in various Impulse Ventures, Major Lazer’s Jillionaire, and forms such as iOS and Android apps and an Alexa the world-famous DJ La Fleur. We will put up a Skill, with tvOS and a standalone Apple Watch poster with a QR-code and a promo code for all app coming soon. In addition, it will soon be visitors to get a free 1-year subscription for all Taishi Fukuayama (JP) integrated into various hardware and platforms participants. in mobility, hospitality, retail, workspaces, etc., Cooperation partners: Amazon Alexa Fund, Techstars Amadeus Code with endless applications. Accelerator, Coca-Cola, Warner Music, Avex Inc.
Amadeus Code is a songwriting assistant pow- ered by artificial intelligence. The mobile app Aleksey Igudesman (DE/AT), Julia Rhee (KR/US), Dominik Joelsohn (DE/AT), provides the user with unlimited topline melody Ivan Turkalj (HR/AT) inspiration on top of various chord progressions, quickly creating sketches of new musical compo- sitions. The purpose of the app is to remove the Music Traveler user’s personal frame of reference and enable Search. Book. Play. collaboration with a machine capable of extend- ing the human creator’s creativity. Music Traveler is a peer to peer platform that easier. Save time, energy, and focus on creating https://amadeuscode.com/ helps musicians host or book a space all in one and sharing your music with the world instead! place. Our team created this product with the belief that nobody should have to spend hours We are working together with several partners like Steinway looking for a space just to create magic with in Austria, the United Nations, Wiener Konzerthaus and the Musikschulen der Stadt Wien. Our project is supported Florian Richling (AT) music! Musicians shouldn’t have to get into by the Vienna Business Agency. Music Traveler is music school just to be able to access and expe- endorsed by John Malkovich, Hans Zimmer, Billy Joel rience a practice room. Use of professional gear, and many other notable artists on the Advisory Board. ForTunes instruments, recording studios, and concert Music creators have become the fastest-grow- venues should be easy ing force in the music ecosystem. ForTunes sets and affordable for every- out to be a one-of-a-kind multi-platform notifi- one. We understand how cation and analytic service for artists, produc- stressful it can be to find ers, and bands to improve decision making and a rehearsal room when optimize career planning. ForTunes is an all-in- touring and traveling the one insights app for a new generation of music world as an artist. Music creators. Traveler reduces these
ForTunes barriers to make your life Supported by Vienna Business Agency, AWS, Speedinvest
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Renata Schmidtkunz (AT) Conversations with Renata Schmidtkunz
Renata Schmidtkunz hosts three panel discus- rationality, and now, in the dawning age of AI, is Anthony Moore (UK/FR), Siegfried Zielinski (DE) sions in the summer refectory, prominently reorienting again. Social acceptance in relation featuring Josef Penninger, Sophie Wennerscheid, to current AI research will be discussed. Oliviero Toscani, Amanda Cox, Markus Poschner, Another focal point of the panels will be the Calculated Sensations Aza Raskin and others. The topic is dedicated new artistic possibilities opening up due to AI 7 Stations in a Deep Time Travel through the Sonic World: to the role of science and research, which applications, which also lead to a variety of novel an Expanded Lecture initially had to confirm a religious view of the business models or issues with copyright regu- world, then was subordinated to economic lations.
The world of music, of sound, can be represented as a never-ending tension between the poles of calculation and sensation. Mathematics and pre- cision determine what we can hear, just as un Dialogues at St. Florian bridled imagination enriches it. Moore and Ziel- inski unfold this world in 7 different rooms of the The large discussion rounds are supplemented at any time, various aspects and problems are St. Florian Abbey, each of which is dedicated to a by a series of dialogues, which take place addressed in depth and background information theme — in short texts, experimental sounds and throughout the day at different locations of the on individual projects, applications as well as dialogues. Their expanded lecture is an invitation monastery. In an open conversation between two research work is offered. to travel in a time machine, a movement through experts, in which the audience can get involved the depths of acoustics and hearing. The media archaeologist and the musician, as well as sound researchers, tell of Chinese cooking pots as archaic instruments for tuning, of Pythag- Harald Ehrl (AT) oras, Francis Bacon’s Atlantis and Athanasius Kircher’s compositional apparatuses from the Guided Tour through the early modern period. They also address variants of an art of combining initiated by the Catalan Monastery St. Florian monk Ramon Llull, which deeply influenced com- posers such as John Cage or Arnold Schönberg. The guided tour gives a brief insight into the inner mouth prays should be reflected in the heart and life of a monastery. Each room of the monastery in action. Two large windows from the oratory has its own special meaning in the life of the make eye contact with the basilica. Above its monastic community. The Memoria, the tomb of main entrance is a quote from the Prophet Isa- the martyr Florianus, is located in the crypt below iah: “I will give them joy in my house of prayer.” the imposing high altar of the splendidly furnished The library, a rich treasure of knowledge col- collegiate church, a room that is regarded as the lected and printed over centuries, is even called “foundation of piety” by the community. Without a “holy house” by the title of the entrance door. any decoration or pomp, the naked stones refer Those who enter are astonished at the enormous to the simple and clear confession of this man: volume of books, as we are astonished at the “I am a Christian.” The oratory is the prayer unmanageable amount of knowledge available room of the religious family. Three times a day to us today. The “virtual” ceiling fresco portrays the praise of God is sung together. The reli- the virtues, showing us how we can deal with gious father Augustine points out that what the knowledge in a “virtuous” and useful way. 202 203 AIxMUSIC / AIxMUSIC St. Florian/POSTCITY
Volkmar Klien (AT) Total Optimization and Defiance About artificial intelligence and musical composition
Automated data collection and processing with The Avantgardes — economical-technical van- Music & Math, Structure & Order of musical works to the data of their reception, machine learning is about to introduce funda- guard and the traditions of artistic avantgardes European music history and theory have been and to all imaginable sorts of data that can be mental changes into societal forms of commu- The compositional avantgardes in the fields of characterized from the very beginning by a close- brought into context by its collectors (position nication. The widespread application of these electronic and computer music were, until very ness to mathematics. Numerological reminis- data, surf behavior, status messages, health new technologies leads to tectonic changes in recently, acting in close contact and constant cences, strict harmony, hopes for the revelation data, etc.) Music has never confined itself to a set the structure of human societies, which have exchange with those of technology. Composers of transcendental structures of order in and area defined as musical (the score, mere numeric already progressed quite far. were deeply involved in the development of elec- through music permeate various textbooks of relations or singing), but was always embedded While it may not seem obvious at first glance, tronic musical instruments and computer music composition. In honor of this occasion we should in the social and political whole of human exis- music, and more particularly music composition, programs from the very beginning. In the mean- mention Johannes Kepler’s Harmonices Mundi6, tence. Particularly with regard to music and AI, is a very suitable field for dealing with these time, the worlds seem to have separated. The published in Linz in 1619, although it is not a it is essential to keep this embedding of music in very shifts and reflecting upon them. Music as area where most research approaches in AI and music textbook per se. the diversity of societal and individual execution a form of communication, as the most primor- music come from, Music Information Retrieval Regardless of this there is hardly any thoroughly in mind. dial form of social media, influences the human (MIR), appears to be a project of the computer formalized compositional practice in existence. communities where it unfolds in multiple ways sciences, a branch of information retrieval, rather Even the much-quoted serial works of the 20th Music making? Composing? Machines? and, at most times and for most people, in an than an artistically motivated quest for new com- century are small in number, and the formal From the composer’s perspective, very concrete unthematic way, i.e. without being reflected in its positional possibilities. One reason for that could methods applied within them vary tremendously questions are to be raised about the fundamental operation. It is precisely because music is rarely surely be that the concept of an artistic vanguard from work to work. There can be no talk of a sin- basics and the concept of art with regard to quite in intellectual focus and can touch the listeners’ may appear slightly anachronistic these days. gle, established form of serial composition. a few AI-based music projects of the global data hearts without language that it is so efficacious. Generally speaking, the age of artistic promises Still, based on serial approaches, we can spot economy. However, the eventual appearance of Music creates virtual and hybrid worlds for of salvation seems to be over, and it is the propo- some of the aspects that distinguish the current machine-based autonomous musicians in com- us to inhabit. In contrast to visual media, it is nents of data capitalism who are now being cast projects emerging from AI research from the tra- position, improvisation and interpretation will unrestrained by boundaries and intrudes on us in the role of futuristic preachers. In that regard, ditional approaches in the field of formalized or shed new light on old questions, prompting us physically: synchronizing, arranging, influencing, today’s technology prophets are the true succes- automatically generated (generative) music. In to rethink what was already implicitly accepted. motivating. sors of the Futurists. The fact that the manifes- very broad terms, a transition can be observed For the question of whether a robot, i.e. a soft- The musical avantgardes of post-war Europe tos1 of the 20th century avantgardes are just as from rule-based to data-based approaches. ware, can make music or compose also implies were dealing intensively, both in theory and full of “disruptive” rhetoric as today’s TED talks In serialism, at least some attempt was made the question of what it actually means to make practice, with these aspects of music against and product presentations is one of the parallels to establish the most rigid relation of the note music and compose. To quickly anticipate one the backdrop of their relatively new role in mass between the tech sermon and the avantgarde pitches and durations to the structure of the point: From the viewpoint of art, composition media. In this respect, this tradition makes for manifesto. While artistic avantgardes definitely compositional whole by a defined set of rules, certainly does not confine itself to the produc- a rich background for questioning new AI-based regarded themselves as “disruptive,” they still therefore providing it with a substantiation. In tion of new music pieces along established and communication technologies. differ fundamentally from those of data business; the approaches that are founded in Big Data, the defined expectations about what music is sup- For new technical possibilities cannot simply be for they never saw themselves as “optimized” structure of the generated signal is the result of posed to be and the role it is supposed to play. regarded as neutral extensions of the previous according to defined procedures. As examples databases from which correlations between the tool box. Any tool will always change the world for disruption without intended optimization, single datasets, for example compositions, can Music making? of its users. And with the possibilities at our dis- Tristan Tzara’s “Manifest Dada 1918,”2 Mladen Stili- be inferred. For Big-Data informed approaches in In this context, reflecting on music is less about posal to interact with our environment, our per- novic’s “In praise of laziness,”3 H.C. Artmann’s “Der automatic generation, interpretation and sorting pieces of music, or works, but rather a matter of ception of the world as our space of possibilities poetische Akt”4 or Pauline Oliveros’ “The Poetics of of music, the focus is not on explicit rules for pondering about music making, for music ulti- is changing. Environmental Sound”5 could be mentioned. composition, arranging, theory of harmony or mately can only exist as human activity. interpretation, but on the data of musical prac- Music making (and therefore composing) means 1 | Asholt and Fähnders, Manifeste und Proklamationen der europäischen Avantgarde. tice. This practice of human music making is to forming communities and designing complex, 2 | Tzara, Manifest Dada 1918. be thought of in a very broad way. Its data traces highly dynamic societal structures of human 3 | Stilinović, In Praise of Laziness. reach from written scores and audio recordings interaction. 4 | Artmann, Acht-Punkte-Proklamation des poetischen Actes. 5 | In: Oliveros, Software for the People, Collected Writings 1963-80. 6 | Kepler, Johannes. Harmonices Mundi Libri V. Linz: Johann Planck, 1619. 204 205 AIxMUSIC / AIxMUSIC St. Florian/POSTCITY
In the very beginning, music probably amounted From an artistic point of view, this approach Hybrid communities, substitutes, asymmetries measurement techniques see music always only groups of humans singing together, all at the remains of course problematic, since the really In music that we find developments similar to from an external perspective, while the listeners, same time and place. Along with the differen- interesting things tend to happen where major- those discovered in other forms of human com- i.e. customers, of AI based, automated playback tiation of musical media techniques far beyond ity appeal in everyday musical practice is not munication: a transition from in situ, via in print remain in the first-person perspective, an ideally human singing, from bone flutes and drums to exactly the norm. and on air and on line communities toward hybrid undetached participation. The recipients experi- mechanical musical instruments to the present Therefore, the issue of defining or narrowing and substitute communities. These new possi- ence participation in a community, but are actu- digital music-making forms based on loudspeak- down the process to be automated (artistic cre- bilities in designing the music-making commu- ally surrounded by a media feed. The effects, ers and networks, the result is a richness of pos- ation) will already raise fundamental problems. nity result in completely new forms of music motivations and functionalities of this global sibilities to participate in music-making com- Asking, “What would qualify artistic activity as making, that — like the technical developments playback and substitution machine are left con- munities that can be selected relatively freely. such?” is totally different from asking how things, themselves — have to be mostly thought of as sciously in the dark. Embedded in surveillance Headphones and networks allow us to feed our- or signals conforming with established notions of embedded within the amenities of data capi- capitalism and financialization of all human rela- selves our choice of soundtrack. artworks, could be automatically produced. Art is talism. The ideal appears to be the delivery of tions, music can now more than ever sing paeans Music today has a broad scope/range of roles not a matter of product development within set music optimized by the aid of AI, which is totally to the new rule, not only underscoring shifts in available, which it can perform according to the boundaries, but reflection, politics, and action directed towards the individual consumption power, but even contributing to them, if those specifications and needs of the recipients. Few in the free field. needs of the customer. Involving previous hab- exposed to it will perceive an expression of the of them are close to art or mathematics. Music is its of listening, seeing and consumption, phys- purest of hearts, testimonies of free, individual listened to for recreation or distraction, it serves Machines? iological data (heart and breathing frequency, artistic needs. Music has always had aspects of as a portable habitat and is also used — apart Music making once meant (and in some cases sexual activities, menstruation cycles. etc.) and distant masturbation (somebody plays guitar on from innumerable other fields of application — still does mean) gathering in a space for col- information pertaining to the general social a stage and a group of people feel enchanted/ as self-medication and horizon putty. The right lective activity. Even when somebody sang or and psychological situation can be gathered in cozy), but now whole new possibilities of cynical kind of music performs miracles over the week- played on his/her own, the produced sound was order to choose the ideal musical soundtrack, music are looming on the horizon. ends in the clubs around town in propping up a direct product of bodily acts and only audible to modify it accordingly or even to generate it With the measurement of all activity, there is a the young employees of banks and industries for for those within earshot, i.e. immediate proxim- anew. By way of dynamic feedback with millions fundamental asymmetry in the view of things. another week of high performance at the office. ity. Music notation, requiring quite an amount of of user behavior profiles (on turning the volume The customers are running alone in a forest and It is here that the possibilities and promises of skill and knowledge both in recording and recep- up or even down, will body movement or heart have to put up with the worm’s-eye view, while the automatic generation of musical signals and tion, was the first person-independent medium frequency synchronize with the playback?), the everybody’s motion patterns are recorded some- optimized delivery to consumers can most eas- to transmit music in time and space. Transmis- technology of playback can be optimized further where in the control center, where the positions ily be foreseen. All data that correlate or can be sion and recording of sound expanded the size without the need of conscious verbal feedback of the trees are also dynamically adapted and correlated with music of the consumers can be of the music making communities enormously in by the listeners. Symbolic layers thus appear in underscored by haunting chords. The asymme- included, ranging from consciously chosen play- time and space. Human activity leaves audible the shadow and from the observation of unre- tries in information flow and design authority in lists and concert visits to reading lists of books, traces in music, which can be given longevity flected practices. hybrid digital worlds are also a central topic in motion patterns and accompanying habits of by media technology, becoming repeatable and Music as an art form shaping communities is the context of AI and music. consumption. portable. The music-making community as such, always a hierarchical construct with specific The problematic part, therefore, is not the sub- of course, will not resurge again in technical interpersonal relations. Listeners engage with stitutional character of the playback worlds Composing? playback, but a convincing sonic image can be each other and the common rhythm, whether per se (in a certain sense music, theater and The question of what it means to compose or read from the record disk or sound file, even if dancing or not, and are able to celebrate both film always had this element), but the inherent create art is relatively easy to answer at first, it will always remain a sort of shadow existence. a loss of control and a sense of unification with shifts of power structures. At the transition to a if “creating pieces of music” is deemed a suffi- In these realms of the shades, musicians soon the whole. Media technologies such as notation, total clientele, industrially optimized music will cient answer. But this would also mean ignoring were able to leave sonic traces with the aid of amplification and forms of telepresence (from strengthen the individual belief in immediate, the obvious impossibility of finding an ultimate, synthesis that no human or mechanical activity radio to streaming) expand the reach of the personal and free experience. It is thus acting all-encompassing answer to this question. For could have ever borne. Sampling then allowed us common rhythm and harmonies. Music auto- as a lubricant for economic and political shifts. all conceptual difficulties in the question of to overlay and construct several music shadow matically generated by AI technology promises For music is potent. It is not without reason that “composition” are simply packaged into “music worlds to create new sonic realms. Seen this an automatic, “individualized” remote control it can traditionally be found not only in the prox- pieces” and are shifted away from the defined way, an automatically generated music piece is of music-making communities from the outside. imity of rite and mathematics, but also close to problem area. “Music pieces” can be, for the not only a new sound object, a new sequence Music making always happens from the first-per- narcotics and sexual intercourse. The question sake of focusing on AI-based music generation, of certain pitches in time, but the emulation son perspective. Music is created in participation, of whether an AI is “making music” is therefore very well defined as signals used by humans of traces of communal human activity that has otherwise it stays sound, or in the worst case, similar to the one of whether a sex robot is hav- as music in a purely pragmatic sense. For the never happened in that form. A topic that with noise (as in the case of the bass from the neigh- ing sex or not. For the interacting human on the development of algorithms to automatically gen- regard to social media — with its fake news, bots bor’s party). Music making (active or passive) opposite side in each case, this can be answered erate music along established patterns, such a and nudging techniques — has already gained means a lack of distance, whereas observation with yes, but the whole affair seems rather multi pragmatic definition would be entirely sufficient. broad attention and even broader application. and data collection are the opposite. AI-based layered in nature.
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Musical total optimization state that it is something entirely different. Art have reached a level of complexity that is hard The poetic act in the mass of data AI technologies with their data collections can is always called upon to engage with its condi- to master. To keep these programs operable, The sheer masses of recordings, those traces be used as a wind tunnel of sorts, by testing tions and cannot settle for the implementation the view is directed, and users are guided along of human music making, require automated musical projects in the stream of the recipients of specified requirements. designed interfaces. Virtual theater props and ploughing through the digital shadows of a sonic in order to be developed and further optimized. stage elements from the metaphorical repository chaos, which often was originally created as an The real-time observation of the music-making Challenges to the Avantgarde of “music” are digitally shifted to keep the view expression of the purest of hearts. The poetic community in their habitat facilitates the con- All this by no means implies that computer-aided on the intended surface. act and the musical moment may easily appear struction of an ideal ergonomic musical sig- approaches for algorithmization and automati- Every interaction with software always implies in this context, as if they were mere instances nal that adapts dynamically to the conditions; zation of compositional activities were artisti- interactions with the engineers who dynamically of formal classes in the sea of data references, bodily and culturally shaped to fit the conduct cally uninteresting on principle. It’s rather about provide an interface, a playground, and whose as if the concrete act were deemed secondary of everyday life, non-thematic and hence all the coping as a composer with these possibilities assumptions and preconceptions about compo- to the abstract order. The artwork finds itself at more informative7. Such optimized music can be on a fundamental level, before integrating them sitional work characterize the possibilities of the the position of a dataset, classified on the basis dynamically tailored to the respective situation as magical tools into everyday activity other- tools in a fundamental way. Within the explicit of its role in societal practices. and person. Whereby the methods of individual- wise unchanged. With that, there is no contest and implicit templates, the customer can cer- Art, however, happens open-ended and those ization only concern the surface which is shown between “real” art and AI to be heralded. It is tainly be creative. They have it nice and easy, pursuing it won’t know beforehand, what it is or pretended to the customers. The algorithm of instead about making them more fruitful for each as long as they perceive music the same way that they are doing. The concrete sound, the the machine performing this part-individualiza- other, precisely by confronting technical-eco- the “industry” does. This is not just the case concrete act in the totality of its relations is not tion of a single one of millions of transmission nomical optimization strategies with artistic, with software-based implements, but is part of describable in formulae, nor is it repeatable. This channels is configured to be as universal and hence political, aims. Art always also means the idea of tool and instrument manufacturing. remains a valid statement, despite the potential general as possible. defiance and self-asserted independence from The piano, Western music theory turned into an of every sound nowadays to be measured, clas- This musical optimization follows the business established role ascriptions and (musical) con- apparatus, is characterized by preconceptions sified and repeated ad libitum lays ground to the models of the data economy, often with the aim ventions. The compositional research work of about what music should be and solidifies these possibility of informing storage media automati- of tying up the customers’ attention for as long as musical avantgardes cannot limit itself to the notions for further generations. Compositions cally in a similar fashion. possible, since music with its power over humans expansion of sonic space or musical material. for piano are qua definitionem almost always in seems particularly well-suited for the subtle Its aim has to be to develop a constantly evolv- equal temperament and forgo vibrato and glis- Unberechenbarkeit + Sinnfreiheit influencing of purchase decisions. The intended ing understanding of musical, social possibilities sandi. Software-based instruments are lacking Art is the place where the implicit aspects of role of this dynamically generated music appears within the equally ever-changing techno-politi- the physical restrictions of the piano (and of all every-day life can be parenthesized consciously, to be one of a soundtrack to the simultaneously cal environments. Machines, whether made of other traditional instruments), but shape, if com- cropping and thematizing them. The artistic act generated parallel world from the transmission soft- or hardware are — even if the marketing mercially successful and widespread, at least as as a jump out of self-evidence remains beyond with all its asymmetries included. The more departments of the companies keep harping on much the conceptual spaces of the artists that formalization and is — carried by individual anar- “individualized” the playback, the less it will be terms like “self-learning” and “autonomous” are growing up and working with them. We are chism — at the same time an act against the ste- perceived as a form of conformity and can thus — made, constructed and operated by humans using and trusting machines every day, without reotyping and the vanishing of the concrete, the support this process even more efficiently. For with specific interests. This is why a discussion an understanding of their functionalities. (Semi-) individual in accepted and implicitly supported within this hierarchy, the chimera of individuality of these technologies can only be meaningful in a automatic composition programs are about to ontologies and hierarchies. It can open spaces only exists via the playback channel to the con- wider economical-political context and it is con- introduce this return to magical worlds also into of possibilities outside established practices, sumer. This kind of individualization acts in fact sequently not enough to review the output of AI artists’ ateliers and studios. One hopes, swipes, which are nowadays often already molded in as a great normalizer, revealing itself as a lethal composers on a purely aesthetic level (e.g., “are iterates and chooses from suggestions that have rules executable and controllable by machines. enemy of the individual act. the chord progressions convincing?”). appeared in inexplicable ways. We interact with ‘Sinnfreiheit’ is a wordplay based on the hom- Those of us who view music also as an art form “superordinate” or “basal” secret rules, which onymy of the words for meaning and perception won’t be able to avoid seeing this form of opti- Composing of and composing in magical worlds we hardly dare to claim influence over. We act (Sinn) in German as well as the strange relation- mization and individualization critically. Since With the complexity of musical instruments and supported by and actually in the service of algo- ship between freedom to create meaning and before there can be optimization, we must clarify compositional tools, on the one hand the musi- rithms and rules of the companies who provided the freedom from (i.e. lack of) defined meaning. what has to be optimized, and how. The suspi- cal possibilities are expanding, but on the other us with these tools. Following some of these This liberation from the imperatives of personal cion seems obvious, that activities with exact hand so are the number and power of prelimi- orders — neither made, nor understood, but and societal habits and norms has always come predefined aims would rather be services than nary decisions that are being made in their con- invariably already preauthorized by us — seems at the price of confronting fundamental absur- artistic work. But the claim that art should be ception and delivered with these tools. Even the as a quasi-mystical practice in a data-capitalistic dities, where the included freedom to create something higher, something more precious or contemporary softwares for music production context. (new) sense on one’s own may appear as a cold abstracted, should be avoided; rather we should that are not yet advertised with AI buzzwords
7 | I suppose that in these optimization loops the suppository or the cavity dowel will emerge as ideal musical forms.
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Werner Jauk (AT) What is AI to Music… The evolution of hedonic nature in rational culture — AI-Pop
COMPUTER-MUSIC: A PIONEER IN AI-CONTINUING “COM-POSITION”
comfort at first. Every allowance of doubt is at the customers towards a certain consumption Computer-music was the first media-art to information about concrete motion, or an index the same time an attack at authorities. or voting behavior. A data-rich approach to musi- continue the tradition of composing by putting for it, as it is a quality of the intensity of motion. Unberechenbarkeit, which translates literally cal composition instead offers possibilities for a together codes for sounds in the frame of an ide- The creation of realities and virtualities, espe- to ‘incomputable’ denotes not only unpredict- well-founded critique of existing (artistic) prac- alistic ideology of music as a form of “relational cially convergent ones that integrate the body ability, but also waywardness, erratic and rogue tice with all its implicit preconceptions. People thinking” (RIEMANN 1914/15) using a logic set with its needs by shaping emotional processes behavior. In a world of total capture everything surround themselves with and live in technol- of rules. It first analysed composed music to into logical, structuring turns; impacts our whole remaining or wanting to be unforeseeable hence ogy, construct realities with constantly renewing extract the rules created for it by the genius of concept of intelligence, and as a consequence, incalculable becomes problematic (“does not strata of synthesized sensory stimuli. AI in the music-culture. This is how computer-music first of AI, by skewing them towards evolutionary compute…”). hands of artists opens up a rich field of possi- made use of AI to create algorithmic music by notions of aurally-controlled B-E-I / body-en- Regarding the possibilities and demands of bilities for playful questioning and redistribu- enacting the synthesis of a full score. Illiac Suite, vironment-interactions (GIBSON 1982); the AI-aided (self-)optimization, an aesthetic and tion of authority in the music making community composed / programmed on ILLIAC I by Hiller embodiments of which lead to “cognitions” as artistic self-positing that does not merely consist between individual, abstraction and algorithm. and Isaacson in 1957, is generally agreed to be neural networks formalized as music. This aes- of choosing one of 10 different surfaces provided Here, AI appears as a protean tool for production this kind of early, generative computer-music, thesis also corresponds to a hedonic culture in for the individualization of the big One, becomes and conceptual background for the reflection of serving as a kind of template for participation which, because of its “functional origin”, music more important than ever. Art and music are not novel artistic activity. The discourse of compos- art as social “Würfelspiele” in that it produced is dominant as the synthesis of instrumental only part of the good life, but a method to formu- ers with AI cannot exhaust itself in proposals for a musical structure through social interactions behaviour and emotional intentionality. late and answer our questions about the good further optimization of the optimization strate- breaking through the barriers of performance as life, time and time again. Questions about how gies. It has to deal with the conceptions of music prescribed between musical (re-)producers and Music: the mediatisation of hedonic interaction and in which company we’d like to make music and society underlying the technologies under consumers; in something similar to what we call The natural meaning of sound to human life is at are eminently political. development. prosuming today. the basis of music. To perceive sound means to Contemporary musical reality is in a fundamental AI-based and informed compositional techniques Although structuring codes is to be seen as perceive the arousing dynamics of motion and way characterized by technology. The localisa- and tools therefore won’t have their big appear- work on sound (BOULEZ 1975), this AI-con- “react” to them. This, in turn, is formalized in tion in and synchronization of most AI research ance as ersatz-artist machines, as uber-compos- cept affirmed the idea of music as a logical the concept of the sound-gesture. Music is the with the game rules of big capitalism may com- ers, interpreters and recipients, but will be intro- construct; though sound-synthesis to shape cultivation of emotional communication where plicate common accesses between AI and com- duced by artists, companies and official agencies sounds directly was had not yet been thought of. the sound-gesture is instrumentalized and medi- positional avantgardes, and it is not easy to — in currently unknown ways, on various levels, It was new experimental aesthetics (BERLYNE atized in different kinds of aesthetic behaviour. imagine big data, the basic nutrient of every AI, wildly diverse roles and at very different places — 1974) which focused on the hedonic aspect of The sound-gesture is the impression of sound as independently from big business, yet a mutual into human music-making communities, thereby music that impinged on the idea of structuring it, motion around the body at the same time that the discourse is both important and promising. expanding and questioning them in many ways. since it is the dynamics of structure that lead to meaning of this motion to the body, its tension, That data and correlations regarding music are What should the employment of “fully-autono- hedonic sensations. Aesthetics are nothing but is expressed in bodily behaviour (JAUK 2014); now available to a hitherto unimaginable extent, mous” ersatz music machines in production and explorative behaviour, the “affordance” of the it communicates by “emotional contagion” opens up possibilities to completely new, pre- reception be good for anyway? environment regulating bodily interaction with (HATFIELD 1994) imitating the bodily motion and viously unheard musical practices and means There is nothing there that could be meaningfully it (GIBSON 1982). Homeostatically speaking, its by this internalizing the emotion. in no way that artists from now on will see the outsourced to automata; because music making purpose is to reach a middling level of arousal as Said instrumentalization leads to many “exten- zenith of all artistic realization in the apex of the (which always includes listening to music) pertains to the intensity of stimuli arousing the sions of wo-man’s”, from clapping with the body Gaussian bell curve of standard distribution. Nor constitutes potentially, if not a sufficient justi- body. Complexity was understood as (cognitive) to drumming on any resonating material; from the is it an obligation to abuse the data and tools of fication, then at least a good excuse for human intensity described through information-theory immediate extension of a person’s breath at the machine learning for the cynical “nudging” of existence. (SHANNON 1949), formalizing the dynamics of trombone, to the shaping of sound by behaviour. occurrences by their probability of transition It is mostly the expressing voice that has the in Markov-chains. Today, this layer is “added” sonic role of playing music through instrumental- by the knowledge that sound is not so much ized interaction with other humans and creating
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collective and collectivizing sound-structures The mediatization of tension: “mood-manage- Before digitalization, marketing used previous It was net art which used music to explore through communication in the process. ment” the socio-aesthetic function of music consumer-behaviour to analyse consumer collective and collectivizing generation Mediatization, however, took playing music to First by bodily perception, then by oral media- needs. Until today, this data indicates the active (KERCKHOVE 1995). In alignment with the composing it with the invention of notation. The ting, social communication processes overcame behavior of the here and now. It will be a manner nineties’ perception of net art as a collective and picturing and gridding of the immediate, bodily time (and space) through print media. This was of motion detection, which enables the imme- collectivizing interaction of humans extended sound-gesture in a time and frequency-domain continued by algorithms, extracted from con- diate observation of hedonic musical behaviour into a “sound fetish” (JAUK 2003), it led to enabled the externalisation of implicit knowl- sumer-behavior as a part of a neoliberal hedonic through by media close to the body, noting extracting algorithms using the computer as a edge into explicit knowledge. In adherence to culture; in a process of communication that went signals of bodily activation (JAUK 2014a). supervising tool in such a way that their formal- idealistic culture, the idea of the “objectiva- further away from the body as it drew closer to The kind of media-technology that’s closer to the ization came to adopt its social and aesthetic tion of the we in polyphony” (ADORNO 1947) symbolic signs, but which must come back to body and that is available to every body at once forms by interacting emotionally with them from appeared, to com-pose the interaction-process its roots, to the body, again. Since the forties, supports a “new amateurism” that will bring us the “outside”1. between the “tension-relaxation” (SCHENKER this process has been formalized in hit-parades. closer to a democratic life. Prosuming was but Using music was an implicit going “forward back” 1935) of voices through the “relational think- The late fifties dealt in big data studies analys- one step. AI is a tool to optimize marketing strat- to what music ever was and will be, the manag- ing” (RIEMANN 1914/15) of codes mediating ing behavior to get knowledge about the rela- egies, with a long tradition in managing moods ing of moods by sharing sounds in mostly social voices. Though ruled by the function of sound in tion between consumption and product. This, in as well as in composing algorithmic music. Our situations. No other art is this close to social sit- human life, this line of thinking is culturally over- turn, led to searching for the algorithms behind purpose is to overcome ideologies and merge uations; “beyond semiotics”, music is the less wrought. While the playing of music is closer to musical behavior, in an effort. Once again, this both fields of social life. semiotic form of information-transferring, and the needs of the body, composing it drifted away process was not restricted to twentieth century, the most bodily and emotional communicating from the concept of the “Werk” as constructed it has simply become more and more individ- AI-based prosuming music: AI-Pop art (JAUK 2013). by the will, later generalized in the building of ualized. What was once dictated by autocratic Today, it is not only buying music, but search- It was the avant-garde in the fine arts that inte- virtual realities. leadership, supressing the needs of the body, ing for it, that creates data about preferences. grated the body “as medium” by establishing While the playing of folk musicis close to the becomes a homoeostatic process of self-regu- Such mood-management has social implica- body-art, performance art and action painting hedonic body, the composition of serious (West- lation process set into motion by the optimiza- tions (HARGREAVES 1999) in that it creates to indicate dynamic expressive behavior2. These ern) music is closer to rational thinking in that tion of consumption-behavior, by the use of the music by and for consumption, as part of busi- returns to the body, especially performance art, it finally requires knowledge of notation and its body’s needs. What was criticized as mass-se- ness (TOFFLER 1980). Today, a digitally native follow the template of musical behavior -even rules in order to compose. In this sense, it is duction by rational, bourgeois thinking can finally generation “uses” samples of music, modulat- when they’re unaware of it. access to media which leads to aesthetic and be seen as the continued democratization of ing them in emotional situations, sharing them Fine art, especially, took its creative specific- sociopolitical distinction. To interact bodily, autocratic processes and as humanizing life — through smart mobile devices, creating a cease- ity from auditory interaction in its return to on the other hand, is to communicate, to get provided the control of data is not monopolized. less dynamic of sound-streams. But these per- body-culture, because of dynamization and dig- together for every-body. To interact through The analysis of consumption-behavior is the sons don’t stop to think about whether what they itization, and on account of the transgression media implicates social and political distinc- analysis of intentional behavior; that is, the anal- are doing constitutes musical behavior, and are of the mechanistic paradigm and the mechanic tion, and not only in the times of an established ysis of hedonic interaction with the “images” of likely not aware that they are making music. It is body and their replacement with a more hedonic bourgeoisie. products. Since music is the formalized inten- however an important question for culture: why counterpart. Formalizing dynamics through Music directed “directed” by the process of tionality of behavioral analysis, its close to such shouldn´t we call it music? codes became as paradigmatic to digital culture “gouvernemetalite” is basically structured marketing interests: the two are economic and We have to remember that music formalizes as hedonism became to communication culture, through function; the formalization of “mood- aesthetic behaviors close to the body, and they emotional interaction by creating collective finally integrating the hedonic body to post-digi- management” in ritual and clerical music, as merge. and collectivizing sound. The avant-garde tal culture. As a bacon for communication art, the well as in serious music and especially in pop Music is not just a dominant part of this hedonic of media-as-communication-art is implicitly role of music is to transfer the every-day-com- music. The rules of composition are directed to communication process, it is practised in the referred to in the systematic basis of its origin: munication processes of a communication cul- this function, namely, the reception and reaching same way as consuming “images”. Behaving music is the formalization of hedonic, sonic, ture by using new media technologies extending an emotional goal or, to put it more broadly, of musically is doing music in social interaction by performative interaction, and managing moods the hedonic body. “intentional” consumer behavior. searching for sound, “handling” it and sharing in these socially interactive settings is what We must also analyse not just data indicating A biosemiotic approach to research in sound- it. Isn’t this kind of natural, intelligent interac- became culture, whether trainted on the glory intentional behaviour, but whether it is possible gesture and music will show that music has had tion creating “true” folk-music, a synthesis of of God or in overcoming emotions of sadness. to capture the tension of bodily motion directly. the same bodily function since its mediatization. art and life? The degree of mediatization between “signal” Based on theories of musical production as well 1 | This would involve participants creating a sound by means of a visual interaction typical to the person. They would and “sign”, even in the early days of semiotics as consumption-behavior as mood-manage- then specify their communicative behaviour by choosing to interact with similar or opposite persons, sending their (see NÖTH 1990) and especially as pertains ment, AI-based music-life goes from consump- personal sound (as a fetish) into the multiple communication processes the sound adopts because of interacting to media access, creates different (musical) tion to production (NAKAJIMA 2012) of/for every with similar sounds, each affirming its own emotional qualities, or by doing so with different sounds, with diverse cultures, different socio-aesthetic lives. body (JAUK 2014a). qualities. Participants could finally hear the mutation of their sound whenever they wanted to, and see some kind of mapping where their sound fetish will be dynamically and socially located after a year, worldwide. 2 | e.g. see the Körper-Übermalungen of A. Rainer. 212 213 AIxMUSIC / AIxMUSIC St. Florian/POSTCITY
Mobile devices enable us to capture not only In describing redundancy-aggregates as clus- B-E-I lead to a thinking, mediated, bodily inter- some kind of “signal” that is meant to be picked bodily movements, but the very motion of the ters of “information” via information-theory action, it is the immediate bodily interaction, up by every body. body. Motion-capturing systems can be inte- (SHANNON 1949), new experimental aesthetics its intentionality, which results in emotional Music isn’t just a dominant part of hedonic life, it grated into environments to do just this. Con- (BERLYNE 1974) was on the way to extract communication. To merely indicate this behav- is the paradigm for how to live it. Increasingly, AI cerning the concept of sound-gesture: motion abstract meanings from the behavioral data ior or be content with its cultural value is to go tries to formalize intelligent behaviour that will and sound-perception, as well as sound-gener- of music structures; where the meaning is the “forward back” to the immediate use of said integrate emotion: intentionality and rationality ation and its communicative function, become structure’s arousal, as theoretically premised on behavior’s intention, whereas in musical culture merged in intentional B-E-I and its evolutionary data, the analysis of which brings music “forward the evolutionary theory of explorative behavior. or in those of artificial worlds. power; hearing formalized as music generating back” to its origin. It extracts, then formalizes, it It is the theoretical background of algorith- convergent realities based on bodily needs. in behaviour which has been basic to music since mic computer-music and the theoretical back- Body-music: when nature becomes culture, Serious approaches in evolutionary psychology its inception. Bodily motion in interaction with ground of aesthetic behavior as hedonic behav- when AI becomes “emotional” consider the hedonic life to be more liveable. physical and social environments — even virtual ior in an economy-based hedonic culture that It is sonic performative behavior, the concept of A dominant part of it is the self-regulation of ones — creates music directly: it is “cultivated” in brings both worlds together: the cultivation sound-gesture, which becomes the template for homoeostatic behaviour, wherein AI becomes the stomping of people, by the “Schuhplattler”, of hedonic life through aesthetics, and that of communication as basic cultural process. Shar- the “method” to create hedonic worlds based in “clapping music” — again, to do music and to everyday economic life. Respecting the bodily ing and shaping sounds becomes bodily again on data. By organising this data and analysing “dance” are not split any more. shaping of sound more in the manner of instru- in creating music by and for every body; not by this kind of music, AI transfers emotionally The sixties flagship of freedom through hedo- mental behavior, however, the folkish aspects to managing culturally connoted emotions, but in intelligent regulation into cultural behaviour, nism in the “bodily we” became a kind of indi- music-making through the handling of sound will addressing bodily needs through homoeostatic producing an aesthetics that is “natural”.In so vidualism through a mediated we. AI-based lead im-mediately to a clash between musical (self-)regulation on a level of arousal that can doing, evolutionary processes become a part of hedonic culture can be seen as a backlash to an cultures. This cultural clash is lived even in new help create an alternative hedonic culture. Media an alternative, green concept of culture. early childhood of autistic, hedonic behaviour music splitting modern avant-gardists, who per- technology, including concepts of AI extending What started with intuitive interfaces, which while being surrounded by similar individuals, an petuate the idea of controlling cultural life and and formalizing the mechanic body, is aware of are restricted to mechanical cognitions and “objectivation of the I” within others satisfying its progress by ratio, formalized in music, from how restrictive the mechanical is. This brings behaviour, is to be extended to the intention- their own needs by “using” each other as prod- postmodern musicians living with ideas of “use”, music back to its beginnings as a satisfaction ality of behaviour, to the tension “motivating” ucts; as “de-personalized” samples of life, living where e.g. samples are less used to refer to their of needs for every body, overcoming the idea of motion. Through this, the concept of gesture in a hedonic DIY-culture. meaning than as cultural signs, composing cul- cultivation through structuring sounds by think- as instrumental behaviour has to be extended AI is based on algorithms analysing data; it is the tural re-contextualisation, though through their ing, as a formalization of “tension-relaxation”). by sound-gesture, formalized in music (JAUK “degree” of mediatization away from the body, sound (DIEDERICHSEN 1996), that is, through At the same time, this is a cultural empowerment 2019). It focuses on how we are doing what we which is the gap between the implicit and explicit the hedonic qualities moving the body. of music, and of popular music especially. are doing. Research in musical instruments has knowledge of auditory perception as formalized It is not about playing with the cultural meanings Popular music embodies its basic sense that a long tradition of extending the body by tech- in music. While a distinctive culture is removed of sound, the media of people’s distinction, but the availability of media has to be arranged, any nological devices but these are instruments in from the body and closer to rational understand- with their bodily functions so as to create an indi- intervention in its equal access is a display of the traditional sense, with a focus on virtuosity ing (with a cognitive style that’s based on sight vidualized music for every body in a culture of political power. This is not to avoid emotional in playing mechanical sounds; an understanding and its embodiment), a folkish culture is closer individualized plurality. Remember that notation, hearing as ADORNO assumed, or even emo- which affirmed itself with the reproductive-play- to the (needs of the) body and the hedonic expe- which is a distinctive media, was associated with tional behavior; it is to avoid the monopolization ing of composition, prescribed by notation. rience (with a cognitive style based more closely the establishment of a bourgeoisie. What was of access to body-extensions by continuing the Scientific research is overcoming this musical on the older, phylogenetic sensory control of political progress then can be considered a step process of democratisation through individual- tradition by becoming interested in the basic B-E-I, that is, closer to hearing.) back if one follows the ideology of equality for all, ization in providing media access to every body. “logic” of musical formalization through audi- Maybe the purpose of music is to manage life. It and integrating arts to life. A primitive and even a Years ago, the mediation of “information” had tory B-E-I, that is, by formalizing sound-gesture, is not naturally necessary for us to paint, nor to “barbaric” aspect of the avant-garde is its prox- to be understood by the people leading revo- through social interaction, to create hedonic write poems, but maybe it’s necessary for us to imity to that what American theorists (inspired lutions and reformation. Today, it functions as virtualities. manage the bodily-basis of moods. To “play” with on American pragmatism) criticised when Beuys3 sounds is to train ourselves in reaching homoeo- postulated art and life, but lived this postulation static levels of arousal (even in the human inter- within a traditional art-life. These ideologies can 3 | Following the art concepts of American pragmatism, which was thought of as “kitsch” in old Europe, artistic behavior action of living together). From the point of view be traced to differing degrees of mediatization, is not just the aestheticization of everday life, but a lived aesthetic. Although Beuys didn´t talk about the quality of creative behaviour, he behaved like a mythologized star, displaying behavior THWAITES assessed as “gross self-ag- of biosemiotics, the meaning of music is based with closeness to the body becoming politically grandizement” (see WALTERS 2012, p. 186). Consider that his concept of “soziale Plastik” PLATSCHECK (1984, p. 83) on the natural, explorative behavior to survive. instrumentalized. While signs representing the insinuates even selfish purpose, “soziale Verhältnisse nur für seine Zwecke zu instrumentalisieren”. Very near this, a culture of selfish behavior was being critically argued for by punk, where “a cheap holiday in other people’s misery” served as a metaphor for a life of commercial success of high arousing sensation-media today. It is something we see being brandished today in social media, where the sharing of misery can be used for others to present themselves as “nice”.
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This changes the value of music in culture. But a cultural practice in every folk-culture. what is music to an AI-based culture? AI is just continuing what started with the coding Talking about reaching homeostasis as a dynamic of sound and the composition of sound-struc- stream of arousal in the basic urge to live, it is tures. It is not surprising that computer-music clear that to speak about “intelligence” is to was initially AI-based, the analysis of com- speak of artificial behavior modelled on layered, posed music to extract algorithms to compose neural networks in which “decisions” are looped; new music. It is not surprising, either, that this changing the “knowledge”-base by weighing AI-based music ignored any kind of emotional their contributions, changing their thresholds, component, and that it was only valued ratio- effecting reproduction, mutation, recombination nally. and selection, to finally adopt the whole system Music is the cultivation of hedonic interaction, References: dynamically to reach evolutionary algorithms of intentional B-E-I, of tension because of the Adorno, T. W. (1958). Philosophie der Neuen Musik Jauk, W. (2014b). Back to the roots! Hedonisch bewegte that optimize the behavior of one, for the survival “affordance” of the environment leading to the [1947]. Frankfurt am Main. körperliche Gestaltung des “künstlichen” Klanges. of all. Deep learning changes not only the weight aesthetic as immediately explorative survivalis- Interfaces — Wahrnehmung, Ausdruck und deren Bales, R. F. (1950). Interaction process analysis. of the parameters, but that of the entire system. tic behavior. Instrumentarisierung/Mediatisierung im musikalischen Cambridge. And then there’s the criterion of “efficiency”. New experimental aesthetics are the theoreti- Kommunikationsprozess. In: Arne Bense et al. (eds.), Osnabrück, pp. 277 — 302. Does it correspond to the cultural over-molding cal groundwork of experimental studies showing Boulez, P. (1975). Schönberg, Arnold. Österreichischer Komponist In: P. Boulez (Ed.), Anhaltspunkt Jauk, W. (2019). Sound-gesture: Von der symbolischen of nature in music? that middling levels of arousal lead to the highest (S. 305 — 317). Stuttgart zur unmittelbar körperlichen Interaktion von every body What had not been considered until now arises as attraction. Diederichsen, D. (1996). Stimmbänder und Abstim- — die gemeinsame Gestaltung der post-digital culture aus a cultural and scientific question. It is of greater Formalization in music, expressed as notation, is mungen. Pop und Parlamentarismus. In: T. Holert & M. E-Motion, in: Ellen Fricke und Jana Bressem (eds.) Gesten interest to discern what music is to AI and the the coding of the sound-gesture, the impression Terkessidis (eds.), Mainstream der Minderheiten. Pop in — gestern, heute, übermorgen. Vom Forschungsprojekt media-arts, in that it brings emotion into intelli- of an imagination of the spatial motion of sound der Kontrollgesellschaft (pp. 96 — 114). Berlin zur Ausstellung. Chemnitz, pp 144-149. gence, and the hedonic body into the post-digital around the body (because of embodied cogni- Gibson, J. J. (1982). Wahrnehmung und Umwelt. Kerckhove, D. de (1995). Kunst im World Wide Web. world by converting physical and virtual worlds tions resulting from the perception of sound), München. In: H. Leopoldseder, C. Schöpf (eds.), Prix Ars Electronica through the needs of the body. and the immediate behavior expressing the Hargreaves, D. J. and A. C. North (1999): The Functions 95 pp. 37 — 49. Together with this decline in rational, visual cul- meaning of this motion to the body. Its gridding of Music in Everyday Life: Redefining the Social in Music Minsky, M. (1986). The society of mind. Simon and ture; the value of music rises, as does that relat- and mediatization, as code, leads to a (su-)spe- Psychology, Psychology of Music, Vol. 27, n° 1, p. 71 — 83. Schuster, New York. ing to its integration into media-worlds. Though cious “higher” step in culture, wherein notation its absence can be argued from the dominance enabled the composition of the “Werk”. Hatfield, E. (1994). Emotional Contagion. Cambridge. Nakajima, S. (2012): Prosumption in Art, American Behavioral Scientist 56, p. 550 — 569. of “visual-thinking”, the fact is music was not What was tried to be formalized in the “Werk”, Jauk, W.(1982). Komplexität und hedonische Empfindung affected as the analogous picturing by digitiza- what was lived in folk-culture, is the basis of von Liedern verschiedener musikalischer Epochen, Graz Nöth, W. (1990) Handbook of Semiotics, Bloomington tion: it is a cultural product coding the dynamics music: the rationality of structuring emotions Jauk, W. (2003): Social Sound Fetish. Net-Art-Project — Platschek, J. H. (1984). Über die Dummheit in der of sound and composing by putting those codes based on bodily behavior. Music is neither intelli- Graz, European Capital of Culture. Malerei. Frankfurt together, formalizing hearing and, through it, gent nor emotional; it formalizes the intentionality Jauk, W. (2009). pop/music+medien/kunst. Riemann, H. (1914/15). Ideen zu einer ‚Lehre von den the emotional “intelligence” of communication. of instrumental behaviour not as simple adding, Der musikalisierte Alltag der digital culture. Osnabrück Tonvorstellungen‘. In: Jahrbuch der Musikbibliothek Peters 21/22, pp. 1 — 26. Music has, in other words, been concerned but as synthesis. This is what MINSKY argued AI Jauk, W. (2013). Beyond semiotics? Music — a phenom- with the high transgression of the mechanis- should be: “the question is not whether intelli- enon of mediatization: The extension of the hedonistic Schenker, H. (1935): Der freie Satz. Wien body and its communicative aspects. In: Davidovi, D.; tic paradigm via dynamization and digitization gent machines can have emotions, but whether Shannon, D. E. & Weaver, W. (1949). The mathematical Bezi, N. (eds.): New unknown music. Essays in Honour of Theory of Communication. Urbana. (JAUK 2009). machines can be intelligent without any emo- Nikša Gligo, Zagreb, pp. 407 — 421. For hundreds of years, that coding dynamic tions” (MINSKY, 1986). In this sense, the ideo- Toffler, A. (1980): The Third Wave”. New York: Bantam Jauk, W. (2014a). Intuitive gestural interfaces/adaptive Books. occurrences is not new to music is maybe why logical aesthetic-dispute within music is an environments and mobile devices/apps. Playing music the first computer-arts were computer-music. important step towards establishing an auditory and the musical work as a role model for personalized Walters, V. (2012): Joseph Beuys and the Celtic Wor(l)d. Nevertheless, media close to the body brought culture in which we accept what “knowledge” gestural interaction in social environments. In: ICMWT, A Language of Healing. European Studies in Culture and music a “forward back” (JAUK 2014b, 2019) can be transferred from living music to life in an Beijing, pp. 280 — 284. Policy, Berlin. future to the immediate bodily shaping of sound; emotionally intelligent artificial world.
HERE IT STARTS AGAIN: THIS IS WHAT AI IS TO MUSIC;
A RETURN TO ITS OWN CULTURE. IT IS CULTURAL RE-EMPOWERMENT.
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Werner Jauk (AT) AI and AE — what is music to AI ... The sonic performative body, a paradigm to live life in post-digital culture
INTRODUCTION
What we see is primarily re-cognized, or The “vision” of a multisensory extension for the body, is paradigmatic to post-digital culture, and time and space, hearing is a more hedonic inter- “pictured” by the visual system. This percept body became increasingly urgent. It led to the involves a contemporary cultural “understand- action. And it is digital culture that brought the is compared with other, previous perceptions overcoming of the concept of the “useless body” ing” of intelligence with emotion. transgression of the mechanistic paradigm and and culturally coded through language. This is (BAUDRILLARD, 1981) and the acceptance of the shift towards a hedonic paradigm by regulat- how the presence of experience is re-presented “mixed” physical and virtual worlds where one This cultural turn is thus a musical turn — the ing life in post-digital culture. in symbolic signs. Implicit body-knowledge is can see that which one cannot bodily enact. The transgression of a mechanistic paradigm by Often described as an aesthetics of “failure” on externalized by codes allowing its communica- integration of the body in virtual worlds to create mediatization within neoliberal post-digital the basis of its own restrictions, this understand- tion. Mediatization is how media brings implicit “converged” realities followed from this. culture. ing of it should be extended: the failure is to con- knowledge to explicit knowledge, permitting its While music was the first digital environment to centrate on the mechanistic body. It was, after cultural manipulation. This formalization process formalize the creation of environments through Often postulated as a decline in 20th century all, extension that made an “untouchable”, digi- through media is what we know as cultivation. bodily interaction, its impact was suppressed in visual culture of (DUBUFFET), it was implicitly tal world “la fin du corps” (BAUDRILLARD: 1981, According to this “empowerment” in being cul- the discourse of media-culture by the cultural fulfilled by a change in music-culture. This can 151). This led to the integration of an “alterna- ture, music is considered as the cultivation of dominance of seeing and understanding, often be seen in the shift from the narrative song to the tive” (cultural concept of the) body, the hedonic the sonic interaction between the body and its implicitly argued for from the perspective of evo- sound-dominance of techno-pop-music under- body in digital “convergence” with material life to environment, a pre-semiotic perception just of lutionary progress. Even so, hearing and its for- stood as “the decline of figure and the rise of create post-digital cultures (JAUK, 2019). qualities of sound. But music is mostly under- malization through music are now increasingly ground” (TAGG, 1994) through immersion in “an Hearing is thus the dominant, natural base for stood through visual criteria, that is, by seeing present in bridging the gap between the human ocean of sound” (TOOP, 1997). a hedonic culture; a bodily alternative to the and cognitive understanding. We consider this body and virtuality by establishing an alternative It was finally Marshall McLUHAN (1995) who mechanistic body “cultivated” in a neoliberal intermedial transposition a process of cultiva- hedonic as an auditory culture. overcame the visual paradigm by arguing that environment where interaction is neve assumed tion; a making nature of culture. An intermedial There are many definitions of intelligence, but electronic space should be “perceived” as audi- to be rational. What ADORNO condemned as the transposition is thus a scientific “bias”: we look few approaches to artificial intelligence. “Intelli- tory space. The “all-at-onceness” of information “social untrue” is political everyday life today. at hearing, or extract information from what gence is what this test measures” acknowledges inverts the process of its acquisition: we no lon- It was BOHRER (1979) who described this turn, sound expresses. its cultural and instrumental use the most. Fol- ger go to the information, the information comes and SCHULZE (2000) who brought this political Finally, through the technological extension of lowing the dominance of a rational-visual culture, to us. It is present in the electronic space and climate together with music, and with pop-music, wo-man — which led, in turn, to dynamization AI is eminently handled as a generation-process we can just grab it. This is the situation of the specifically. Media-theories and new experimen- and, by virtue of it, to the “stillstand” (VIRILIO, based on analyses of “logical” processes, where net-space. Although we talk about our www-in- tal aesthetics based on evolutionary psychology 1992) of the “all-at-onceness” (McLUHAN, behavior is reduced to coded “information” teraction in terms of visual interaction, we con- could be argued as the bases for a musicalized 1995); to digitalization and the possibility of cre- described by probabilities premised on cultural duct ourselves around it an auditory manner by culture (JAUK, 2009), in that they follow the for- ating immaterial worlds — mediatization brought and instrumental values. “listening” to information and apprehending it malizations of hearing after the transgression of on the transgression of the mechanistic para- This rational, idealistic understanding has since not through rational decision, but because of the mechanistic paradigm through mediatization digm (JAUK, 2003) associated with a turn from been displaced. Remembering MINSKY (1986), the “affordance” it provides us with; namely, and the dynamization of the body-environment the seeing-body to the auditory-body. It is a turn we have to ask again: can intelligence be without by virtue of its meaning to the body as excite- interaction (effectively, the shift from digital to from a mechanistic body (and its extension, in a emotion? Despite being understood as a logi- ment. This newer explanation follows the inten- post-digital-culture). mechanistic sense) controlled by understand- cal process of “relational thinking” (RIEMANN, tional B-E-I proposed by GIBSON (1982), which This cultural turn revolutionized the concept ing, to the non-mechanistic “controlled” by 1914/15) because of the mediatization of “ten- assumes hedonic values to be the criteria for the “perception” by finally extending the cognitive hedonic needs. The dominance of instrumen- sion-relaxation” (SCHENKER, 1935) in notation, attentional behavior of our bodies to environ- model of information-processing to an inten- tal interactions between body and environment music has become a dominant part of hedonic ments formed through this: DARWIN’s concept tional body-environment-interaction; an arous- moved towards intentional B-E-I / Body-Environ- culture. New media enables music to go “forward of adoption, in brief. al-based bodily behavior resulting in specific, ment-Interaction. It is thus the “affordance” of back” (JAUK, 2014b) to formalize the hedonic While visual interaction is associated with the embodied “cognitions”. And because of the sen- the environment bringing the body in tension to body: sound-gesture, that is to say, the bodily mechanistic paradigm as a classical logical pro- sory “control” implied therein, this is also puts a interact (GIBSON, 1982). imagination of sound and its meaning to the cess describing motion as a function of energy in spin on what “intelligence” may be.
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Synthesizing is a cognition based on embod- While these paradigm shifts in media are primar- we primarily perceive abstract sounds. While the as intuitive behavior intentionally triggering our iments of bodily control through visual B-E-I ily argued by mechanic, technological extensions coding process for visual perception leads us to B-E-I, setting the body in motion expressing synthesizing pictures of the world. Mechanis- of the material body; behavioral intentionality assume cognitive decisions, auditory perception emotion. tic understanding is to synthesize new worlds as the driving force behind them is underrated. is more stimulating of behavior based on implicit The formalization of hearing in Western music based on the understanding of the existing one With the appearance of a new experimental aes- knowledge and known as the “tacit dimension” culture is based on a visual intermedial transpo- through rational processes, by the setting phys- thetics (BERLYNE, 1974) working on the coding (POLANYI, 1966). The mere sensory qualities of sition. The imagination of sound and the mean- ical parameters that relate to the environment, of emotional behavior through information-the- sound provoke the body’s activation, with the ing of this motion to the body, today described formalized as geometry to reach innovation in a ory and computer-generated music, AI research sound of motion being perceived im-mediately by the concept of “sound-gesture” is pictured modern sense. has been trying to integrate emotional behavior as e-motion in order for the body to “survive”. as “neuma”; its gridding in a time-and frequen- Hearing is closer to an analytic process of into communicative processes. It increasingly Specific approaches adjacent to biosemiotics are cy-domain resulting in “notation” representing dynamic behavior, of motion, around the body accepts that the decisions taken in a process of concerned with the formation of “meaning” from the physical, visual imagination of motion by being grabbed by their affordances. It’s an inten- information “reduction” are not rational or clas- physiological processes. For this field, the study numerical codes within geometrical thinking. sity, and in its tension is its meaning to reach sically “intelligent” but more “emotional”, and so of hearing and functional sounds will be a fruitful This allows to com-pose codes for sounds into an homoeostatic activation the primal goal of it helps to weigh these parameters of information research area. musical structures: the “Werk”. Through this which is to survive. Creation is more a putting through their bodily “intensity”. Hearing “meanings” is a bodily feeling of activ- intermedial transposition and its coding, the per- together of existing tension-relaxation motions This is where finally music comes in. As the ity because of the “affordances” of motion. It ception of tension-relaxation of sounds turned in the bodily domain, within the context-variation formalization of hearing through its meaning to is more a process “beyond semiotics” (JAUK, to the visual domain and to its understanding of of its cognitive counterpart. It is cultivated in the the body, it is a form of arousal. It is also the 2013). Even semiologists have described the “relational thinking” (which was culturally used frame of a more postmodern “understanding” of concept sound-gesture which formalizes the existence of signals . LANGER (1953), for exam- as a means of empowerment, as well as a social plurality and diversity. imagination of motion and the expression of its ple, called musical form the presentative sign / political distinction of the bourgeoisie). Composition is an artefact of the medial trans- bodily meaning. It is “cultivated” in the “Ursatz” of feeling. Auditory interaction had to be revived. It was position of sound to the visual domain and its of serious Western music as “form” (SCHENKER, When linguists talk about what the first what culturally masked by the logic of visual under- coding. Taken to the extreme, the music result- 1935), but is lived bodily in popular music as humans experienced as “significants” (WIDMER standing; hearing was understood through the ing from this was adequate to understand its “tension-relaxation”. 2007), it is to interpret a visual approach to the experience / embodied cognitions of seeing. relational thinking, hearing sound was “social cultural world: Sound-gesture describes the fusion of the mech- untrue” by being political seductive. The logic of seeing things in front of the body — What we first experience in B-E-I are embodi- anistic-visual and hedonic-auditory worlds: it is Two aesthetic worlds clash with each other its immersion into the dynamics of sound ments which lead to cognitions, from the logical the impression of the imagination of embodied today, spurred by the continuation of the idea orders we call causality because of the experi- because the experience of physical sound-mod- of composition, the putting-together sounds What are the great differences between seeing ence of “shocks and pushes” (LEVY, 2000) to the ulations during the propagation of sound and a by media-technologies driven by algorithmic and hearing (JAUK, 2000)? Seeing is picturing a cultural meanings of (symbolic) signs. conceptual metaphor (LAKOFF, 1980) and the “rules”. Creating serious music remains new sight of things within a psychological moment Despite the understanding of the re-presentation transposition of the concept’s gravity into sound to music until today. “Doing music,” that is, to (what German iconically terms “Augenblick”) in of the presence, we perceive the presence: the does not underlay the gravity in our perception live music bodily by handling and shaping sound front of the body, wherein they’re re-cognized meaning of the motion around us is the meaning motion, and the expression of the “meaning” of through motion and shaking the body to sound is by an information-processing system, “in ratio” to the body, which behaves to survive. this motion to the body, causes an immediate considered to be stupid pop. to each other. Because we produce “pictures” While the verbalization in symbolic signs lets us and mediated sound-production and expression The function of music for managing moods as through bodily motion, seeing is associated to understand the environment to behave, sound of the e-motion, that is, of the arousal of the used from clerical to pop and folk-music has a “synthesizing” reality. Hearing, on the other leads closer to the implicit knowledge associated body. The impression of motion and the expres- been culturally forgotten. hand, is a more phylogenetically ancient kind with intuitive behavior following the needs of the sion of motion are of sonic performative qual- Finally the semper et ubique availability of sound of perception in which sound, being motion all body (which can be thought about later.) ity; its basic sonic quality being “sharpness”, its and tools to handle it bodily allow the “forward around a body, is analyzed because it triggers an The logic of seeing was mapped to the hedonics basic bodily quality, “activity”. back” (JAUK, 2014b) movement of this basically im-mediate bodily behavior; one that’s re-cog- of hearing. This intermodal/medial transposition This paradigm of a hedonic interaction can human bodily shaping of sounds to b grabbed nized on a conscious level even with a large is called Western culture. hardly be reduced to the concept of information- from the dynamic “sound-base” of the www. delay. Hearing is, primarily, perceiving intensities When HEIDEGGER (2003) argues that we don´t transfer, it has more to do with “handling” as This new amateurism of popular music in its as signals (relating to a concept of intentional- perceive just a sound, but hear the door falling a bodily communication process, a becoming purest sense is near the origin of music in the ity of B-E-I the extremity of which we know as into the lock, his argumentation is based on a “communis”. interplay between the bodily tension which pro- “pain”). Making music as a formalization of the visual understanding of perception. Studies A common turn towards a body-culture and to duces sound (and that communicates this very sonic performative body is a paradigm of hedonic (CARAMIAUX 2002) show that we hear abstract the transgression of the mechanistic paradigm tension); leading to a common dynamic of indi- interaction and this creation of environments is sensory qualities and not concrete information dominated by seeing is thus affirmed by the vidual bodies, in their current situations, living respectful of the body’s needs. being coded as explicit knowledge. In short, we “forward back” turn to the earlier phylogenetic with the affordances provided to them by envi- Sound is nothing but an artifact of motion don´t recognize an index for a certain motion; dominance of hearing, and is on the way to ronmental stimuli. around the body. Despite visual perception, rather, we get implicit knowledge of “motion” establish an “auditory culture”.
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Hedonic interaction and the generation of Through polyphony, it was “objectivated” in the interactions as a cognitive interpretation of a What is hedonic interaction, what is music artificial intelligent realities (expressive) interaction of the “voices of the we” “decision” made after the “bodily” action was to AI? (ADORNO, 1958), where notation enabled com- done. But how can this emotional quality be While AI is based on an information process- position as a dynamic process of communication detected? Tension is the natural basis for music: In the early days of AI, Marvin MINSKY argued, ing-model where new knowledge is generated by the imagination of the interacting bodies, in bodily tension produces sound as motion; its that “the question is not whether intelligent by extracting patterns from (behavioral) infor- tension, coding their voices. The idea of an “abso- reception brings the body in tension and motion; machines can have emotions, but whether mation premised on knowledge representing the lute music”, which came up with the structuring the sound-gesture “contains” the “information” machines can be intelligent without any emo- structures of previous experiences interacting in of codes (re-presenting sounds) came to inter- of this body-sound-relation through bodily tions” (MINSKY, 1986). In a society of the mind, a dynamic feedback-process, AE is based on the rupt this hedonic body-culture. But the alterna- tension; and capturing this intentionality in an based on a culture of seeing, semiological inter- intentionality of the body’s behavior as indica- tive idea of a natural basis for cultural commu- instrumental behavior will capture emotional pretation and cognition dominated even mod- tive of the dynamics of activation and the human nication didn´t get lost. “Interaction” was an qualities of interaction by converging the inten- els for the study of emotions. Looking “forward and social contexts of these communication pro- everyday term in the folk and jazz scenes of the tional and the instrumental towards creating back”, mankind besinnt sich more and more on cesses and material environment”. sixties (KNAUER, 1996) before it was ever used culture and environments. its development and, through this, of its ground- Psychological and anthropological research in the media-arts, and long after it was reduced This conversion includes a shift from informa- ing. It’s worth considering emotion is not just a focuses on the visual representation of emotion to a mechanical concept reaction, instead of a tion to communication, from the stable repeti- product of the cognitive assessment of a situa- by “looking at” facial expressions and under- communicational concept interaction (JAUK, tion-state of mechanic interaction to an evolu- tion that the body is in; but that it’s first of all, a standing its cultural coding in (evaluative) verbal 1995). It is based foremostly on interaction tionary concept of the dynamics by adoption. bodily perception and an immediate, intention- terms describing universal categories of emo- in psychological groups (BALES, 1950), where Any single intentional B-E-I adopts the body and ally triggered behavior to be cognitively evalu- tion. Musicological oriented research focuses informal interaction is immediate bodily commu- the environment by homoestasis; it adopts the ated “afterwards” (MATURANA, 1987). on bodily behavior expressing the intentional- nication through nonverbal behavior, which has concept of music and intelligence. Concepts of To play music is a paradigm of a process of ity; felt as the “activity” of a dimensional con- collective and collectivizing power. Net-art and intelligent behavior have to become close to con- emotional decision-making within instrumental cept of emotion in which any kind of feeling is communication-art, for instance were defined by cepts of evolutionary intelligence, the dynamics behavior to “create” culture. nonverbally “placed” in the “semantic space” this (KERCKHOVE, 1995) “intuitively”. of neural networks has to become integrated There is implicit knowledge in this intentional (OSGOOD, 1957). From the Enlightenment to Idealism, the genera- into evolutionary concepts explored by evolu- process. Although its nature is a power to sur- Although used as shortcut text-emoticon in tion of reality was a rational process. We assume tionary psychology formalized in evolutionary vive, rational culture suppressed it. Music is the everyday life, the iconic representation of human that material, natural processes are systemic algorithms. formalization of this body knowledge of hedonic facial expressions within verbal contexts seems and self-regulating, built around a homoeostatic Although concepts of Artificial Neural Network interaction (JAUK, 2018). But formalizing did to be culturally connoted and less “universal” base; even if most human cultural processes are are close to (cognitive) concepts of information not so much lead to an explicit knowledge of (RACHAEL, 2012) than the more phylogeneti- finally controlled by emotional decisions. What processing, it is adoption enriching the concept emotional interaction, as it shifted emotion to a cally ancient intentionality of the body, its ten- we call emotion is another cultural construction, of AI, it will be the turn from “information” to cognitive understanding, affirmed by the inter- sion. Mapping facial expressions to humanize where the power of bodily in-tension is behind “meaning to the body”, which will shift infor- medial transposition coding of the bodily pro- things focuses on “obvious” visual interaction decisions founded on the natural “desire” for mation to communication integrating emotion cess in notation valued as a cultural process. and an unnatural transposition. Despite this, homoeostatic states, that is, levels of activation into intelligence. The concept of neural net- Formalizing “tension-relaxation” was reduced emotion-cartooning bestowing intentionality on of a liveable amount. This is regulated by behav- work becomes role model of adopting intelli- to “relational thinking”. instrumental behavior is perceived to be more ior stimulated by the affordances in of the envi- gence based on a dynamic system of layered As with music, the emotional part of intelligence, natural: experiments show the greater con- ronment, and it is the quality of stimuli that will nodes where “decisions” are feedback-looped. too, is more or less “rationalized” to a cognitive tentment of persons working with this kind of determine the evaluation, and the final potency, These feedbacks change the “knowledge”-base understanding. Artificial intelligence is based humanized robot. Adding intentionality to instru- of an activity. Cognitive valuation is but a part of by weighting their contribution, changing their on the extraction of qualities indicated by data. mental behavior lends emotion to motion, even the process of integrating the bodily sensation thresholds, effecting reproduction, mutation, Any extraction can only achieve what is already that of robots. This is the concept of sound-ges- to cultural norms. recombination and selection, finally adopt- encoded in the data. The more the data refers to ture which, with its fruitful approach to artificial A hedonic culture is based on this kind of emo- ing the whole system dynamically, optimizing symbolic representation or culturally affirmed emotion and via its integration into AI, respects tional interaction. Such emotions shape atti- behavior of one to survive for all. This dynamic terms, the more the data is removed from the the body’s needs in dominating a hedonic cul- tudes more than rational thinking. Cultural means to reach its formalization in evolution- dominant dimensions of emotions (and the less ture. behavior, whether aesthetic or political, on a ary algorithms. Deep learning changes not only the extracted algorithm will be valid as an algo- This behavioral dimension to emotion is close mass or social scale —especially with music — the weight of parameters but the whole system, rithm meant to generate emotions as a part of to hedonic interaction insofar as it’s in-tented is primarily based on attitudes. This intimate finally the criteria of the evaluation of its “effi- B-E-I.) by bodily “tension”, which gives “meaning” to homoeostatic behavior is susceptible to control ciency” — is it the externalisation of cultural It is not about to indicate emotion by associ- these dynamic processes as it has ever since by rational thinking than the other way round: a over-molding of nature in music? AE becomes ated data (as it is done by studying, for instance, musical interaction became one of the commu- rational concept comes nearer to representing the meaning of artificial emotion integrating con- consumer behavior) by not representing the nication-arts. the “thinking about” the presence of emotional cepts of evolutionary algorithm. specifics of the interaction of the intentional
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and instrumental part of B-E-I: it is to detect of generating artificial behavior that can be capture the activity as tension forcing e-motion understanding of algorithmic composition; their the intentionality of B-E-I. Nor is it to code perceived as emotionally communicating through motion. analyses even ignored that music could be the emotion by transposing it into another mode to bodily tension through “emotional contagion” If music is a process of mediatization of bodily formalization of tension-processes in commu- reach explicit knowledge, but to accept implicit (HATFIELD, 1994) by imitation of a motion’s tension, then motion-detection falls into this nication. knowledge is knowledge; perhaps even the most internalization of emotion. This theory is parallel manner of mediatization, which immediately It was the psychobiology of new experimen- important knowledge to survive. to the concept of sound-gesture, in which the detects tension. It’s a media-technology that’s tal aesthetics (BERLYNE, 1974), which defined It is the immediate capture of intentionality, perception of motion is lent bodily expression as not only close to the body, but for the body, for aesthetic behavior as explorative and based the being-in-tension because of a stimulus in emotion, thus starting the process of contagion. every body. on activity, that raised the affordance of stim- the environment, which immediately expresses Intelligence is more closely related to “zweck- If epistemological media art aims to explore uli to the body. According to the psychological its (adoptive) behavior. It is the concept of rational” instrumental behavior, which tends to the implications of reality-imaginations on the approach to music as the formalization of hear- sound-gesture that immediately expresses the be efficient in a variety of ways. Emotion is more extension of the body, then it’s an experimental ing, musical structure indicates bodily activation meaning of motions to the body, because it is nearly related to homoeostatic behavior, play- setting within real-life situations outside labor. (felt as “activity”); analyses of music get knowl- part of the intentional B-E-I of the affordance ing with tension to reach a preferred mid-level This is what the study of “media” close to the edge about the coding of tension as an aesthetic of motion around the body. To analyze this kind arousal. Though new experimental aesthetics body needs, the kind of data that doesn’t only process in time. of data is to analyze the dimensional activity of describes and explains precognitive attentional re-present intentional behavior, but is the pres- Today, it is the analyses of bodily behavior, and emotion. It could be done by motion tracking behavior as being basically explorative; this does ence of intentional behavior that can be ana- not as an indicator of motion but as a moving complemented with physiological and psycho- not mean that culturally based expectations or lyzed to draw emotionally intelligent algorithms part of emotion felt as a communicative “activ- logical data. deviations can’t be sources for activation. But it from it. ity”, that allows the capture of e-motion through Nonverbal sound-gesture research yielded many is the quality of the stimuli “beyond semiotics” Music is a plural model for enriching AI with emo- technologies developed around the concept results describing the dynamics of spatial motion that will set it into motion. tion. Based on the formalization of sound-ges- “sound-gesture”. Sound-gesture is understood in the upper body and their correlation to the Studies in new experimental aesthetics explored ture, music is the paradigm for how to code emo- as the imagination of motion around the body emotional dimensions and spatial imagination this behavior with relation to the stimuli affor- tion. It is also a “model” for how not to fall into and the expression of the meaning of this motion of sound-movement. dance by indicating their intensity in order of an existence independent of the media, which to the body through bodily motion; it is, in other Compared to the criteria of universal emotions, complexity (as compared to previous experi- is what led to the intermedial transposition of words, what’s instrumentalized and mediatized gestural expression shows some kind of exclud- ences), which were later formalized in aggre- music from the feeling of sound to the under- in music. ing validity in that it shows what they cannot gates through information theory. It was finally standing of codes. This shift is to be avoided. It depends on the media, on its availability, on be (BEHNE, 1982). It is the dominance of the the length of Markov chains reaching for max- Today, it is media near the body and detecting what kind of emotion is communicated. In terms “activity” which shows the tension in its inde- imum redundancy that caused arousal: the signals of hedonic interaction that is toppling the of scientific communication, we must consider pendency of evaluation. This, in turn, shows if shorter the information-aggregate, the more cultural dominance of rationality. the intermedial transposition from presence to the quality of the emotion is pleasing or unpleas- complex a structure is; the more information in a re-presence as externalization and, in a certain ing. Experimental results show a high probability structure, the easier it will be to predict, because Closer to the body. When signals become way, as an objectivation of emotion. On the other of confusion for the recognition of the quality of uncertainty leads to arousal. The development media: from the formalization of the body´s hand, it is a medial “bias” turning a natural pres- the expression of high activity; not distinguish- of music through notation shows a tendency geometric view to the immediate “use” of an ence into a cultural norm. ing positive from negative evaluation even if, to towards becoming more complex (JAUK, 1982). implicit knowledge of the body It was new experimental aesthetics that pro- detect the activity, sound-gesture is a valid phys- The dimensional concept helps “reduce” the vided the theoretical basis for art being struc- iological and psychological behavior. Its tempo- categorical emotion to an intentional aspect of Computer-music was the first “new” media-art tured and perceived as a feeling of tension, as ral dynamic is related to the temporal specifics instrumental behavior: it is the activity invited by capable of analyzing compositions to extract pat- activity, by defining aesthetic behavior as explor- of tension-relaxation. the affordance of a situation. At first this affor- terns, formalized as algorithms, from which to ative behavior. At the same time, this research The temporal repetition of sound-gestures is dance is given just by its intensity, and only later generate more music made by a computer. This tried to capture series of emotional decisions formalized as music. The dynamics in frequency would it be cognitively evaluated on situational is the basic paradigm of AI. through the use information-theory. and amplitude perceived as dynamics of “sharp- and internalized cultural norms. This cognitive But it was information theory (SHANNON, 1949) It is motion-detection technology and its avail- ness” (BISMARCK, 1974) cause “acoustic driving extension of the new experimental aesthetics which provided the mathematical method to ability to us in everyday life, though, which effects” (HARRER, 1975) formalized as dance. explains the rise of “activity” as well (KONECNI, analyze and generate structures to formalize enables to communicate the intentional behav- All of them are immediately “produced” by the 1977). hearing and its cultivation through music; the ior of the body and the sounds it’s correlated tension of the body, which is generally imme- Mobile device — in the sense of instruments structuring following bodily activation (felt as with: again, the presence of the impression and diate bodily behavior through which to analyze detecting motion and the motion of e-motion — “activity”) of aesthetic processes in time. expression of said “tension” as sound-gesture. tension as the intentionality of B-E-I. place the dynamics of activation within the body. Big data studies analyzing information aggre- Culture is no longer restricted to communicate While our mechanistic understanding focuses They can very economically provide “informa- gates and structural generation were wrapped up e-motions through picturing, coding and describ- more on the mathematics of extraction-pro- tion” about how we are doing what we are doing with extracted algorithms as a part of late-fifties ing their meaning as cultural “good”. It is now cesses, it is just as important take care of the (JAUK, 2014: a,b), with studies showing that computer-culture. However, this kind of AI-gen- possible to communicate this meaning as the quality of data to achieve algorithms capable 3-point detection of the upper body is enough to erated computer music followed the mechanistic reception of sonic performative behavior with
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our body immediately. In this way, scientific nonverbal communication; potentially on a mass Jauk, W.(1982). Komplexität und hedonische Empfindung Konecni, V. J. (1977). Quelques déterminants sociaux, communication goes beyond cultural “correc- scale, and soon to take place with machines. von Liedern verschiedener musikalischer Epochen, Graz émotionnels et cognitifs des préférences esthétiques relatives á des mélodies de complexité variable. In: Jauk, W. (1995). Interaktivität statt Reaktivität. In: H. tion” as a bias for “culture”. In an experimental One may finally argue that, following the con- Bulletin der Psychologie, 30, 688—715. setting, it allows us to observe even the cultural cept of creation through analysis, AI won’t be Leopoldseder & C. Schöpf (eds.), Prix Ars Electronica 95, Linz pp. 23—27. Lakoff, G.; Johnson, M. (2003). Metaphors we live by bias. This means this method of observation and able to create a new world. We have to over- [1980]. London 2003. communication is an epistemological one that come progressive modern ways of thinking; to Jauk, W. (2000). The Auditory Logic: An Alternative to the “Sight of Things”. In: H. Nowotny, M. Weiss & K. Hänni Lévy, P. (2000). Die Metapher des Hypertextes [1990]. doesn’t just transcend cultural processes, but accept linear models of rational progress by way (Hrsg.), Jahrbuch des Collegium Helveticum Zürich, pp. In: C. Pias et al (Hrsg.), Kursbuch Medienkultur. Die makes them obvious. Hence its powerful mean- of non-rational processes. We increasingly have 321—338 maßgeblichen Theorien von Brecht bis Baudrillard ing as artifact or as an instrumental part of gou- to accept that human cultures structure them- (S. 525—528). Stuttgart. Jauk, W. (2003). The Transgression of the Mechanistic vernementalite. selves around the hedonic needs of the body; Paradigm — Music and the New Arts. In: Dialogue and Langer, S. K. (1953). Feeling and Form. A Theory of Art From the perspective of the cultural sciences, that the homoeostatic force is what adopts a Universalism, 8-9, pp. 179-186. Developed from Philosophy in a New Key. London. Maturana H.; Varela, F. F. (1987). The Tree of Knowledge. it is not a naive backslash to natural culture. rational behavior to effect the tenable dynamic Jauk, W. (2009). pop/music+medien/kunst. The Biological Roots of Human Understanding. Boston. Rather, it makes it immediately worthy of study we call life. Der musikalisierte Alltag der digital culture. Osnabrück McLuhan, M. (1995). The global village: der Weg der and communicates the powerful methods What started with intuitive interfaces and com- Jauk, W. (2013). Beyond semiotics? Music — a phenom- Mediengesellschaft ins 21. Jahrhundert (Übersetzung: gouvernementalite has used since the onset munication art is what epistemological media- enon of mediatization: The extension of the hedonistic C. P. Leonhardt, Einleitung: D. Baake). Paderborn. body and its communicative aspects. In: Davidovi, D.; of media-technologies: immediate activation art explores today: a humanized conversion of Minsky, M. (1986). The society of mind. Simon and Bezi, N. (eds.): New unknown music. Essays in Honour of to load up words with “emotional” meanings; worlds physical and virtual, based on an intel- Schuster, New York. Nikša Gligo, Zagreb, pp. 407—421. emotional sensations conveyed by the bodily ligence respecting the needs of the body. It’s a Osgood, L.E. et.al, (1957). The measurement of meaning, Jauk, W. (2014a). Intuitive gestural interfaces/adaptive expression of emotion in sound and in gesture. concept of AI in which the notions of intentional Urbana. environments and mobile devices/apps. Playing music Sound-gesture describes this expressive medi- emotion and mechanic rational behavior can and the musical work as a role model for personalized Pazukhin, R. (1972). The concept of signal. In: Lingua atization of presence as emotional contagion and converge. gestural interaction in social environments. In: ICMWT, Posnanien — sis 16 Beijing, pp. 280—284. explores its immediate bodily communication. Piaget, J. (1962). Play, Dreams, and Imitation in Child- What cultural science has described, mostly Jauk, W. (2014b). Back to the roots! Hedonisch bewegte hood. New York körperliche Gestaltung des “künstlichen” Klanges. Inter- within the frame of powerful-ideologies, is what Polanyi, M. (1966). The Tacit Dimension, Chicago faces — Wahrnehmung, Ausdruck und deren Instrumen- can be relativized by methods of discourse, to be References tarisierung/Mediatisierung im musikalischen Kommu- Rachael E. Jack, Oliver G. B. Garrod, Hui Yu, Roberto controlled experimentally. Adorno, T. W. (1958). Philosophie der Neuen Musik nikationsprozess. In: Arne Bense et al. (eds.), Osnabrück, Caldara, and Philippe G. Schyns (2012). Facial [1947]. Frankfurt am Main. Cultural studies explore this natural behavior pp. 277—302. expressions of emotion are not culturally universal, in: PNAS May 8, 2012 109 (19) 7241—7244 as applied to cultural processes. The concept Bales, R. F. (1950). Interaction process analysis. Jauk, W. (2018). Basic instincts ... Kultivierung / Cambridge. of sound-gesture, which perceives motion and Kulturen des auditiven Körperwissens. Auditives Riemann, H. (1914/15). Ideen zu einer ‚Lehre von den expresses its emotion, and the theory of “emo- Baudrillard, J. (1981). Simulacres et simulation. Paris. Wissen — implizites Körperwissen aus der Erfahrung des Tonvorstellungen‘. In: Jahrbuch der Musikbibliothek tional contagion” (HATFIELD, 1994) which com- körperlichen Hörens bewegter Natur zur Orientierung in Peters 21/22, pp. 1—26. Behne, K.-E. (1982), Musik — Kommunikation oder physikalischen und virtuellen dynamischen Umwelten. municates bodily emotion through the imitation Geste? in: Klaus-Ernst Behne (ed.): Gefühl als Erlebnis — In: Auditive Wissenskulturen — Das Wissen klanglicher Schenker, H. (1935): Der freie Satz. Wien of motion to, through it, show the natural basis Ausdruck als Sinn, Laaber Praxis, eds. Bernd Brabec de Mori & Martin Winter, Schulze, G. (2000). Die Erlebnisgesellschaft. Kultur Wiesbaden, pp. 115 — 135. soziologie der Gegenwart [1992]. Frankfurt am Main. for cultural meanings could be ultimately signed Berlyne, D. E. (1974). The new experimental aesthetics. and named, and so adapted to a cultural under- In: D. E. Berlyne (ed), Studies in the new experimental Jauk, W. (2019). Sound-gesture: Von der symbolischen Sebeok, Th. (1985). Contributions to the Doctrine of standing. aesthetics, Washington, pp. 1-26. zur unmittelbar körperlichen Interaktion von every body Signs. Laham. — die gemeinsame Gestaltung der post-digital culture aus Sonic performative behavior is the paradigm Bismarck, G.: Sharpness as an attribute of the timbre of Shannon, D. E. & Weaver, W. (1949). The mathematical E-Motion, in: Ellen Fricke und Jana Bressem (eds.) Gesten steady sounds. In: Acustica 30 (1974), S. 160—172. Theory of Communication. Urbana. for not just non-instrumental mechanic interac- — gestern, heute, übermorgen. Vom Forschungsprojekt tion and “isolated” hedonic interaction, but for Bohrer, K. H. (1979). Die drei Kulturen. In: J. Habermas zur Ausstellung. Chemnitz, pp 144—149. Tagg, P. (1994). The Decline of Figure and the Rise of (ed.), Politik und Kultur: 2. Stichworte zur geistigen Ground. In: Popular Music, 13/2, pp. 209 — 222. the conversion of intentional and instrumental Kerckhove, D. de (1995). Kunst im World Wide Web. In: Situation der Zeit, Frankfurt am Main, pp 636—669. behavior. It is, primarily, to “understand” beyond H. Leopoldseder, C. Schöpf (Hrsg.), Prix Ars Electronica Toop, D. (1997). Ocean of Sound. Klang, Geräusch, Stille. semiotics (JAUK, 2013); a pre-cognitive inter- Gibson, J. J. (1982). Wahrnehmung und Umwelt. 95 pp. 37—49. St. Andrä-Wördern. München. action cued by signals and by the intensity of Knauer, W. (1996). Art. Free Jazz. In: L. Finscher (Hrsg.), Virilio, P. (1992). Rasender Stillstand. München. Harrer, G. (1975). Das >Musikerlebnis< im Griff des Die Musik in Geschichte und Gegenwart Sachteil Bd. 4 stimuli, e-motion in its purest sense as activation Widmer, P., 2007 Subversion des Begehrens: naturwissenschaftlichen Experiments. In: G. Harrer (ed.), pp. 1384—1421. qua bodily behavior, as motion and emotion all Eine Einführung in Jacques Lacans Werk. Wien Grundlagen der Musiktherapie und Musikpsychologie, at once. Stuttgart, pp 3—17. What started with intuitive interfaces and com- Hatfield, E. (1994). Emotional Contagion. Cambridge. munication art is what epistemological media-art explores today. Despite transferring information, Heidegger, M. (2003). Holzwege. Frankfurt (Gesamtausgabe. Bd. 5). intentional B-E-I signals to interpersonal and
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Opening
As every year, we will open the first evening instrument called A-MINT to design a new and of the festival with an exciting performance organic sound. The artist plays tunes from which program. The focus will be on the various artistic the AI produces endless melodies in real time. possibilities offered by the voice, improvisation, The long-time Ars Electronica collaborators Ste- and neural networks in humans and machines. fan Tiefengraber and Ei Wada will join forces for Under the title “Voices from AI in Experimental a special show. This will be followed by Linz’ own EVENTS, Improvisation,” Tomomi Adachi will present an Richard Eigner and his colleague Roman Gerold AI that has mastered his voice and his musical who will merge their project Ritornell with the improvisation style. The collaboration of Reeps vocal expressions of Mimu Merz to conclude the One ft. Secondself, on the other hand, is aimed musical program in the courtyard. CONCERTS & at combining the machine learning of AI with After that, well-known artists from the electronic beatboxing to create a new artistic tool. For her avant-garde scene can be experienced in the piece “Ultrachunk,” Jennifer Walshe recorded Gleishalle. Vladislav Delay & AGF will fill the solo vocal improvisations every day over the spaces with a combination of electronic sounds course of a year. and spectacular live visuals. PERFORMANCES In cooperation with Memo Akten and an AI that This is followed by a project by Ryoichi Kurokawa, recognizes her face and voice, she will present a aimed at revealing the power of art and nature collaborative live performance. Alex Braga has using a wide variety of 3D data from architecture, taken on the challenge of using a revolutionary ruins, and nature.
Nightline
While the music of the Bruckner Orchester in the drummer and multi-instrumentalist Cid Rim Gleishalle fades and some listeners still hear the blends progressive electronic hip-hop with dar- final sounds of the instruments as they fall silent, ing drum breaks when he takes the stage for an we are getting the console ready for the tran- intermezzo before turning things over to Sinjin sition to danceable sound experiments. Moritz Hawke & Zora Jones for their A/V show, which Simon Geist kicks things off in the courtyard of is based on a 3D scan as a digital representation the POSTCITY with masterful technoid sounds of themselves. generated by his robots. No less extraordinary The show finishes off in the Salon Stage, a venue will be the live set of ultra-digital music by that has become known for acts firmly anchored RRUCCULLA, who also plays drums and oper- in Internet art, fast and danceable rhythms, and ates the visuals. a dash of humor. In addition to the outdoor stage, a complemen- This year’s lineup at this bulk-mail office turned tary program will be offered in the interior spaces rave club features Linz’s own Stefan Tiefengra- of the POSTCITY. Babii opens the Gleishalle with ber, Chronic Youth from Graz, Polyxene and her dark texts and futuristic sounds between HDMIRROR — familiar from “Rave Tool 66” — as electronically-tinged pop and R&B. Free-jazz well as a surprise guest.
229 EVENTS, CONCERTS & PERFORMANCES
LOXOSconcept — Giulio Colangelo (IT), Valerio De Bonis (IT) [re]BO[u]NDS ~ expanded media
We set out to design an electromechanical This “bounced structure” will be created by a performer able to read a score of commands and sound patch designed with a range of delays to be extremely accurate in its work. [re]BO[u]NDS and electronic elaborations that are character- does not renounce composition merely to show ized by parameters evolving in the time domain. a useless precision mechanism, albeit a complex These rebounds include macro-sounds (groups one. Its structure is a well-defined composition of autonomous cells) and micro-sounds (small form: a mechanism made human by the com- portions of the drop of water). Imaginary forces poser. join speakers as cells of the same structure, In the center of the room a vertical structure is drawing BONDS within the space. The original set up, composed of 3 long glass cylinders filled sound, like a domino effect, will REBOUND in all with water, placed below the drippers. When a directions through all the sound sources. From drop of water falls into a cylinder, the sound of the “crystalline” sound of a drop of water to the the drop will be captured and processed in real “crystallization” of chaos due to its fall to the time by a complex computer architecture which ground. also oversees the spatialization. The original sound will bounce, within the space through all Producers: LOXOSconcept (IT) — Giulio Colangelo, emitters. The multiphonic system will make all Valerio De Bonis
Vog.photo Coproducer: ZKM | Center for Art and Media (DE) sound directions audible, highlighting several Supported by the Foundation Matera-Basilicata 2019 dialogues between sound points. Performer: Giulio Colangelo
Stefan Tiefengraber (AT) AG-MX70 DDX3216 Audio/video noise performance, 2019
Following the no-input approach, Stefan Tiefen- The feedback loops enable the artist to use the graber is generating sound and video using only built-in effects, equalizer and video transitions to the inherent noise from two devices, a digital force and push the mixers far beyond their usual video mixer and a digital audio mixer. By con- operating conditions. This leads to new and unex- necting each mixer’s outputs directly to its own pected results — a continuous blast of pure noise inputs, as well as transforming the video signals and flickering images. A broad spectrum of fre- to audio signals, and the other way around, these quencies, combined with the video image, flows two formerly widespread but now outdated into the concert space, creating an immersive
devices, are brought back to life. experience with a strong effect on the audience. Przerwa Slawek
230 231 EVENTS, CONCERTS & PERFORMANCES
Ryoichi Kurokawa (JP) subassemblies Audiovisual concert, 2019
subassemblies is a project that pursues the rebuilt dynamically, and rendering those unusual relationship between natural and human-made characteristics in multi-layered depth extends structures through a perspective of architectural the perception of floating — not only between scale. It consists of several different presenta- natural and human-made structures, but also tion formats such as concert, installation, prints between abstract and concrete phenomena (sculptures) and screening. through transition, destruction and renaturation. The main sources of this project are 3D data The motions such as cancellation of physical from laser scanning, thermal images and filmed law, hybrid of natural and artificial components, footage of human-made architecture, ruins and transposition of entropy and negentropy and nature, and those are distorted and recon- enhance those unusual characteristics.
Kilian Immervoll structed into modules as subassemblies to create a renewed timeline with layers of order Concept, direction, composition, programming: Ryoichi and disorder while revealing the force of both Kurokawa nature and art. Producer: Nicolas Wierinck Dagmar Dachauer (AT), Kilian Immervoll (AT) Co-production: LOXOSconcept (Matera 2019), MUTEK, Ruins, buildings invaded by nature, and archi Scopitone/Stereolux, TodaysArt The Feline Project tectures in disrepair are superimposed and Produced by Studio RYOICHI KUROKAWA
Cats rule the Internet. An endless stream of the changing relationship between human and images and videos, memes, vines and gifs, non-human beings. Immervoll will share the create the most viewed content online — even stage. Sound artist Manuel Riegler creates the more popular than porn. Both digital cat content soundscape. The result is a phantasmagorical and robopets use technology to fill a void. Why show, combining dance, video, performance, are we so fascinated with these domesticated sound and live music. felines? What do these binary creatures prom- ise? In her new collaboration with video artist Produced by umfug (A) Co-Production: C-TAKT (BE), Plesni Teater Ljubljana Kilian Immervoll, Dagmar Dachauer initiates an (SLO), büro für tanz I theater I produktionen (A) interaction between these ancient pets, humans Residencies/Supported by Musiktheater Linz, De and robots. She confronts the organic body in Warande, SZENE Salzburg, D.ID, Dommelhof, Seoul the digital space, as she glides through different Dance Center, GC De Kroon, Tanzfabrik RedSapata, A.I.R. residency@ART SPACE stift millstatt, K.A.K. Koekelbergse hybrid states with a hyper-detailed and highly Alliantie van Knutselaars, Ars Electronica Future Lab precise movement language. Hovering between The Feline Project is accompanied by Quentin Legrand / humor and the uncanny valley, the wild and the www.ruebranly.com In cooperation with Ars Electronica Festival and domestic, the mystical and the postmodern, Musiktheater Linz we are never really sure of what we are looking Supported by Federal Chancellery Austria, Land at in this performance. Dachauer zooms in on Oberösterreich, Stadt Linz, Stadt Klagenfurt
232 233 EVENTS, CONCERTS & PERFORMANCES / Episode am Fluss
Episode am Fluss A tribute to the first Klangwolke 1979
Ars Electronica, the Bruckner Orchestra under journey will be the orchestra concert in the Markus Poschner, and the Brucknerhaus cooper- Brucknerhaus, which will not only be broad- ate to trace the history of the Klangwolke. After cast to the outside world through the powerful the large visualized cloud of sound on Saturday, sound system of the Klangwolke, but will also a tribute will be paid to the beginnings of this provide sound material for the artists to create special project on Sunday evening. new acoustic, analog and digital sound spaces As in 1979, the starting point of this sound in the Donaupark.
Markus Poschner (DE), Rupert Huber (AT), Roberto Paci Dalò (IT) Improvisation Max Bauer At this year’s festival Markus Poschner, Rupert Roberto Paci Dalò is a sound and visual art- Huber and Roberto Paci Dalò, three composers/ ist, author, director, composer/ musician. His musicians coming from as distinct areas as work has been presented worldwide and won classical music or experimental sound art, will him admiration from, among others, Aleksandr Wolfgang Dorninger (AT) improvise together in the Danube park in Linz. Sokurov and John Cage. Poschner is a well-known conductor who has Rupert Huber is a composer who is widely known received various prizes and is regularly invited for his piano music and music installations as Innen Außen by national and international top orchestras. well as his electronic music project TOSCA. For Currently he is the Chief Conductor of the Bruckner Huber, music is communication, as well as an Creating a sound space in the interior that over- Innen Aussen is based on field recordings, syn- Orchestra Linz. active state of peace. comes the physics of space is what drives me. thetic sounds of self-made sound machines, arti- To remodel natural sound spaces in the outdoor ficial bird sounds and algorithmic sound gener- area, as well. Two completely different sound ation. The piece consists of about 30 different spaces collide violently in “Inside Outside.” voices, which are scenically prepared, like an Somewhere the sound space expands, elsewhere acoustic road movie, telling sprawling stories for the flow is prevented. The sound performance two completely different spaces.
Rupert Huber, © Larry Hisrhowitz Roberto Paci Dal, © Carlo Stanghellini Markus Poschner, © Volker Weihbold
234 235 EVENTS, CONCERTS & PERFORMANCES / Episode am Fluss
Sam Auinger (AT) Antye Greie-Ripatti (DE), Vladislav Delay (FI) Bruckner meets Highway 2 Vladislav Delay & AGF A musical dialog between the installation Harmonic Bridge present Rakka by O+A (Bruce Odland/Sam Auinger) and the 4th movement of Anton Bruckner’s First Symphony Antye Greie (also known as AGF) is a music producer, sound artist & curator, poet, gender activist. Her artistic tools are language, sound, The Highway 2 overpass acoustically severed the listening, voice, and communication which she downtown shopping district of North Adams, MA expresses in mixed media. Since 2011, she is the from the newly emerging Museum Campus of organizer and co-founder of Hai Art in Hailuoto. MASS MoCA with road noise and uncongenial Antye campaigns for diversity in the arts with the architecture. In 1998, O+A installed two 16-foot women’s collective female:pressure. She runs tuning tubes generating Harmonic Series in the her own music publishing label AGF Produck- key of “C” in response to traffic noise, and the tion and has collaborated with Eliane Radigue, resulting music was sent in real-time to two Gudrun Gut, Kaffe Matthews, Craig Armstrong, “Cube” loudspeakers installed at architectural and Ellen Allien amongst many others. blend of depth and detail. His music is like a focal points beneath the bridge. For more than The Wire described Vladislav Delay as “one of non-existing soundtrack for the underworld; 20 years, this unused urban space has been the most consistently creative artists working murky, dark and constrained. humanized with real-time music, reclaimed as a today.” Reinventing himself regularly, he takes harmonic resonating cathedral that links the two antyegreie.com electronic music where he pleases with a unique vladislavdelay.bandcamp.com communities acoustically. In this performance, the 4th movement of Anton Anton Bruckner Symphonie No.1, 4th movement, Bruckner Bruckner’s First Symphony will enter into a Orchestra Harmonic Bridge by O+A (Bruce Odland, Sam Auinger) at musical dialog with the transformed and tuned MASS MoCA, North Adams, real-time sound installation traffic sound of Highway 2 in Massachusetts, US. since 1998 Ali Nikrang (AT) The Self-reference,
Christian Fennesz (AT), Lillevan (SE/IE) Three AI composed Canons
Agora live A musical canon is a piece of music in which a individuals), the best genes are selected, recom- voice is imitated by several time-shifted voices. bined and mutated into new generations and Agora is Christian Fennesz’s first solo album The imitation and the resulting melodies make populations. In the program, an individual rep- since Mahler Remixed [Touch, 2014] and Bécs the canon one of the most complex forms of resents a musical idea. The musical quality of [Editions Mego, 2014]. Due to the temporary loss classical music. On the other hand, the strict the individuals is evaluated according to various of a proper studio workspace he had to do the formal structure makes the canon interesting subjective criteria and the individuals are paired record with a minimum of equipment. “[At first] for an AI system. with a higher rating in the next generation. it was a rather frustrating situation but later on it The three canons played here are composed In the Donaupark performance, each canon voice felt like back in the day when I produced my first with a technique from AI research called is reproduced by a different loudspeaker; the records in the 1990s. In the end it was inspir- genetic algorithms. Genetic algorithms are delays caused by the distance between the loud- ing.”, he said. At the festival Fennesz will play biologically inspired AI techniques. A genetic speakers amplify the already “self-colliding” his new album AGORA alongside with visuals by algorithm can be roughly regarded as a simu- nature of a canon voice. The result is a spatially Lillevan. lation of the process of natural selection: From harmonious sound landscape, generated by the an initial random population of genes (so-called fusion of a single voice with itself.
236 237 EVENTS, CONCERTS & PERFORMANCES / Piano Music meets Digital Images
Maki Namekawa (JP), Dennis Russell Davies (US), Cori Oʼlan (AT) Pianographique — Piano Music meets Digital Images
The festival will conclude this year with another Sergei Diaghilev had commissioned for his individual works. In such a wild kaleidoscope, THE STORYLINE OF THE BALLET: collaboration of the two pianists Maki Namekawa Ballets Russes, he was still a young and little- however, they appear here for the first time.” and Dennis Russell Davies with the digital known composer. The premiere of The Firebird It is Glass’s most demanding piano work to date; visual artist Cori O’lan. It is part of a multi-year in Paris in 1910, which was equally celebrated the rapid succession of virtuoso octave jumps The young Prince Ivan chases the firebird and Ars Electronica project dedicated to the visual by audiences and critics, suddenly made the are close to the limit of playability. Namekawa enters the magician’s garden. At the wonder interpretation of musical expression and per- 27-year-old Igor Stravinsky internationally breathes this music, the piece is an example of tree he catches the bird, which asks for its free- ception as well as the direct encounter between famous. how an incomparable unity can arise from the dom. When the prince grants it this freedom, he analog sound and digital visuals. With his complex rhythms and extraordinary close collaboration between composer and inter- receives a feather which has magical powers and tonal effects of the great orchestra, Stravinsky preter. which summons the firebird in case of danger. The evening’s music program includes a “classic” created a surprising and gripping characteriza- Thirteen virgins, held captive by the sorcerer and a premiere. L’Oiseau de feu (The Firebird) tion of the mystical story of Ivan Zarevich, who Kaschej, come into the garden and dance around by Igor Stravinsky is a reference piece in music defeats the evil sorcerer Kaschej and his demons ABOUT THE VISUALS: the tree. Among them is Princess Zarevna, with history and Dennis Russell Davies has arranged with the help of the firebird. whom Ivan falls in love immortally. it for piano four-hands. The second part is the Dennis Russell Davies built his arrangement for Threatening signals announce the appearance of Austrian premiere of the first piano sonata by piano four-hands on Stravinsky’s piano score As always in Cori O’lan’s collaboration with Kaschej and his demons. Philip Glass, which he dedicated to Maki Namekawa. and it is amazing how varied and sensitive he Dennis Russel Davies and Maki Namekawa, the They harass Ivan Zarevich and want to kill him. Composed 110 years after The Firebird, the piano succeeds in transferring the effect of the over- visualizations are pure real-time graphics, i.e. At his moment of greatest need, he calls the fire- sonata is a joint commission of Klavier-Festival whelming, colorful richness of the orchestral there are no prepared videos or image sequences bird with the feather. The firebird appears and Ruhr, Philharmonie de Paris, and Ars Electronica. sounds into the fragility of the piano sound. that are synchronized to the music. It is only the forces Kaschej and the demons to dance with Its world premiere performance took place Reduced to the elementary sound, it opens up sound of the piano directly picked up over two magical music and then sings them into a deep in July 2019 at the Klavier-Festival Ruhr and a persuasive path to the essence of Stravinsky’s microphones, which is analyzed by computer sleep. both the composer as well as Maki Namekawa great composition. and thus provides the parameters with which The firebird reveals to Ivan a cave under the received enthusiastic appreciation. the graphics are generated, animated and mod- roots of the miracle tree, it is the hiding place of ified — live in the moment of the performance. a giant egg in which Kaschej keeps his soul. The Piano Sonate No. 1, Philip Glass, 2019 The very dance-like animations of the graphic prince smashes the egg, the magician’s power ABOUT THE MUSIC: elements designed to correspond to The Firebird disappears and he dies. His captured victims “The Sonata is colorful, wild, excitingly jumpy...” ballet and its characters are derived exclusively are now freed and Princess Zarevna and Ivan — with these words Malte Hemmerich begins his from the sound spectrum and dynamics of the Zarevich are united. L’Oiseau de feu (Der Feuervogel), review of the premiere of Philip Glass’s latest music, without motion tracking or keyframe ani- Igor Stravinsky, 1910 work at the Klavier-Festival Ruhr on July 4th mation. The parameters derived from the music Piano Sonata by Philip Glass Arrangement for piano four hands: 2019 in the Frankfurter Allgemeine Zeitung. are directly assigned to various parameters Commissioned by Klavier-Festival Ruhr, Dennis Russell Davies He further continues “... it is a prime example of physics-based simulation models, particle Festival Ars Electronica, Philharmonie de Paris, World Premiere Performance July, 2019. of Philip Glass’s piano music with its opposing systems as well as to the geometries, colors and In 1909, when Igor Stravinsky began to work rhythms, and there are also many other familiar lights. Supported by Yamaha on the music for the ballet The Firebird, which elements from the composer’s etudes and
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Campus is also a platform for international exchange between universities, leading to increasing collaboration between academic partners. In 2019, 57 universities and institutions from many parts CAMPUS of the world are represented:
Every year since 2002, Ars Electronica and the 2002: Academy of Media Arts, Cologne (DE) Bauhaus University, Weimar (DE) Academy of Media Arts Cologne (DE) University of Art and Design Linz have hosted an 2003: Department of Media & Art at the Univer- University of Art and Design Linz (AT) KOCCA Korea Creative Content Agency (KO) exhibition by artists associated with an inter sity of Art, Media and Design in Zurich (CH) University of Tsukuba (JP) Sejong University (KO) national higher-education institution whose Aichi University of the Arts (JP) Konkuk University (Konkuk University-Industry curriculum takes an innovative approach to 2004: IAMAS (JP) Cooperation Foundation) (KO) teaching media art and media culture. 2005: Srishti School of Art Design and Academy of Arts, Architecture and Design in Prague (CZ) Korea National University of Arts (KO) Initiated by Prof. Reinhard Kannonier (Univer- Technology, Bangalore (IN) sity of Art and Design Linz) and Gerfried Stocker University College London, The Bartlett School ChungKang College of Cultural Industries (KO) 2006: Medialab at the University of Art of Architecture (UK) (Ars Electronica), the intention of the Campus and Design Helsinki (FI) Chung-Ang University (KO) London College of Communication, University format is to invite outstanding international uni- Ajou University Industry-Academic Cooperation 2007: HGK FHNW, the Swiss Institute for of the Arts London (UK) versities working in the academic fields of media Foundation (KO) Postindustrial Design (CH) Wimbledon College of Arts, University of the arts and design. Projects highlighted here rep- Mokwon University (KO) 2008: University of Tokyo (JP) Arts London (UK) resent the nature of the mission and activities Kyungnam University (KO) of invited guest universities from all around the Camberwell College of Arts, University of the 2009: MIT Media Lab (US) Arts London (UK) Gyeongnam Culture and Arts Foundation (KO) world. These showcases became an essential 2010: Media Campus of the Darmstadt University part of the festival and an instrument to analyze London College of Fashion, University of the Jeju Film & Culture Industry Promotion Agency (KO) of Applied Sciences (DE), School of Art & Arts London (UK) and visualize different models of educational Cheju Halla University (KO) Design at the Cork Institute of Technology (IE) Austrian Design Network UNIFH (AT) approaches in artistic and creative areas. It Gwangju University (KO) 2011: University of Tsukuba (JP) Universität für angewandte Kunst Wien (AT) has also increasingly developed into a stage for Asia Culture Institute (KO) contextualized works from alumni, professors FH Voralberg — University of Applied 2012: UdK — Berlin University of the Arts, Chungnam Culture Technology Industry Agency (KO) or associates from the universities to map the Sound Studies (DE) Sciences (AT) identity of academic institutions, their history Sangmyung University (KO) 2013: Bezalel Academy of Arts and Design, FH Joanneum University of Applied Sciences (AT) and current practice. Sungkyul University (KO) Hamidrasha Art School of Beit Ber College, Fachhochschule Salzburg (AT) Part of Campus’s mission is to enable the pre- Anyang Creative Industry Promotion Agency (KO) Holon Institute of Technology, Kibbutzim St.Pölten Univeristy of Applied Sciences (AT) sentation of young, local media artists and their College of Education, Technology and the Dongguk University Gyeongju (KO) work with international exposure. The Interface New Design University, St. Pölten (AT) Arts, Shenkar College of Engineering and The Center of Research for Silla Culture (KO) Cultures program of the University of Art and Universität Mozarteum, Salzburg (AT) Design, the Media Innovation Lab at IDC Culture Art Design Institute (KO) Design Linz annually presents a cross-section from Alpen-Adria-Universität Klagenfurt (AT) Herzliya, Musrara School, the Neri Bloom- their masterclass works and, together with Kaywon University (KO) field School of Design and Education, FH Oberösterreich — University of Applied Ars Electronica, co-hosts one main featured sciences Upper Austria (AT) Soonchunhyang University (KO) Hadassah Academic College and the partner university each year. The festival is College of Management — Academic Central Academy of Fine Arts Beijing (CN) Esad Saint-Étienne/Ensba Lyon, Digital Research increasingly becoming a platform for artistic and Unit in Art and Design (FR) Studies (COMAS) (IL) Technische Hochschule Ingoldstadt (DE) creative collaborations between Ars Electronica School of the Art Institute of Chicago (US) and various regional, academic partners, for 2014: Arts2 — École Supériere des Arts (BE) Shantou University (CN) Roy Ascott Studio, Shanghai (CN) example the Fashion & Technology or the Visual 2015: Paris 8 University (FR) University of Theatre and Film “I.L. Caragiale”, Masaryk University Brno (CZ) Communication program at the University of Art CINETic Bucharest (RO) 2016: Tsinghua University Beijing (CN) and Design Linz, the Anton Bruckner Private Uni- Queen Mary University of London (UK) University of West Bohemia (CZ) versity Upper Austria or the University of Applied 2017: University of California Los Angeles (US) HKU University of the Arts Utrecht (NL) University of Lisbon (PT) Science Upper Austria, Campus Hagenberg. 2018: Hexagram, international research network (CA) University of Applied Sciences Würzburg- Schweinfurt (DE)
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Shared Habitats
The exhibition Shared Habitats focuses on the It seeks the expansion of seeing, thinking, and influence of technology on socio-cultural pro- acting. Shared Habitats refers to the ideas of the cesses through fourteen works of a digital, biologist Jakob von Uexküll — his respect for the biological, and interactive nature. The exhibition individual world and perception of a being — and focuses on the location of organisms in their develops an aesthetic of exchange. We develop environment, the effects of humans on their visions and new spheres of possible futures. At 100 Jahre Bauhaus: habitats, and the artistic handling of new bio- the same time, the exhibition wants to present materials and technologies. Many of the works the Bauhaus University as a place of innovation We are not alone on display are based on scientific experiments in art, technology, and science. that are analyzed in a cultural context. Concept: Ursula Damm At the beginning of the last century, the Bauhaus believe in the heroic genius of the master who Interactions of humans with non-human crea- Curated by: Ursula Damm developed methods of abstraction, formal- forms the world in a state of intuition. Embed- tures and with machines and technology will be Curatorial Assistance and Coordination: Theresa Schubert Coordination and Technical Lead: Mindaugas Gapševičius ization, and general concepts to understand, ding and feedback reveal that responsible action examined in equal measure. In order to develop new ways of understanding, the exhibition Website Design and catalog: Matthias Schäfer describe, and change the world. This resulted requires diverse cognitive variations that involve Supported by: Goethe-Institut, das Nordische Netzwerk in production methods of unique efficiency and the counterpart in a performative way. proposes continuous, evolving feedback Co-produced by: MO Modern Art Museum in Vilnius, variability. The aesthetic view also changed: clar- We are looking for practices that place us in processes between the respective actors. Lithuania ity and transparency, but also a focus on the peo- a manageable field of action and allow us to ple, their perception, competencies, and needs uncover a variety of our perceptive abilities. We Media Environments Lehrstuhl are characteristics of its tradition. open the black box of a knowledge-based view Today we work with highly differentiated digital of our environment and attempt to take direct tools. And anyone familiar with these tools knows action within hearing and sight range. Tech- Ursula Damm (DE) the difficulties of creating in synthetic worlds a niques that we use experience their horizon at dense atmosphere equal to our analogue world. the perceptual threshold of the senses. System Drosophila Karaoke Bar An unprecedented loneliness had settled into configurations make it possible to shift this Installation with living flies and sound (2019) digitally generated artifacts that tell us that until threshold by opening up a space of resonance today we have not grasped the entirety of the made of objects, tools, and networks within this Drosophila Karaoke Bar invites visitors to estab- tion of whether there are more hidden patterns surrounding atmosphere or even its essence, so sensory range. lish a direct exchange with fruit flies through a of communication within the fly songs than we could adequately grasp it. We are not alone In order to leave the human-centered habitat, technical interface that invites visitors to talk known by science thus far. consoles and warns us: it promises an answer we synchronize our actions with our perception, and sing with the flies. Software translates Scientific Consultation: Birgit Brüggemeier from the ecosphere — animals, plants, cosmos, separating seeing, hearing, and feeling from human speech into the perception range of Programming Karaoke Bar : Felix Bonowski which speak to us in an old-fashioned way — just its purposefulness, to become attentive to the flies, allowing auditory interspecies feedback. Programming Fly Songs: Johann Niegel as it reminds us that we still do not understand world’s expressions as such. This is the starting A large pile of sand cov- enough of this ecosphere, just as we overlook point for a revision of scope of action, control ers the flies’ habitat. Its many other humans who do not live in our cul- strategies, and future visions. weight insulates their ture, our sphere of life, or our social class. And Here we meet Lazlo Moholy-Nagy again, who buzzing from the noise it reminds us that the world does not end with lamented 100 years ago that man has lost his of humans, representing the Earth or even our own limited field of vision. manifold sensory and craft skills through modern the sensory and seman- At the same time, the title points out that our means of production. “In constant struggle with tic gap between a fly and technologies are not passive tools that we use his instincts, he is raped by external knowledge,” a human. On another lis- with our hands. Rather, they have mutated into writes Lazlo Moholy-Nagy in his book From tening station the flies’ co-creative teammates who make predictions, Material to Architecture. Inspired by his state- sounds are modulated in take decisions, and not only generate their own ment, we would like to recapitulate what forms real time raising the ques- suggestions for action but also implement them. of cultural design we would like to deepen today. We are not alone! As artists and descendants of the Bauhaus, we recognize that our role is changing. We no longer Text: Ursula Damm
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Julian Chollet (DE) Mindaugas Gapševičius (LT/DE) Humus, Humanity & Humility Introduction to Installation (2019) Posthuman Aesthetics Humus is more important than art, money, or Installation with devices and videos success. Humanity depends on intact ecosys- (2016 — 2019) tems and fertile soil. Humility and responsibility will help our species survive. These toolkits invite their users to carry out sci- entific experiments on a DIY level and be able
to introduce their simplified, accessible versions Brigita Kasperaite to a broader community. The prerogative is to economical, or cultural issues, the toolkits question render and outline methods for independent the creativity of non-humans and do not presume Juan Pablo DiazJuan Pablo research, opening the black box of empirical humans to be the only creative force at work. Maria Degand (FR/DE), Leon-Etienne Kühr (DE) Humus, Humanity & Humility experiments to individuals across disciplines. The project is supported by Nordic Culture Point and the microplastic_hyperobject Whether framing the discussion of political, Council for Culture of Lithuania. VR installation (2019)
Numbers and graphs are the essence of most Jan Georg Glöckner (DE) scientific papers. They try to describe the world, facts, and problems. Microplastics are close encounter one of these problems. This artistic research is Living sculpture (2019) an example of how people can literally be put in these graphs. It looks at the real problem The work displays a fungus living in a 90 liter particle in this particle system. The design of bioreactor. In the bioreactor the fungus is kept experimental research is set up to simulate the alive by an artificial life support system that experience of the hyperobject in virtual reality. supplies it with the water, sugar, and oxygen Experiments on the scale in virtual reality and that are its basic needs. The fungus adapts to about connections in virtual space. this system and transforms its body into round Seskaitis Rytis pellets that are submerged into the liquid. The Frauenförderfond Universität Weimar Maria Degand bodily presence of the fungus in the bioreactor Janis Liepins (Institute for Microbiology and Biotechnology, microplastic_hyperobject University of Latvia) Diana Meiere, Inita Daniele (Latvian offers humans the chance to observe and to Museum of Natural History), Dr. silv. Tālis Gaitnieks, reflect about so-called “natural” and artificial Dr. biol. Natālija Burņeviča (Latvian State Forest Research habitats. Institute “Silava”), Latvian Mycology Society.
Maike Alisha Effenberg (DE) Thoughts on Day and Night Kristian Gohlke (DE), Christian Wiegert (DE) Analog electronic installation (2019) Bubbles and Clouds — Illuminated Interactive Inflatables By extending mechanical models from the 60s, Installation — Membranes, Electronics, Air, Light (2019) you will find here a new approach towards nature Interactive pressure-stabilized membrane and ecosystems. Contemplate the equality of structures (“Pneus”), suspended from the ceil- the energy flow within a machine and within an ing, discreetly illuminated from the inside. As organism. Both receive their energy from the visitors pass through the room, through touch light, react to it, and save it for processes at and draughts, the objects respond. Attempts night. At least, this is what we think they do. So to elucidate the objects creates a dialogue of how much life do we find in a machine and how light, sound and movement. In the course of the much construction do we find in nature? Thoughts on Day and Night casual interaction, the visitors become part of a performance. The boundaries between viewer and performer, space and content begin to drift Christian Wiegert Christian — bubbles wafting in clouds.
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Rico Graupner (DE) Michael Markert (DE) ZoomBx: Stereospacer: KTV Sessions Vol II. Nature Space Installation with terrarium, Mobile application and walk (2018)
beetles, and speakers (2019) Explore how virtual insect and physical city ZoomBx: KtV Sessions Vol II. focuses on the exper- sounds mix and discover how this experience imental exploration for real-time-driven com- changes the perception of the area outside the position of public soundscapes. Sound events exhibition space. Stereospacer is a mobile appli- which questions about the cultural significance and movement patterns inside a terrarium are cation platform for augmented audio reality. of designed sounds and the originality of acoustic tracked, interpreted, and acoustically applied to Virtual sounds are placed in space and appear stereophonic research project about how phenomena can be deduced. a concrete fusion with the outer soundscape. The as binaural spatial sounds for users when they mobile stereophony will change navigation and explore these spaces. Stereospacer is an ongoing movement through space. result is an automated soundscape composition Concept /Realisation: Rico Graupner — Programming: between randomness and determinism, from Ives Schachtschabel.
Rico Graupner (DE) Sebastian Kaye (UK/DE) ^lgorithmZoo Pt. 5. : Global Consciousness KTV Session Interface Concert : Livemapping, Networked device (2019)
12 channel audio (2019) Global Consciousness Interface is a portable ^lgorithm Zoo pt. 5 “KtV Sessions Vol II. is a interface that allows users to connect them- concert series that deals with the sonic fusion selves to this net of consciousness whenever of different biological habitats. In this case, a they feel the need. As “esoteric electronics,” this device mirrors a part of the tantric approach Here, the body is reflected in the use of the user’s beetle-controlled synthesizer interacts with developed software (IcCE) that makes it possible in Tibetan Buddhist meditation; by using body, heart rate, the bell symbolizes speech, and the the sound installation ZoomBx. The movement to map the acquired data to musical parameters speech, and mind, one’s totality is applied. mind is united with itself through this interface. events of the insects are tracked by a specially as well as different positions in space.
Stephan Isermann (DE) Freya Probst (DE/UK) Pig Simulator Rhizomes VR game (2015 — 18) Installation and clothing items from organic substrates (2017 — 2019) The Pig Simulator takes place in virtual reality but also in real space. The goal is to escape the These grown gowns are the outcome of a series of slaughter in virtual reality — and, as in the real experiments and playful interactions with plants life of the real pig, this idea becomes futile. The and the observation of their roots through pho- user will live and die like a pig and experience tography or time-lapse video. Experiments with the habitat of the animal as closely as possible pearls, small gears, or the positioning of seeds through the virtual embodiment of an artificial lead to different plant responses. The outcome fine woven textiles. The exhibits show a subter- and cruel habitat designed by humans to satisfy about gaming and fights the dark irony of a just was eventually applied to larger surface areas ranean, hidden aesthetic of a natural structure our desire for mass consumption of meat. The world of unequal life forms living in the shared in the shape of cutting patterns reminiscent of that cannot be copied by humans. Pig Simulator may subvert common expectations habitat called Earth.
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Homero Ruiz (MX/DE) Theresa Schubert (DE) The Poetic Design: From Mimesis to Catharsis. Growing Geometries — tattooing mushrooms Book project and drawings (2019) Installation with living fungi, video and photographs (2015 — 2016)
The Poetic Design: From Mimesis to Catharsis Growing Geometries — tattooing mushrooms explores the visual poetry and basis of Greek explores the morphology of fungi and evolution aesthetic philosophy through its four main ele- of geometrical shapes on living and growing ments: Mimesis, Poiesis, Apate (Esthetic Illu- membranes. As part of Theresa Schubert’s PhD sion), and Catharsis. The series of illustrations research on agency in biomedia art, human and are part of the artist’s master thesis at the Bau- nonhuman relationships are investigated with haus University, Weimar and are the result of a focus on methods of generating images by analysis of “the natural process of creation” and nature. The deeply anthropocentric gesture of the visual poetry generated from the alteration tattooing puts the fungi closer to mankind and of meanings in materiality by melting discourses helps to translate a growth process into an aes- into these physical elements. thetic experience.
Maria Antonia Schmidt (DE) Alexandra Toland (US/DE) TARDIGRADA — von mikrobiotischen Lebenskünstlern Probing the Planthroposcene: Sound installation and microscope with tardigrades (2017) Excerpts from a Dis-service Society The tardigrade or water bear, a microorganism, Installation (2019) survives environmental conditions that hardly any other living creature can withstand. While Can “ecosystem services” and disservices pro- researchers are working on deciphering the vided by plants be seen as phyto-technologies secrets of the tardigrade’s survival, the media of multi-species societies? How are spaces of are throwing themselves at the cute bear and creative dissonance, resilience, and resistance marketing it in all conceivable variations. In the created by outliers: pests, parasites, invasive end, the work poses the question of what sound species, and allergens? What moral agency do these tiny creatures make. This is reason enough humans have in determining the assets and for the world’s first tardigrade nano-ear exper- liabilities of plants during the environmental iment: a musical radio feature/4channel audio strains of the Anthropocene? These questions installation between science and absurdity. are explored through an assemblage of objects, images, and recordings featuring plants as pro- Prof. Dr. Hartmut Greven, apl. Prof. Dr. Ralph O. Schill, tagonists in natural habitats along roadsides, Martin Mach, Carla Pernpeintner, Frank Petschull, Sibylle probing what Natasha Myers (2016) has dubbed Schmiech, et al, Ludwig-Maximilians-Universität in Munich, Chair for Experimental Radio at Bauhaus the “Planthroposcene.” University, Weimar. Concept, Dust Etching, Images: Alexandra Toland (Bauhaus University, Weimar). Further Image credits: Uwe Starfinger (Julius Kühn-Institut). 3D pollen imaging: Michael Braun (Bauhaus University, Weimar). Glass casting: Lena Trost (IKKG — Hochschule Koblenz Glass Studio). Film: Johanna Ickert and René Arnold
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Other works of Bauhaus University, Weimar
In addition to the thematic exhibition “Shared of Experimental Radio, Media Environments, Habitats,” Bauhaus University, Weimar will Human-Computer Interaction, and Product Jörg Brinkmann (DE) present other projects from the departments Design. Simulation Video, 2011
The sound of a voice from a YouTube clip is ana- lyzed with custom software and translated into Relations — Experimental Radio Showcase servomotor movements. The mouth moves in synch with the video’s voice, which is realized Relations showcases productions from the Chair with a bulldog clip that is attached to the lower for Experimental Radio at Bauhaus University, lip. In the original video clip, a controversial and Weimar that focus on the links and dependen- much-discussed shaman known as Little Grand- cies relevant to the students. The relationships mother delivers a monologue about religion, ego, among humans, between humans and their envi- and love reminiscent of a mantra. ronment, and between humans and work, create a loose structure for the pieces. Timm Burkhardt (DE) The productions of students and alumni are pre- sented in a carefully curated festival program. Machine to Support the Starving Artist Recent award-winning radiophonic pieces create Microcontroller, thermal printer, stainless steel. 2016 an engaging narrative that invites the visitor to slow down, sit back and listen. This work is designed to undermine the vital but patronizing “Harz IV” agenda of the German government in which self-employed individuals must send in records of their expenses in order WITH THE FOLLOWING WORKS: to verify the necessity of support. Made of stain- Susanne Altmann: Brede und Dürr Josephine Prkno: Im Hintergrund der Wasserhahn less steel, this unobtrusive machine is suited for Julius Baars, Konrad Behr, Laura Anh Thu Dang, Christopher Schön: Der Bär the harsh environments of the streets. It gener- Jan Glöckner, Grit Lieder, Eleftherios Krysalis, Vivien Schütz: Ferngänge ates receipts for random items, quantities, and Johann Mittmann, Janine Müller, Severin Söhnke Sofar: Entwürfe zum Thema Druck sale amounts. Each receipt is printed on thermal Schenkel, Markus Westphal, Anton Worch: Andreas Stosch: Ob Dach oder Los paper like an actual receipt and could be sent to Strata (radia s40 n694) Benjamin Voßler: If you see them, shoot them the authorities. Christina Baron: Nordlichter Elena Zieser: Helena Konrad Behr, Laura Anh Thu Dang, Jan Glöckner, Daily live performance by Tommy Neuwirth: Grit Lieder, Eleftherios Krysalis, Johann Mittmann, Das weltweite Netzwerk für ein bedingungsloses Timm Burkhardt (DE) Janine Müller, Severin Schenkel, Markus Westphal, Grundeinkommen (the worldwide network for Anton Worch: Slow Radio an unconditional basic income). “DwNfebG” Privacy Machine Laura Anh Thu Dang, Jason Langheim, Grit Lieder, stands dressed in a blue suit with both legs Laptop, webcam, software. 2019 Doreen Smolensky, Markus Westphal: firmly on an empty beer crate and sings old A Fabulative Archipelago familiar pop songs. It transforms incidental An electronic way to say, “I want to be private Regine Elbers: Abdrift humming into overwhelming opera choirs and today and not appear in your social media pho- Christoph Höfferl: Tunar amusements into anti-capitalist lamentations. tos.” Privacy Machine is a working proof of con- Rafael Jové: Das Radio ist nicht Sibirien cept: stand in front of the screen and take the Fabian Hapich: Detektei Flenzer All works produced at the chair of Experimental badge or the scarf. Both have a special pattern Stefanie Heim: Born to Work Radio of the Bauhaus University, Weimar. on it. As long as this pattern is recognized by Nils Lauterbach: A Gooey Mess www.experimentellesradio.de the camera, the software will pixelate your face. Supervised by: Alessandro Bosetti, Knut Aufermann, Mara May: Jan Waldemar Stange It‘s an unrealistic wish because manufacturers Islands Songs, Nathalie Singer, Astrid Drechsler, Ludwig Müller: Bitte keine heiße Asche einfüllen Fabian Kühlein, Martin Hirsch, Mario Weise would have to integrate this software into their Maximilian Netter: Das Schweigen der Tiere Coordination: Martin Hirsch smartphones as a default.
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Max Kullmann (DE) Hannes Waldschütz (DE) [burnout] Maschine Maschine, die auf Gott wartet Electronics, steel, aluminum. 2016 Microelectronics, glass, software, 2007
The [burnout] Maschine was designed to prevent The Maschine, die auf Gott wartet (“Machine that individuals (who are part of an increasingly waits for God”) is part of a series of three “wait- stressed society despite diminishing physical ing machines.” They were activated in Bremen on work) from burning out by taking on this exclu- October 24, 2007, at 6:07 p.m. From this point sively human inadequacy. At the same time, in time the three machines had been in oper- the relationship between man and machine is ation, the Maschine, die auf Gott wartet is still questioned. waiting. It’s a microelectronic circuit, built and Henry Sowinski programmed in order to constantly inquire about the expected event: God must give a signal via a God sensor. An integrated backup power sup- ply guarantees failure-free and uninterrupted
functioning. Strasser Laura The Center for Haptic Audio Interaction Research (CHAIR) (DE) Tickle Acoustic interface, 2018
The Tickle is an acoustic interface for sound. It’s designed as the missing input device for physi- Rachel Smith (DE) cal modeling synthesis. Vibrations are captured on the surface and fed into digital resonators. Cat: Collaborating with a Neural Network It responds naturally to hitting or scratching, even bowing on the edge, making the interaction This work is a conversation between Rachel embodied, intuitive, and intimate. Smith (human) and cifar10_cnn.py (artificial neural network). In order to communicate suc- Max Neupert cessfully, they must speak the same language. https://chair.audio The method of communication is a human/ machine compromise; a hand-painted grid of pixels. The human must automate and restrict herself, the network must cope with human error Moritz Wehrmann (DE) and bodily forms — colors mixed with naked eyes Alter Ego (Version II) and brushstrokes. By engaging with a closed sys- Installation 2013 tem, Rachel forces a dialogue where there would usually be none. In exposing the “hidden layers” Alter Ego questions the mimetic inter-relation- of the neural network, extracting digital informa- ship between two persons. It creates a mental tion and replacing it with an analogue counter- conflict of self-localization, a feeling of self-loss part, she is able to influence the final decision and a feeling of empathy at the same time. The made by the machine. work is foundation for a cooperative with neuro- physiological researchers, e.g. with Prof. Alain Berthoz of at Collège de France in Paris. It plays an important role in the research areas of self- other perception and mechanisms of sympathy and empathy research and their disorders, e.g. schizophrenia and autism.
254 255 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures
TRANSCODE! A call to fiction and to new translation processes of our reality Andrea Rebok (AT) Fabian Frei (CH) University of Art and Design Linz, Interface Cultures Curly Cable A reactive poetry machine Curators: Manuela Naveau, Fabricio Lamoncha, Maša Jazbec The kinetic installation Curly Cable celebrates The colorful slides of an old slide projector, the the presence, function, and aesthetics of spiral hum of its fan and the monotonous clicking of “Is it possible that reality not only overtakes fiction, but precedes it, even anticipates cables. Coiled cables arranged vertically side by its feeding mechanism: This visual and acoustic it, in order to repair the damage that fiction will do in the first place?” side are alternately stretched by motor in order to experience is paired with an AI that creates Umberto Eco, The Foucault Pendulum be returned to their original contracted position poetry inspired by the images of the projected We are told: Our world is changing, our ideas of the new readability of the converted content? at the next moment. Varying light projections, slides. The training of the AI is based on data and needs are changing and we are changing. To what extent should a transformation not also which meet the cables, enable various moments collected by the artist in recent months from Dystopian visions of our future life on this planet question existing dispositives and not condition of shadow on the wall surface behind and create e-mails, SMS, poems and other text fragments. face optimistic, mostly technology-driven prom- transcoding processes as well as imagination, an exciting interplay between the immateriality A reactive poetry machine is an experiment that ises of salvation and we are right in the middle, the courage to fiction and the abandonment of light and shadow and the material in between: examines the outcomes of trying to teach a driven by powers and markets, desperately try- of reality and its security norms? Referring to the cables as a stylistic device and information machine poetry. Will it forever produce poetry ing to orient ourselves. Lev Manovich postulated Umberto Eco’s cynical opening statement: Yes, carrier. The moving cables tell a story about a in different variations of the same kind or will at the beginning of the new millennium that we it is possible! Because we trust in anticipatory past in which there were no cables, a present in it succeed in crossing the threshold and creat- should turn to computer science to understand knowledge and are subject to the misbelief of a cable-oriented world, and a possible wireless ing something new? The interactive installation the logic of the new media, the new logic of our having to correct everything in advance that future. In an endless loop, the stretching apart invites visitors to the Ars Electronica Festival to world. He already introduced the concept of could happen to us in the future. We sacrifice and the contraction of the cables can be per- spend a moment away from the hustle and bustle “cultural transcoding” and referred to the uni- our imagination to a dead end reality and feel at ceived. The play of light and shadow increases of the festival to reflect on AI, poetry and their versal possibilities of language, translation and the same time empowered to do so. But don’t the visibility of the cables but also visualizes relationship. The installation has been realized interpretation that computer codes provide in we need fictions, illusions and thought construc- their slow disappearance. with the generous help of Giacomo Piazzi. connection with corresponding devices and also tions that can only be based on newly translated to the cultural new conception that manifests realities? Knowing that technology will not save itself through our thinking and language on the our world, we call for unsecured transcode! basis of ontology, epistemology and pragmatics The Interface Culture Department of the Linz of the computer. Manovich wrote his book “The University of Art and Design is celebrating its Language of New Media” in a pre-Smartphone 15th anniversary within the 40th anniversary era. The question that arises almost twenty of the Ars Electronica Festival. Reason enough years later is: What importance is (still) given to to embark on a comprehensive transformation transcoding, translating, transforming? In other process and to examine processes of transcod- words: do we transcode because we want to and ing in particular and in general in the form of an because we develop the tools ourselves, or are exhibition, performances and presentations as we manipulated in this direction with superior well as discursive approaches. tools? Transcoding, a term from computer science, is the invitation to our exhibition of young artists Text: Manuela Naveau from the Interface Cultures department of Art Christa Sommerer University Linz on the one hand and to a possible Laurent Mignonneau Manuela Naveau active transformation of our thinking, functioning Maša Jazbec and “fictioning” on the other. Because transcod- Fabricio Lamoncha ing in the conventional sense means the direct Michaela Ortner conversion from one digital coding to another, Gertrude Hörlesberger PRODUCTION/DESIGN TEAM: Isabella Auer, Sofia Braga, which usually does not take place without loss. Wesley Lee, Onur Olgaç, Giacomo Piazzi, Antonio Zingaro But doesn’t loss mean a limited way of seeing? Supported by the Federal Ministry of Science, Research and Economy under the Higher Education Structural Fund A view based, for example, on values such as Curly Cable A reactive poetry machine “the original”, “the first and true”? What if we Austria. CURLY CABLE supported by Conrad. engage in a transformation process that respects A REACTIVE POETRY MACHINE realized with the the original but greatly appreciates the benefits generous help of Giacomo Piazzi.
256 257 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures
Amir Bastan (IR) Sofia Braga (IT) As promised I Stalk Myself More In Tarkovsky’s Nostalghia Andrei meets and Than I Should befriends a strange man named Domenico, who You are your number one stalker. I Stalk Myself is famous in the village for trying to cross through More Than I Should shows a selection of Insta- the thermal waters of Bagno Vignoni with a lit gram Stories that have been documented and candle. He claims that when finally achieving it, archived through the use of screen recordings. he will save the world. Before leaving, Domen- The work thus displays an archive of memories ico gives Andrei his candle and asks him if he will Nostalghia. In order to watch the complete designed to disappear from the online platform cross the waters for him with the flame. candle scene, the user has to spin the anamor- within 24 hours. In contrast to the nature of this As promised is an interactive installation which phic cylinder’s cap, find the correct velocity and feature, the project explores forms of appro- responds to the candle scene in Tarkovsky’s keep it constant. priation, interpretation and representation, as well as the qualities and hierarchies of collective memories shared and stored online. Isabella Auer (AT) Sausageface Yang Mu & Sai Bao — Matthias Schäfer (DE), Sing along with the never ending sausage song! Sofia Braga (IT) Thanks to the magic of face-tracking, the seem- ingly free-floating holographic sausageface Meanwhile In China moves its lips and eyebrows exactly like the Douyin 抖音, internationally known as TikTok, visitor’s. The repetitive, almost childish sound- has become one of the world’s most success- ing jingle lures you to the place where you sud- ful apps and a leading platform for creating and denly become one with the cheesy singing slice sharing short videos. It was developed by Bei- of Extrawurst and realize that what you are look- maybe also a subtle critic on ideals of beauty, jingbased Bytedance and is one of the few apps ing at is an abstract portrait of yourself. Aren’t we consumer society and politics, but it’s definitely that has been successful outside the big firewall. all just some stuffed casings in different shapes a “valid form of abstraction,” as Erwin Wurm To comply with Chinese law, Douyin is a com- and colors? Sausageface is fun, annoying, catchy, once said in an Interview. pletely independent app from TikTok. Although I Stalk Myself More Than I Should the user interface and logo look the same, the content is completely different and not accessi- Stella Markidi (GR), Patricia Cadavid H. (CO) ble in the international version. The goal of this work is to explore and analyze this vast digital Screenshot TV ecosystem from different perspectives: screen- shots capture a moment in a rapidly changing Screenshot TV is an installation that invites environment, determined by Douyin’s artificially visitors to watch a new genre of reality TV. intelligent recommendation algorithm. These Every few seconds, the TV shows another found images are then decontextualized without online screenshot, uploaded to a special web- change to give visitors space and opportunity to site by anonymous people using a screenshot think about them and gain insights into a delim- tool, so that the information can be shared by ited platform and its algorithms used to show you simply sending a URL. The URLs are usually the most engaging content. sent privately, but are public and accessible to screen. A screenshot is a selection of informa- Meanwhile In China everyone. However, sometimes users upload tion that represents us, what we focus on, what screenshots that contain important and sensi- is important to us. With screenshots as a new tive information and forget that the Internet is a format for live entertainment, the installation virtual space with transparent walls. The artists is an interpretation of the television genre. If appropriate this information and want to open the screen is our new reality, will screenshots a dialogue about our daily work and life on the become a new genre within reality TV?
258 259 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures
Jeon Hess (KR) Cassette tape players and slide projectors have Onur Olgaç (TR) long disappeared from the modern home. Many Insert & Play no longer collect bulky VHS tapes and expensive SELLOUT vinyl records and as a result, the interactions SELLOUT is a real-time game for two players. It associated with these devices have disappeared is designed around the concept and dynamics from daily rituals: the act of insertion, removal, of the Prisoner’s Dilemma. Whether the players the physical play button, the separation between will cooperate with each other or sell the other the media storage and the media player, the joy one out is the core mechanic behind each round. of anticipation when static TV screen noise turns In an iterated fashion the game is played mul- into an anti-piracy warning screen, the confusion tiple rounds, allowing participants to speculate between side A and side B, the audible buzz and on how their competitor is thinking. It intends to so on are no longer part of our everyday lives. bring out strategies surrounding decision making Insert & Play is a microwave that functions as in non-cooperative, non-zero-sum games. a moving image projector to provide a viable Taking Robert Axelrod and his Iterated Prisoner’s media player. While the project is a celebration Dilemma tournaments from the 1980s as a refer- of technology and industrial progress, it is also a ence, the installation aims to provoke questions reminder of nostalgic actions; insert and play — a on how self interest, human cooperation and ritual between man and machine on the verge of trust are intertwined. extinction.
Bàlint Budai (HU), Maša Jazbec (SLO), Aleksandra Mitic (SR), Wesley Lee (BR) Jürgen Ropp (AT), Vanessa Vozzo (IT), Martìn Nadal (ES) The Generative Adversarial Network VR in Wonderland#1 The Generative Adversarial Network is a series Virtual Reality (VR) systems allow the user to observe themselves from the perspective of the of products that pay homage to the gadgets that experience a sense of presence in a place other third person from below and above, leading to we all buy, own and love: the latest smartphone, than the physical body. VR also allows users confusion about self-localization. This is a com- wearable, IoT enabled home-automating wire- to feel like someone else when they take the mon approach where bodily illusions influence tap. first-person perspective of another real person bodily self-awareness. Democratization of technology and information or avatar. has not been the means of liberation and empow- With the help of VR tools and devices for con- erment as it could have been. As described and sumers integrated into our VR in Wonderland#1 discussed by the Frankfurt School of Critical The- system, the perception of the body of the ory, these developments have been co-opted to participants in another room can be directed become mostly a means of commercial exploita- to a new perspective. Consequently, the VR in tion. These manipulation processes have moved Wonderland#1 research setting actually makes it from mass media to the internet and to the smart possible to manipulate the participants’ physical devices that are pervasive in our lives. Even when planet to devices that bring us convenience and perception through self-localization. The natural we don’t want them, it is impractical to function comfort, but also doing it to have access to use- view of the participants is replaced by the vision in society without owning and operating them. less features, many of which create new prob- of a small robotic device running in an abstract Adding insult to injury, not only are we exchang- lems for us — so that we will need or want the city labyrinth model. While wearing head ing our privacy, freedom and the health of our next “innovation.” mounted displays and looking around, users can
260 261 CAMPUS PROGRAM / University of Art and Design Linz, Interface Cultures
Julia Del Rio (ES), Jeon Hess (KR), Sergio Lecuona (ES), Matthias Schäfer (DE), Monica Vlad (RO), Johanna Falkinger (AT) Qian Ye (CN), Julian Reil (AT), Kevan Croton (US), Jürgen Ropp (AT), Tamiko Thiel (US), Stefanie Brayer (AT), Fabian Pointecker (AT), Markus Maureder (AT), Peter Haas (AT), Che si può fare Horst Grobner (AT), Oscar Ablinger (AT), Dominik Heigl (AT), Christoph Muellner (AT), When noise music and classical opera meet: Elias Wipfler (AT), Christoph Anthes (AT/DE) Monica Vlad is an experimental audio/visual artist who creates a noise composition based Triality on opera using a female soprano voice live Triality is a cooperative mixed-reality experi- interpreted by Johanna Falkinger. The structure ence presented as the result of a collaboration is based on three different arias sung by her between students of the Interface Cultures Mas- although these arias were not originally com- ter Program (University of Art and Design Linz) posed for this opera. Similar to the system of an and the Master Program Software Engineering Aria di Baule — a so-called suitcase or insertion and Human-Centered Computing (University of aria — a singer is choosing the arias to be sung. are interpreted by the soprano as original. Applied Sciences Upper Austria, Hagenberg). In addition, the sound artist Monica Vlad The theme of this performance is based on feel- In a mysterious laboratory, three participants changes the orchestral accompaniment to elec- ings of melancholy, sadness, fear of loss, medi- have to synchronize to solve pending tasks. Each tronic noise and the classical instruments are tation and anger and how music can be used in player perceives only one sense of the same replaced by analog machines. The arias, however, any way to express and release these emotions. virtual character and controls it: touch, hearing and sight. To solve the problems, the players must work together as one unit to gain a complete Triality is an unconventional exploration of VR understanding of what is happening in the technologies that challenges the limits of our virtual world. perception. Afra Sonmez (TR) 50 shades of forest A textile as an electronic instrument: the art- Patricia Cadavid H. (CO) ist specifically for this performance created a Knotting the Memory // Encoding the Khipu_ flexible and modular interface of electronic textile consisting mainly of snap fasteners to textile art, it is a tangible interface encrypted in make all parts freely movable. knots and cords of cotton and wool. This system CoinB, the artist’s alter-ego, is a version of the was widely used throughout the Andean region, artist dressed in pinky and cutty which aesthet- until the Spanish colonization that prohibited ically is the opposite of her performance. The and destroyed much of the existing Khipus. dramaturgy of the show is divided into three This performance wants to pay homage to the sections, beginning with soft experimental Khipu, reusing it as an instrument for interaction sounds representing the green and light side and generation of experimental live sound and of the forest. The second part is the transition video. The artist will be a contemporary khipu- from the light side to the dark side, followed by kamayuq (Khipu knotter) who seeks to encode the last part where the music escalates to speed the interrupted legacy of this ancestral prac- core bpms. tice through the knots. With each knot made, A Khipu is a device that was used in the ancient an audiovisual composition is constructed that Inca Empire for the processing and transmission yearns to vindicate the memory and indigenous of statistical and narrative information. Linked to resistance of the native peoples of the Andes.
262 263 CAMPUS PROGRAM / Department for Visual Communication, University of Arts and Design Linz
Jaskaran Anand (IN/AT) MachinedHuman! MachinedHuman! is a performance-oriented Time Capsule — interactive installation that questions the exist- ing. We are presented with an enthroned instance, Narrations for a Future apparently half human and half machine. The heart of this entity can be controlled by the func- Department for Visual Communication, University of Arts and Design Linz tions of the mouse. It reacts to the movement of Curator: Barbara von Rechbach the mouse and the mouse click leads to a search for the essence. Only one person can interact with the entity, while the number of spectators A time capsule is a container for the storage we update this narrative setting for a future mis- is flexible. The audience is allowed to interact of things, with the purpose of preserving and sion into space with speculative design. These with the character by following instructions for documenting narratives. It allows a journey proposals preserve messages for an unknown the machine side of the instance. Moving the through time and is a special way to talk to future audience. heart of the entity moves the entity. The view- the human mind, and thus the human being who generations. Visual design fictions explore settings of hid- ers are also given the freedom to say a word in is the creator of the machine, will always be the Time Capsule — Narrations for a Future explores den, invisible issues in media and design, optical the ear of the machine, which means that the superior, similar to God’s idea of man. a setting of contemporary archeology. We give an objects and interactive experience. Time cap- emerging dominance of the machine over the insight into present-day realities prepared for an sules are tangible futures about something past. Technical Collaborator: Sergio Lecuona Special mention: unknown future. The Department of Visual Communication at the human being contradicts the artist as a human Wesley Lee, Cesar Escudero Andaluz and Fabricio performer. The artist is convinced that in the end Lamoncha The Time Capsule Archaeologists of the Present: University of Art and Design Linz encourages What images, sounds, objects, fragments of life personally motivated artistic research in the can be sent through time to tell a story? What fields of communication design, media arts and artefacts of today can be rediscovered by future photography. Students develop projects with a inhabitants or visitors of planet Earth? variety of media taking into account transmedia The starting point for our design fiction activities narration on questions of publication and visu- was the time capsule Voyager Golden Record of alization of content. The resulting works thus the NASA Voyager Interstellar Mission in 1977, comment on the various conditions of our soci- Wesley Lee (BR) Barcodes, QR codes, perforated papers, dot pat- which extended the exploration of the solar sys- ety. The study programs explore the interfaces terns, images: information is stored in various tem beyond the outer limits of the Sun’s sphere between text and image as well as theory and IC-Decoder visual forms. and sent images and sounds of planet Earth on practical work. Those who know the code can also understand a journey into space. The data files were made the information behind it. In contrast, abstract in the hope that any intelligent, extraterrestrial Department for Visual Communication, University of Arts paintings, television screens with noise, random life forms could learn of humanity on Earth and and Design Linz; The project shows works supervised by graffiti also carry information, but from which it Tina Frank, Marianne Pührerfellner, Gerhard Umhaller its position in the universe. In our time capsules, is not easy and generally valid to extract infor- and Barbara Rechbach. mation. These codes seem too complex and too personal. For this year’s exhibitions graphic design, we not only wanted to develop attractive aesthetics but Lukas Bernhart (AT) also to provide an appealing visual code that can be decoded in order to transmit information. It Alternative Energy? is with this in mind that the IC-Decoder was cre- This project shows the risks of today’s energy ated: a ludic exploration of decoding potential production and usage and questions nuclear information from visual patterns. power as a viable alternative to fossil fuels. Do we want to exploit the planet until there is noth- ing left to use or should we be risking thousands of dead and making large areas of the planet for- ever uninhabitable? Alternative Energy? inves- tigates different energy concepts and design “...whether with or without us, nature solutions in the Solarpunk movement. will always have the upper hand ...”
264 265 CAMPUS PROGRAM / Department for Visual Communication, University of Arts and Design Linz
Christoph Breiner (AT) Anna Miklavic (AT), Vanessa Pichorner (AT) In 100 years Smartphone Archeology In one of his last interviews, Stephen Hawking Our smartphones look similar and have identical suggested that humans need to colonize a new functions, but store different personal content: planet within 100 years to keep our species alive. If you lose it, you worry about what the finder This camera has an exposure time of 100 years. could do with all the data and information on it. It starts here at Ars Electronica Festival and you Is not it strange that you attach so much impor- can be a part of the exposition for a last picture tance to an electronic device, and is this behavior from our world. Do you accept being one of the typical of our generation? How will we look back last inhabitants on planet Earth? on our smartphone in 100 years? What could an analogue long-term archive time capsule of our smartphones look like?
Daniel Huber (AT) Martin Märzinger (AT), Onur Arslan (AT) Data Urns Pictograms of the Future Imagine a gadget which allows you to leave your We have created an alphabet for a near-future Smartphone Archeology legacy as an artificial intelligence. While you are dystopian world in which the effects of climate still alive, you feed the neural network of an urn change make life extremely difficult. People are with personal data, which creates a replica of living in protected habitats and get notifications your own digital identity. It allows you to com- on potential hazards and their levels of danger municate with your previously determined heirs, on special mobile devices. A new sign language expressing last wishes and passing on the digital offers instructions and protects us from the hos- heritage. This speculative design project poses tile surrounding environment. questions of digital immortality, data transpar- ency and human consciousness.
Pictograms of the Future Maria McLean (IT), Eva Weber (DE) Script for Basic Human Stella Kucher (DE/US), Onur Olgaç (TR) Encounter Lack of Time A script can be a work instruction, a sequence of Lack of Time questions existing time systems orders or a screenplay. The term also occurs in and shows alternatives based on event time. engineering and programming language. In the The interactive project aims to use digital art to year 2019, we already seem to isolate ourselves create awareness of our society’s dependency on from our surroundings and fellow human beings clock time. At the same time, it should explain through and behind technology. At the same event time by using abstract visualizations to time empathy is blurred by ideologies and many invite the user to interact. Lack of Time creates problems result from a lack of understanding for a non-timed space, in which the user has to take others. This script motivates the reader to reach things as they come and is guided away from out and create interpersonal contact with other learned parameters and structures. human beings. Script for Basic Human Encounter
266 267 CAMPUS PROGRAM / London College of Fashion & College of Communication, University of the Arts London
Navigating without a View Into the Distance Digital Anthropology Lab — London College of Fashion, MA Interaction Design Communication, London College University of the Arts London of Communication, University of the Arts London Curator: Maria Dada Curator: Wesley Goatley
In its second appearance at Ars Electronica and senses, are abstracted and altered. The body of At the core of a mid-life crisis is a reflection upon culture and technology can be encouraged that in response to the theme Out of the Box, the the digital is a mathematical quantity, the num- a past that seems to now be lost — of missed focuses on individual and community empow- Digital Anthropology Lab presents its immer- ber of heartbeats, the measure of blood pres- opportunities, failures, and near-misses. This erment, and the challenge to hegemonic power. sive installation Navigating without a View, a sure, the level of humidity. It’s data. What are the can be a paralyzing process, a feeling of inexo- By acknowledging what has come before, and multisensorial experience that investigates the possible interfaces required to orient ourselves rable loss; but as L.P. Hartley said, “the past is a enacting our individual senses of social respon- possibilities of orientation in a world without a in such a world? foreign country; they do things differently there.” sibility, we hope to craft a propositional sense map or a compass, a world without representa- For the duration of the festival, the exhibition will In this exhibition, we are arguing for the future of what might be. tion or established views or truths. invite the audience to encounter various experi- to be a place where we do things differently, and MA Interaction Design Communication at the To orient ourselves, when guidance and direction mental interfaces that can guide us through the better, than the past. To see the past of the ‘dig- London College of Communication delves into become impossible, when we no longer have a digital. ital revolution’ in the spirit of Hartley’s quote is expanded and experimental design practices, blueprint to work from, we usually fall back on The Digital Anthropology Lab is an emerging not to dismiss it; it is an opportunity to estab- exploring the intersection of physical and digital our senses. We rely on our sense of smell, touch, research center dedicated to understanding the lish a new view of it, a chance to reflect upon domains of design, through research, prototyp- a visible landmark or the impression of a salient intersection of digital technologies with fashion, its trends and failed promises from the vantage ing and provocation. object in the distance. But in the digital realm textiles and the body by critically applying design point we have in 2019. But we can extend our The London College of Communication is one of our spatial embodied experiences, including our and coding practices. view further into the distance, both behind us six constituent colleges of the University of the and ahead; to explore how older (or ancient) Arts London. Through our diverse, world-lead- ideas and concepts may be potent critical tools ing community of teaching, research and part- to explore challenges, both current and future. nerships with industry, we nurture and develop The works in this exhibition engage with this the critical, creative and technical excellence context in multiple forms, from countering the needed to discover new possibilities and prac- Maria Dada (UK), Yuan Yu Chen Feng (VE), narrative of the ‘new and unknowable’ nature tices in creative communications. Maria Bika (EL), Costas Kazantzis (EL), of digital technologies, to engaging with the Greta Gandossi (IT), Ragnar Hrafnkelsson (IS), genuinely new ways they re-invigorate older This exhibition has been developed through the support Fergus O’Connor (UK) narratives, beliefs, and problems. Through this of the London College of Communication, University of Navigating without a View we believe that a future relationship between the Arts London. Navigating without a View is an immersive instal- lation that investigates the possibilities of orien- tation in a world without a map or a compass, a world without representation and established Archie Wang (CN) views or truths. When guidance and direction Queer.net become impossible everything falls back on the senses. But what becomes of the senses when Based on the background of queer culture and they are altered by the digital, quantitative and inspired by different art forms, Queer.net is an mathematical? explorative interactive design project examining what a queer aesthetic interface might be. By letting the audience explore the interface, this project presents possibilities for what queer interfaces may look like and could express. Using a range of different digital media, this project sings a hymn to the queer aesthetics and pushes the boundaries of their applications.
268 269 CAMPUS PROGRAM / London College of Communication, University of the Arts London
Carlos Orti Roig (ES) Jie Liao (CN) Das ‘Smart’ Unheimliche // Social Shoes The Smart Uncanny This project is designed for the Parkrun group in London who run 5km every Saturday morn- This project explores our relationship with dai- ing. Running has become a new opportunity for ly-use AI consumer electronic products. It chal- communication in people’s leisure time. These lenges the design techniques used to make AI social shoes can enhance this connection. When products more ‘reliable’ and ‘comfortable’ from people haven’t been running for a long time, the the consumer’s point of view. Three AI products shoes urge them to move. When people put them have been re-aestheticised from an unheimlich on, the shoes will start looking for another pair (uncanny) perspective. By making the audience of shoes to encourage people to run together. experiment with the ‘Anti-Alexa Experience,’ this project aims to promote socio-technical knowledge and introduce critical thinking towards daily AI products and services.
Hui Shan (CN) Ke Wang (CN) To Be Or Not To Be Imagination box This project looks at contemporary complex This work focuses on the SCP Foundation decisions surrounding genetic editing of babies, (Special Containment Procedures). This is a web- in order to delineate the range of public opinion based collaborative writing group whose stories that exists at every stage of this topic. Through emerge from the same worldview. The pursuit a web interface in the form of a decision tree of imagination is the firm ethic of the SCP, who and data visualization, the question of how an fear that fiction will lose imagination. My work ethics committee might make decisions on has designed 5 different types of cards according how to genetically edit a baby is simulated and to the characteristics of the SCP, which players explored. can use to generate different story elements for their work.
Jiayin Lao (CN) Artificially intelligent garden tool This garden tool is a tool designed for the Green Joanne Leung (HK) Gym, a community space where volunteers gar- den together weekly. They welcome people who Jerry have no basic knowledge about gardening, so A little mouse lives under your nose all the the members have to share knowledge during time. Its name is Jerry. He works and he plays. the activities. However, since the members are He loves and he hates. The computer mouse is voluntary, once the members leave the commu- entering his mid-life crisis as the floppy disc nity, they take away their specific knowledge did. He evolves and turns his mid-life crisis into with them. This AI-enabled garden fork is an ours. This interactive mouse allows audiences to attempt to maintain this knowledge chain. The review their sense of control and superiority over fork can be taught through machine learning and other objects through spiritualizing a seemingly can teach newcomers the lessons learned about unspiritual machine. A story starts from an it and how to use it by those who’ve used it before. ends with a he.
270 271 CAMPUS PROGRAM / London College of Communication, University of the Arts London
Marta Roncero (ES) Chenyu Zhou (CN) Breath With Me Beyond Death Inspired by ancient beliefs, my project pro- This project looks at transhumanism as a quasi- poses the idea of re-connecting to nature using religion. Although this idea might be considered our human energy. Breathe With Me allows us to extreme, some transhumanists believe firmly connect with our plants through a meditation that technology can transfer human attributes based in Hindu notion of Kundalini energy. Using to machines which can enhance human physi- physical computing this meditation starts with cal potential and even extend longevity. Beyond breathing, whose energy will provide water to Death uses immersive video to simulate what the plant. In exchange, the plant will give back a might happen when digitizing consciousness, vibrational tone that helps to raise energy in the inviting audiences to explore the notions of body completing the meditation cycle. It visual- “human” and immortality. izes the fact that we need nature to survive and therefore we need to give back to it.
Mich Tsai (TW) Sean Terriblini (AU/US) Yuan原 ATMOSPHERE © This interactive project offers audiences the ATMOSPHERE © is a design intervention which opportunity to reflect on themselves, through explores the future potential of AI in new aes- reproducing traditional Formosan music via thetic dimensions by visualizing the anthropo- a perspective on the triangular relationship ATMOSPHERE © genic pressures of urban environments such between machine, human and nature. Yuan not as air pollution. Through ritualistic interactions only represents Formosan musical culture, it also with a totemic object utilizing machine learning demonstrates the notion of ‘LOSS’ and the risk of and a global network of air pollution sensors, cultural histories disappearing. Now, let’s play it the object is capable of forecasting air pollution and hold on to what might be lost. levels 24 hours in advance, allowing audiences to re-interpret their faith in technology through a lens of technoanimism and divination.
Qianlun Li (CN) Shifang Li (CN) Joy on the wheels ‘Donkey’ Mario This project engages with ‘Outsiders,’ an online Some people think that digital technologies pro- meeting and dating platform for physically dis- duce anxiety in us; does this mean we are less abled people. For a long time, the sexuality of happy than our ancestors? Super Mario has been people with a disability has been often ignored. a classic video game since the 1980s. Traditional This project aims to encourage sexual expres- Chinese shadow play is a collaborative play sion in this community and healthy relationships that likely originated in the 1st millennium BCE. through helping them explore their and their ‘Donkey’ Mario shows the similarities of happi- partners’ body. The installation is a conduc- ness between our ancestors and us through a tive touch board and a vulva model which gives shadow puppet theatre version of Super Mario. audience different responses when they touch different areas.
272 273 CAMPUS PROGRAM / London College of Communication, University of the Arts London
Tiantian Xiang (CN) Anqi Wang (CN) Anya Wang (CN) The New Face of Making Monsters Dreama Physiognomy This project aims to explore and discuss the Dreams are hidden in consciousness buried in combination of CCTV surveillance and machine the body. They are a form of psychic cinema, Physiognomy is a discarded 19th-century learning. It invites audiences to consider this somewhat like a machine that triggers inner pseudoscience. However, AI bias seems to be new paradigm in surveillance techniques by visions through electrical rhythms in the brain resurrecting it. Why is this happening again? using cameras to detect and capture faces and — but out of our control. This project does not This project investigates human trust in AI by process them in a deep learning Generative attempt to control dreams but instead to bring exploring bias in facial analysis systems. It juxta- Adversarial Network. This network creates ‘mon- this invisible machine to the physical world. It poses face analysis from AI mathematical mod- ster’ images from their faces, suggesting how we offers the audience an opportunity to think about els with judgements from the pseudoscience of are all at risk of being made monstrous by these a new way to describe dreams and the human physiognomy to draw parallels between these technologies. obsession with control. two biased forms of sense making. Bowen Yu (CN) Ziyu Zhang (CN) Murder On The Train Captcha Candy Box Xintong Wang (CN) Spending time on a train is always so dull. I In daily life, people are unknowingly forced to The Golden Age designed an online and offline cooperative contribute playbor to big corporations, which detective game promoted on the train to help use it for their machine training or other benefit The project aims to build a path for audiences people enjoy their time on the train. Passengers generating. In this project, I attempt to discuss to explore and understand empathy, both how join the game by scanning the QR code, upload the value of playbor behind Captcha. As users it is designed and misused. The uncanny valley the hidden information in the coach to the web- finish the Captcha tasks, candies are stored in shows that to a certain extent, the more human- site with real time analysis, and enjoy the fun of the installation one by one, which visually rep- oid the form of a machine is, the more empa- solving the case together. resents the value of users’ playbor. Also, this thetic a human is. In order to test audiences’ project aims to explore a new way to consider emotions towards it, I embedded the concept of paying playbor contributors in the future. the Golem into a radio by shaping it into human- oid form. Showing care and affection to the radio ‘fixes’ its broken state, exploring how we may feel empathetic towards nonhuman objects, and how this empathy has been designed.
Yulin Li (CN) OXO
This dollhouse is a visual representation of a Making Monsters Dreama sustainable community, and aims to generate new insights into the future. It transforms the idea of green living from a small scale to a large scale that allows neighbors to negotiate and share resources. By inviting the audience to act as the coordinator of this system, it offers them the opportunity to explore the effective use of resources and avoidance of waste.
Murder On The Train Captcha Candy Box 274 275 CAMPUS PROGRAM / Media and Arts Technology Centre for Doctoral Training, Queen Mary University of London
Spectacular Resonance SANDBOX (R)EVOLUTION CCW, University of the Arts London Media and Arts Technology Centre for Doctoral Training at Queen Curators: Jonathan Kearney and Lois Rowe Mary University of London Curator: Dr. Nick Bryan-Kinns Exploring movement, time and sound, the first world while engaging with the studio-based stu- piece is an installation that involves analogue dents in London. The second piece is an exper- SANDBOX (R)EVOLUTION showcases ten inter- combined, shaped and repurposed. We invite and digital interactions with the world around us. imental light piece that interacts with audience active installations that have evolved under the you to enter the exhibition to encounter obscure members by a BA Print & Time Based Media stu- MA Fine Art Digital is a course that asks questions theme of new or pre-loved materials, repurposed objects in a playful environment, perform pecu- dent. Print & Time Based media is a course that about what art is in a digital environment. Rather as interfaces for manipulation of digital realms. liar sounds, and reflect on the Ars Electronica combines the traditional with the contemporary, than focusing on specific technology, it allows It is a playground of innovative technology in 2019 festival theme “Out of the box” from a bringing together print-making, photography, students from incredibly diverse backgrounds to which familiar materials such as wood, fabrics place where alternative futures are possible. film, audio, writing, video and performance art. engage with significant issues through their art. and magnets generate visceral experiences, The exhibiting artists are part of the EPS- Since 2004, this unique course has offered a fully This exhibition is co-curated by artists and Program blurring the boundaries between real and imag- RC+AHRC Media and Arts Technology Centre for online option for students living anywhere in the Directors Jonathan Kearney and Lois Rowe from UAL and inary, hard and soft, fact and fiction. Doctoral Training at Queen Mary University of will showcase work from areas they oversee. The exhibition’s namesake, sandbox, is both a London, UK, which provides a bridge between reference to the physical place where children academic research, digital technologies, and create imaginary worlds and the digital sand- creative industries. Cheska Lotherington (UK) Robin Weijers (NL), Manolis Perrakis (EL) box used in software development to test new EPSRC+AHRC Media and Arts Technology Centre for Perception Found Sound Discovery code. The sandbox is a place where ideas orig- Doctoral Training (EP/L01632X/1) inate, where physical and digital materials are Queen Mary University of London Perception is an experimental light piece that Found Sound Discovery explores movement, time interacts with audience members. A thin rim and sound. An installation that involves analogue around the edge of the room on the floor will and digital interactions with the world around us. project the light strips’ color up onto the walls. Through sensors and found objects, mechanical Three cameras mounted to the ceiling will feed and digital interactions create the possibility of data to the light strips. discovered sound. Andrea Guidi (IT)
BA Fine Art Print & Time Based Media, Wimbledon MA Fine Art Digital, Camberwell College of Arts Data Dreaming College of Arts Data Dreaming is a multimedia performative installation driving nuanced gestures to cre- ate ethereal audio-visual compositions with an interface resembling a household lamp. Rather than addressing functional requirements, the wood pyramidal object invites viewers to explore and compose enchanted sonic textures and fic- tional visual renderings. Inspired by the internet of things (IOT) technological shift, the installa- tion depicts an alternative future where house- hold appliances and data are elicited for creative Jelena Miskin Manolis Perrakis (LE) in collaboration with Mathis Antony (CH) purposes. I am {Emotion}
The installation is comprised by a sun lounger the participant’s bed that the audience can lie on, and receive real- face and vocalize time “psychological” advice. GPT2 in conjunction it into an endless with tacotron2 and an emotion classification stream of artificial algorithm is used to extract the emotion from wisdom.
276 277 CAMPUS PROGRAM / Media and Arts Technology Centre for Doctoral Training, Queen Mary University of London
Angela McArthur (UK) Antonella Nonnis (IT) Rumpus Ολοι Rumpus is a cinematic VR film made in collab- Ολοι (pronounced Olly) from the Greek “all” is a oration with the BBC. It follows a modern-day tangible sonic interface made in felt and stretch Eurydice as she searches in London’s clubland lycra. The idea was that of creating an orches- underworld for Orpheus. Visually decadent tra where different instruments are activated by and thematically magical, the film’s imagery is pulling the colored stretch lycra. Each instru- counterpointed with a form of sonic voyeurism ment plays a different scale of notes. When the and ambiguity in sound-image synchresis. The lycra strings are pulled together, the sounds form over-hearing of intimate dialogue, the seemingly a soothing composition and the users are able to out-of-context sonic bytes caught in passing, create different harmonies. The work was devel- the hyper-real details of sounds within noise. oped to stimulate social interactions during play To experience the film, you must enter into the time with Ολοι for a group of five minimally to Alia Sheik unavoidable world of voyeurism which headset- non-verbal children with autism who like music. viewing requires.
Anna Nolda Nagele (AT) Giacomo Lepri (IT) Machina Incantatii Chowndolo The work Machina Incantatii is a wall hanging The Chowndolo is an interactive sonic sculpture made of conductive yarns and fabrics that com- based on a magnetic pendulum: an oscillating bines physical and representational materials stick whose trajectories are altered by magnets into an interface for a magical ritual. By touch- placed underneath the device. ing the conductive patches on the cloth, powers The unstable patterns produced by the pendu- assigned to the elements of this world and ener- lum oscillations are transformed into sound, gies of the universe are called upon to generate articulating music which evolves based on the new knowledge and meaning. The “old” periodic pendulum motions. The magnets at the bottom alignments of the stars are a poetic parallelism of the pendulum can be arranged to compose to the “new” periodic alignments of the Markov new shapes. Different configurations will there- chains used for casting a spell and generating fore modify the pendulum oscillations and the an incantation. sonic patterns.
Brendan O’Connor (IE) Jack Ratcliffe (UK) Sound Stitcher Keyboard + Mouse Sound Stitcher comes in the form of a 100-year- If the medium is the message, then in an age of old sewing machine. Although it no longer cyber-bullying, trolls & great political divides, is functions as before, participants can still inter- it time to consider the impact of the interfaces of act with its variety of controls to design noise our online communication? This piece, an inter- instead of cloth. With each interaction, the active keyboard and mouse made using 100% acoustic properties of sounds generated by the natural wool, invites the audience to experience piece become mangled and distorted beyond whether the softening of our hardware could recognition, paying homage to the battery and soften our harsh communication edges. Could abandonment these discarded pieces of machin- replacing plastic, metal and glass (the ubiquitous ery have endured over the years. materials of online interaction) with natural, gen- tle, tactile, transient alternatives, allow for more humanity in our digitality?
278 279 CAMPUS PROGRAM / Interactive Architecture Lab, The Bartlett School of Architecture, UCL
Nicole Robson (UK) Rhythm of the Heart Inspired by artistic activities that bring new life SIX MOVEMENTS and meaning to everyday objects, Rhythm of the Design for Performance and Interaction, Interactive Architecture Heart is an interactive installation that repur- poses a metronome to move in time with our Lab, The Bartlett School of Architecture, UCL heartbeat. It reverses our relationship with the Curators: Fiona Zisch, Michael Wagner, Dr Ruairi Glynn object and exacts a kind of revenge as the met- ronome fights against its pendulum mechanism to swing in time with our internal rhythm. At the The Interactive Architecture Lab at the Bartlett technology to spearhead thinking on emergent same time, the tempo of an accompanying song School of Architecture is interested in the behav- themes of the 21st century. The works pre- by dance band Stats fluctuates with your heart- ior and interaction of things, environments, and sented are physical and virtual prototypes that beat as you breathe and move. their inhabitants. We are engaged in a range of enact cybernetic and performative approaches academic research activities and industry collab- to the design of immersive and interactive envi- orations. At the heart of the Lab is our 15-month ronments. In the spirit of Cybernetics we take Masters program MArch Design for Performance an “antidisciplinary” attitude to our research, Lia Mice (AU) & Interaction which gives students an opportu- breaking boundaries between art and science, INSTRUMENT SEMATARY nity to explore the potentials of new sensing, particularly between fields of architecture, computation, networked, and responsive tech- performance, interaction, and psychology. The INSTRUMENT SEMATARY is an interactive sonic nologies to imagine, build, and test new spaces breaking of these classical enclosures of spe- sculpture created from broken, pre-owned clas- of performance & interaction. cialized practice reveals rich new territories of sical instruments that have been brought back “Look only at the movements — and they will practice to address our changing social, ecolog- to life with a new digital identity. Inspired by bring you to matter.” SIX MOVEMENTS show- ical and technological landscape. Stephen King’s Pet Sematary in which deceased cases six individual student projects centered animals return to life with unfamiliar, evil per- around different types of movement. The work sonalities, this work explores the environmental www.interactivearchitecture.org/dfpi takes a critical stance and reflects on past and Program Director: Dr Ruairi Glynn choices of musicians and instrument designers, current developments across art, science, and Principal tutors: Jessica In, Fiona Zisch, Paul Baviste and our responsibilities to preserve historical hand- crafted musical instruments that are becoming increasingly out of fashion in a digital age. Ava Aghakouchak (IR) SOVAR Sebastian Löbbers (DE) Sovar is an active soft wearable that maps certain BLOBBOX architectural elements on the wearer’s body. The cross-modal mapping of the space on the user’s Using computers, smartphones and other elec- back directs their attention to their surroundings tronic devices has become a crucial part of daily and increases their sense of presence within a life. But how do we interact with our devices? space. Sovar can be used as a tool for navigation, How might they become a more intuitive exten- a choreographic device for networked perfor- sion of ourselves? BLOBBOX is an attempt to mances, or a tactile amplifier for VR spaces. imagine an alternative narrative where hand rec- ognition becomes the predominant interface. It Designer: Ava Aghakouchak asks how applications, images and code might Supervisors: Prof Stephen Gage and Dr Christopher Leung look and function beyond traditional computer Special thanks to: Fiona Zisch, Ruairi Glynn, and Scan Lab Projects models. This experiment is demonstrated by a transformative, playful yet eerily ambiguous Lia Mice blob, which, in its undefinable materiality and sterile container, alludes to a laboratory that must test new materials through simulation.
280 281 CAMPUS PROGRAM / Interactive Architecture Lab, The Bartlett School of Architecture, UCL
Danniella Vizcarra (PER), Claudia Cortes (MEX) when the user extends or retracts their arms. The aim of Lumina is to examine the mental and Lumina physical boundaries that the human body creates Lumina is an interactive installation that aims to in physical reality, seeking to explore how these generate a sense of presence by exploring the boundaries shape individual behavior. personal and peripersonal space of the user. The instrument reflects interactive boundar- Designers: Danniella Vizcarra, Claudia Cortes Design support: Qiuyan Da ies of light drawn by our bodies. The intensity, Tutors: Fiona Zisch, Alexander Whitley, Dominik Zisch, color, and shape of the boundary is modified George Adamopoulos, Parker Heyl, Michael Wagner
The Entangled Eye Kongpyung Moon (SK), Peng Gao (CHN) CuGo CuGo is a board game where humans interact with modular robots (H-RMR). As a platform for people and robots to collaborate, CuGo not only encourages players to observe and understand how the multi-axis RMR robots behave, but also how they might be utilized. CuGo also opens up questions about the role of humans within environments populated by autonomous agents.
Designers: Kongpyung Moon, Peng Gao Tutors: Jessica Inn, Ruairi Glynn, Dominik Zisch, George Adamopoulos, Parker Heyl Danniella Vizcarra Danniella Lumina Sounds, and sweet airs
Saria Ghaziri (FR/LB), Anne-Héloise Dautel (FR), Irem Kornbongkoch Harnpinijsak (TH), Dalia Todary-Michael (CA/EG) Bugdayci (TR), and Robert Wuss (USA) Weichen Tang (CN), Nong Hua Lim (MY) The Entangled Eye Sounds, and sweet airs In Rhythmic fragments “It was but yesterday I thought myself a frag- The Entangled Eye is an exploration of visual per- Natural soundscapes provide a tremendous ment quivering without rhythm in the sphere of ception through robotic motion. Luna and Laika range of auditory cues about the state of the life. Now I know that I am the sphere, and all life are two robotic creatures with curious and ani- environment and its inhabitants. The techno- in rhythmic fragments moves within me.” — Khalil mate behavior programmed to elicit your atten- logical environment has not evolved to create Gao Peng Gibran, Sand and Foam. In Rhythmic Fragments tion. As the whimsical creatures chase your eyes a comparably symbiotic system where humans CuGo is a biophilic spatial installation that translates with unique kinematic expressions, the direction and other inhabitants coexist, using a range mensurated motions into kinetic architectural of your gaze orchestrates a conversation. of synchronized communication channels. boundaries. Inspired by the rhythmic flows of The indeterminacy of attention coupled with the This sensory design project reflects on natural energy observed at varied scales in the natural animacy of kinetic movement constitutes the sound ecologies to create a synthetic environ- environment, the installation aims to engage our basis for our attempt at reconfiguring and under- ment around human-technology interaction. It mind with contemplative content to evoke the standing the perceptual experience of behavioral encourages us to rethink our relationship with sense of being mesmerized. artefacts and animism. the environment.
Designers: Anne-Héloise Dautel, Irem Bugdayci, Robert Designers: Kornbongkoch Harnpinijsak, Weichen Tang, Designers: Saria Ghaziri, Dalia Todary-Michael Wuss; Tutors: Jessica In, Ruairi Glynn, Parker Heyl, Nong Hua Lim; Tutors: Paul Bavister, Felix Faire, Fiona Tutors: Fiona Zisch, Alexander Whitley, Ruairi Glynn,
BMade Here East UCL Zisch, Alexander Whitley, Luca Dellatorre, Ruairi Glynn, Saria Ghaziri Parker Heyl, Dominik Zisch, George Adamopoulos Michael Wagner In Rhythmic fragments
282 283 CAMPUS PROGRAM / University of Applied Sciences Würzburg-Schweinfurt, Faculty of Design
Sounds of the Earth Light Ladislav Sutnar Faculty of Design and Art, University of West Bohemia University of Applied Sciences Würzburg-Schweinfurt, Faculty of Design Curator: Vojtěch Domlátil Curator: Erich Schöls (DE)
Examination of two different media with two degrees in a wide range of twenty programs, Light in its essence is not perceivable. Only in for entirely diverse approaches to projects. In different approaches by two students of the focusing on design and applied arts. It is located combination with shadow can humans experi- this course, we looked into the subject “light” in Ladislav Sutnar Faculty of Design and Art. Exper- in an original building with state-of-the-art facili- ence it. It is therefore often used as a symbol for form and content in a very versatile, innovative imental videos exploring the fascinating world ties and a number of unique studios and bases its the immaterial. While the sciences explain light and experimental way. of hidden sounds and hidden visual elements activities and philosophy on the inspiring legacy as a physical phenomenon, it is used metaphor- such as video compression. And a comics wall of Ladislav Sutnar, a famous native of Pilsen and ically for very different contents in the human- This project makes use of data produced by the EXTraS inspired by mythology juxtaposed with contem- world-renowned designer. ities. Both concepts provide interesting impulses project and safecast.org. porary CGI technologies. The school boasts a team of prominent artists as The Sutnar faculty is located in the heart of teachers, under whose leadership its students Europe, in Pilsen, a city made famous by the Škoda achieve success in international competitions, brand and the world’s best beer, Pilsner Urquell. undertake projects in collaboration with busi- Its students earn bachelor’s and master’s nesses, and take part in many exhibition projects.
Zbyšek Semelka (CZ) Tomáš Červený (CZ, SK) Earth Radio Havoc Experimental videos focusing on things that are A mythological comics wall exploring a combina- hidden: the naturally occurring electromagnetic tion of contemporary CGI technologies with the radiation in the atmosphere, differences of video topics of heroic epic tradition, kitsch, pathos, vio- compressions so the final artwork is the com- lence and mythology. What is “violence”? What pression itself, visualization of a traffic land- is “justice”? What does it mean to be a “hero” scape, and expression through structures and and what is the hero’s mission in society? These patterns. are the questions the author raises in his digital Annika Kreikenbohm (DE) Benita Martis (DE) tapestry Havoc. Tangible Universe Luminescence In the study of the universe, light is the one of In virtual reality (VR), light does not have to cor- the main sources of information accessible to respond with our reality. Physical laws can be us. Using satellites and telescopes, we collect overridden and redefined. This raises the ques- the light of astronomical objects. First, each tion of how light looks, what effect it achieves object appears as a single cloud of light. In the and how it can be perceived in virtual reality. Can closer analysis of light, we recognize its nature light in VR achieve a meditative effect? Can light and can distinguish stars from galaxies. In the take shape? Does light have the same meaning in virtual environment, numerical satellite data is virtual reality as in real reality? Luminescence is translated into light sculptures and light is made an experimental virtual experience which plays tangible by haptic stimuli. with forms, contrasts and biological feedback.
284 285 CAMPUS PROGRAM / University of Applied Sciences Würzburg-Schweinfurt, Faculty of Design
Katja Volk (DE) Theresa Vogt (DE) Silent songs Hortus Luminis Light is a matter of course for us. Its functionality Photosynthesis is an elementary part of every- in everyday life and technology makes it easy for day life. Nevertheless, our esteem for plants and us to overlook its simple beauty. Light is fascinat- other phototrophic organisms is limited. This ing. Not only physically, but also visually. Silent may be due to the fact that most of their biolog- Songs uses light as a medium. Small, interactive ical procedures are not visible to the naked eye. light boxes create a sensual moment in which the But they can be experienced through a micro- viewer can concentrate on the light. This draws scope. Hortus Luminis creates a new level of pictures in its very own way. interpretation that deals with the hidden energy of plants and other organisms. The application uses the data from an analogue microscope to grow digital plants.
Lukas Woerm (DE) Anne-Sophie Schmidt (DE) Color Impression Rays Light. Light is boundless and dematerialized — it Rays is a VR environment designed to get view- is intangible and enables our primary perception, ers excited about the physics of electromagnetic seeing. A contourless, monotone space filled waves. With a self-designed ring as controller, with light forces our brain to cope for a short the user can hunt for the information himself. time without this visual input. Orientation and Other interactions, such as changing the fre- lack of dimension are the consequences. Light, quency of the wave, demonstrate the properties color and space become one. of the different wave types and are illustrated by A non-objective environment makes human per- dimensions that represent the wide bandwidth ception the object of contemplation. How is our of the wave dimension. Immerse yourself and emotional being influenced by light and colors? explore the invisible radiation surrounding you.
Michaela Lautenschlager (DE)
Lucky Island Benedict Falkenstein (DE) Outside our visible spectrum of light, there is a very big area of electromagnetic radiation. Modeling Color Spectra Scientifically, that is also light, as it consists of Each picture consists of many individual colors. photons. The most dangerous part for the human Based on the RGB color space, I created a virtual being: gamma rays. They are characterized by reality application that shows a three-dimen- a very small wavelength and permeate almost sional shape of the color spectrum of the image. all materials on earth. We cannot see them and This object can be moved and deformed by generally only notice them when they are linked users, who can then see the changes they made to radioactivity; for example, when we deal with to the picture. This direct link between the image the consequences of atomic bombs and nuclear and the three-dimensional color space gives the accidents in power plants. In this project I don’t people understand it better. Therefore, I used the user a completely new perspective on colors and want to downplay the dramatic effects of being principle of sonification to make live measure- their location in the RGB color system. exposed to this radiation but I want to help ments of monitoring stations in Japan “audible.”
286 287 CAMPUS PROGRAM / CINETic, University of Theatre and Film “I.L. Caragiale,” Bucharest, Romania
Kari Massey (DE) Lucifer Lucifer is a small robot, which reacts to light and Define Sentience gives light. If Light were a living thing, how would MA Interactive Technologies of Performative and Media Arts, we encounter it? How would we communicate with each other? With 3 joints, 3 degrees of free- CINETic (The International Center for Research and Education dom, Lucifer is able to react with a wide range in Innovative Creative Technologies), University of Theatre and of motion. He addresses us with his movements. How do we react to this feedback? He brings light Film “I.L. Caragiale,” Bucharest, Romania and he seeks light. Do we accept his offer? Or Curator: Alexandru I. Berceanu will we try to take away the light he seeks? An experimental reflection on human behavior. Define Sentience explores the impact of techno- the world and exterminating humans (or at least logical advancement on human emotions and humans as we know them). This project joins social interactions. The project is the result of the debate on sentient machines and how they research conducted at the International Cen- fit in today’s context and social order. Machines ter for Research and Education in Innovative becoming sentient may lead to the necessity of Creative Technologies (CINETic) in Bucharest. including them in the category of personhood Lars Schrodberger (DE) CINETic’s mission is to develop knowledge and where members enjoy rights, freedoms and pro- to innovate at the international level in the fields tection under the law. This leads to an ethical Lichtzeichen of performing arts and film, as well as in the discussion regarding the development of sen- Language is the key to human communication. fields that lead to their growth and transforma- tient machines. Is humanity holding back on Ever since the invention of letterpress and book tion. The knowledge acquired in theatre and film acknowledging emotions in machines in order printing, humans have been fascinated by type is expanded through research within interdisci- to keep this new species at a subordinate level? and language. However, the written language has plinary projects that bring together art, science The attempt to engineer consciousness might lost its magic over the years. That’s why I want to and technology. When it comes to robots and help humanity gain deeper insight into the back- bring back life to the magic and mysticism of type AI, techno-skepticism and dystopian discourses ground of this phenomenon. and language. In order to achieve this, I created have been at the forefront of popular culture for a machine for translating and interpreting writ- the past decades. Hollywood movies embody CINETic International Center for Research and Education ten words, texts or single letters into emotional the public fear of artificial machines taking over in Innovative Creative Technologies), Proiect B and abstract light signals. Dorin Cucicov (MD) Dorin Cucicov (MD) I Am Here Sentientia I Am Here is an interactive experience powered Sentientia attempts to reconstruct the experi- Max Seeger (DE) by human interaction. An ambiguous digital pres- ence of a sentient creature that learns to interact Artificial Light ence invites you to an exploratory dialogue. How with the external world. Inspired by Dr. Franken- well can you understand the entity and its inten- stein’s creature, Sentientia sends audio signals How does a neural network learn to see and how tions? Does the movement influence the digital to its environment and waits for a response to can we shape the perception of artificial intelli- form, or does the form dictate your movements? I establish an emotional connection. Emotional gence? In a very experimental and fundamental Am Here explores the possibilities of outsourcing combinations are generated by the machine manner, this project tries to study perception human personality to digital forms. It attempts and transformed into sound. Once the system and recreation of light phenomena by artificial to blur the differences between interhuman and understands that intelligence. human-computer interaction. it has a mind and is conscious of its surroundings, will it start looking for entities like itself to create social networks of emo-
Maria Năstase tional intelligence? 288 289 CAMPUS PROGRAM / Digital Research Unit in Art and Design at the Esad Saint-Étienne, Ensba Lyon
VALIS Digital Research Unit in Art and Design at the Esad Saint-Étienne/ Ensba Lyon Curator: David-Olivier Lartigaud
The works presented in the context of this For this first presentation in the framework of exhibition were created by the artists/design- Ars Electronica, we chose to explore concepts er-researchers (post-master level) of the Digi- of “science-fiction,” considered as a domain that tal Research Unit in Art and Design at the Esad provides forms but also imaginary elements to be Saint-Étienne/Ensba Lyon. This Research Unit, renewed. The exhibition presented here is there- which is unique in France, has the particularity fore a first approach which summons various Listening capsules (light version) of structurally bringing together two schools to references to fields such as archeology, music, explore questions of digital art and design. robotics or video games, passing through several Located in Auvergne-Rhône-Alpes, this Research experiments with media (code, 3D, sound, per- Unit includes the Random(lab) of the Esad formance, deep learning …). VALIS “Vast Living Saint-Étienne (www.randomlab.io) and the NRV Intelligent System” is a reference to the late work lab of the Ensba Lyon (www.labo-nrv.io). of Philip K. Dick. With the support of the French Ministry of Cul- Digital Research Unit in Art and Design at the École ture, the research unit currently hosts nine stu- supérieure d’Art et Design of Saint-Étienne / École dents and three guest researchers, who develop nationale supérieure des Beaux-Arts of Lyon. projects whose “raw material” is digital culture http://www.randomlab.io/ http://labo-nrv.io/ in its societal, aesthetic, political and technical https://esadse.fr/fr/la-recherche/171012-laboratoire- sense. The Digital Research Unit can host inter- random-lab- national students and researchers. http://www.ensba-lyon.fr/page_ur-numerique
Ultimate Cavefighter in outer space : SC Deluxe Multiplayer Edition
Kévin Ardito (FR) Thomas Barbé (FR), the Random(lab) Damien Baïs (FR), Thomas Barbé (FR) De toujours tu seras Listening capsules Ultimate Cavefighter in l’antépénultième peril (light version) outer space : SC Deluxe This sculptural and musical installation diffuses Our body is a tactile receiver of all musical Multiplayer Edition cover versions of Billy Joel’s song Honesty. It waves: we perceive them through our skin, mus- uses digital and robotic media to question our cles, nerves, bones, etc. The listening capsules The final assault has begun! In the bowels of a relationship with transparency and lies in an immerse the viewer in “somesthetic” composi- dark planet, you have to destroy the ultimate evil. entertaining and mischievous way: skull-shaped tions generated live by an algorithm. The inten- But to succeed in your quest, you need to develop robots singing a song about honesty. tion is to take the listener out of his usual sound collective strategies to defeat opponents. Cave- The recorded voices lend some warmth to the environment in order to invite him to renew his fighter is inspired by the “fixed shooter” video robotic coldness of the artwork by adding an listening experience. These waves, sinusoidal games of the 80’s. To enter the game, the player organic element to the robots, blurring assess- frequencies, are composed and synthesized gen- must connect to the “Cavefighter” WIFI net- ments of identity or the reasons for their pres- eratively by a software specifically developed for work and download the Cavefighter application ence. The background simulates an Aurora the installation, the sinoto. (Android only) that serves as a joystick. Borealis, which is reflected on the skulls and the Designer: Damien Baïs The listening capsules is a project by Thomas Barbé Sound composition: Thomas Barbé surrounding environment. in collaboration with the Random(lab) [Damien Baïs, François Brument, David-Olivier Lartigaud, Jérémie Nuel, Jacques-Daniel Pillon and Lucile Schrenzel] Production: Internationale Design Biennal Saint-Étienne 2019 and École Supérieure d’Art and Design Saint-Étienne. 290 291 CAMPUS PROGRAM / Digital Research Unit in Art and Design at the Esad Saint-Étienne, Ensba Lyon
Alain Barthélémy (FR) Lorène Ceccon (FR) Alix Desaubliaux (FR) Ether Sas (Social Adaptation Sigils Ether is a video presenting a technical device System) In Sigils, a speculative archeology takes place producing the 27 bones of the right hand. This in an abandoned metal factory. Industrial blue- Today, good mood is the sine qua non condi- 3D animation, which resembles a didactic doc- prints gathered on the spot as well as exchanges tion of the terrifying “soul of the company,” and ument, seems to be promoting an innovative between engineers and commercials, clients inconsistency of mood is deemed unacceptable. technology. and operators host new fictions where obsoles- Starting from the digital shift of the French Labor There is certainly a rapprochement here with cence sets up a magical dimension. From those Agency, Sas is an extravagant AI which estab- vanity. However, if the classic subject of art his- clues and artefacts, several videographic and lishes an impossible dialogue with the spectator. tory is intended to present the irony of human plastic objects are conceived: aluminum sheets It underlines the absurdity of automation and existence trapped in a putrescible body, the van- laser-engraved with magical inspired drawings, the normalization of our feelings, but also our ity here would be that of a cyborg, a being who generative sounds made by converting the blue- confidence in a computer system that does not seems to be able to escape the ravages of time. prints into audio specter, and video exploration know what it is calculating. of the place.
Ophélie Demurger (FR), Valentin Godard (FR) Sensory autonomy A microphone recorder has slipped in between whispers and the ear canal. Those who operated from afar are now before your eyes: the human- oids of BoTaG are there for you. Enigmatic and secret creatures, they then return behind their screens, for a filmed ASMR session that is broad- casted continuously throughout the duration of the exhibition.
Ether
Ophélie Demurger (FR) Forever 27 Club Through videos and performances, I will attempt to find the common essence that I have with the various members of the “27 Club” — singers who died at the apex of their career — in the hope of finding the keys that will lead me to success. I started this work when I was 24 years old; I now only have two years and a few months left until I too reach that age. Here is my life’s punchline: three years to succeed or die.
Sas (Social Adaptation System)
292 293 CAMPUS PROGRAM / Fine Arts Faculty, Universitat Politècnica de València
Valentin Godard (FR) Science Man “He welds circuits / and codes all night / Science- GROWING OUT OF UNNATURAL man! He makes robots / secretly in his lab, MA Visual Arts & Multimedia, San Carles — Fine Arts Faculty, Science-man! He mixes chemicals / without any technical problems, Science-man!” Universitat Politècnica de València (ES) Part human, part dog, Science-Man is a fictional Program director: Moisés Mañas (ES) character who is embodied in various ways: newspaper, comics, performances, figurines, etc. We have the same mental image for the word techno-humans or techno-sounds critical sym- He is halfway between our reality and a sensitive “World” and the word “Earth.” The world is a biosis states, protected by systems of anonymity and complex technological future. cultural construct and the Earth is the physical in the face of digital surveillance. support where this world is located. Culturally, The Master’s Degree in Visual Arts and Multimedia we have focused our interests on situations, vio- (AVM) from the Universitat Politècnica de Valèn- lent or beautiful, that we perform on this mute cia (Spain) has been the development framework stage/scenery, leading these spectacles without of these projects carried out by students. The perceiving something very basic: there is no fig- Master’s teachers assume the responsibility of Jeremie Nuel (FR) ure without a background. We are in front of the perceiving changes in the social, technological Nothing wild in particular cracked bottom of a scenario that challenges us, and natural environment to train students in the breaking its muteness. critical use of technical and conceptual tools. For Consciousness, memory, reality and identity are Using art (techné), as a creative vehicle between two years, students have to assimilate and put regular themes in Philip K. Dick’s books. These nature, world and society, the projects brought into practice the complex connections between concepts have fed into AI research since the together by this exhibition act as funambulistic very different subjects — anchored in philosophy, seventies. This work uses Andrej Karpathy’s machines that walk on the threshold of these science, visual arts, music, electronics, com- neural network, known as “recurrent,” to train states, breaking through spaces full of perpetual puting, and their own way of understanding the a computer program, using as source a text or a instability in the order of thinking and also in the world, society and nature. In this way we hope corpus. Once trained, the code writes, character order of doing. that these connections will trigger the growth of by character, a new text. The corpus that feeds Growing out the Unnatural includes seven proj- something that, perhaps without knowing it, was the neuronal network shortens Philip K. Dick’s ects from AVM Master students that critically silently already within them. work (52 books). As a mirrored entity, strange question these relations between technological and undisciplined, the computer program tries culture and the natural environment, going from to write, at every iteration, step by step, an a microscopic cellular vision to techno-plants, www.artesvisualesymultimedia.com often-absurd story, and sometimes, a poetic one.
Bérénice Serra (FR) Fernando Asensio (ES), José Luis Cuenca (EC), Swipe Alejandra Florez (CO), Silvia García (ES), Noelia Medina (ES), Jordi Sos (ES) Swype is a virtual keyboard, developed for touch- screen smartphones and tablets, that allows the Insect a new media user to write by sliding his finger from the first to the last letter of a word. Using a predictive This interactive installation proposes a symbi- text system, this keyboard can achieve a writing osis between obsolete technology and natural speed of 50 words per minute. The Swipe project environment, as an approach to a dystopian proposes a translation app that highlights a link future world. A group of sculptural objects com- between writing speed and the enrichment of posed of plants and technological waste, a multi- language through graphic writing, by recording screen projection device, a technological codex and a descriptive catalogue make up this undead the signs generated with the Swype keyboard. Development: Bérénice Serra, Gianni Gastaldi and multimedia project. Each word then produces a new sign. Jacques-Daniel Pillon.
294 295 CAMPUS PROGRAM / Fine Arts Faculty, Universitat Politècnica de València
Sergio Lecuona Fornes (ES) Carlos del Valle (ES) NISS: Network Interaction Sound Sniffer H.C.S (Hybrid Cellular Scaffolding) NISS is a sound installation that reacts to the This ongoing research is an interdisciplinary and exchange of data carried out through a WiFi net- speculative process that explores — through the work. The soundscape produced by eight recep- lens of BioArt — the fusion between printed tion bells and synthesized sounds makes the scaffolds and non-organic forms of artificial hidden digital dialogues between devices per- design and decellularized E.C.M (extracellular ceptible. These interactions, usually triggered matrices). In this hybridization of materials, cells by humans but also autonomous, are brought to of different cell lines will be cultivated. Apart the human realm encrypted into different sound from this, all the critique towards the techno- materials. scientific world view that BioArt has provided and future paradigms will be illustrated.
Miguel A. Sislian (ES) Poli Mujica (CL) CONTRA Sonicaedro
CONTRA project presents itself as an interface Sonicaedro is an installation of an Interactive with a critical character in relation to different Interface (HCI) within a dark and closed space. systems. The main concepts which are ana- Through the tactile interaction with a dodecahe- lyzed are power and control of individuals in dron of iridescent methacrylate, the user is able both physical and digital spaces. In these we try to generate a series of visual as well as sound to find the last opaque places in which we can responses in the environment. The videos pro- establish a confrontation with power and sur- jected in the room revolve around themes of veillance, generating a reflection about the topic sacred geometry in nature. To generate an atmo- from the angle of contra-surveillance. sphere of trance and repetition, the sounds will be looped.
Guillem Sarriá Verdú (ES) Clara Molinicos (ES) NFT (New Flesh Toys) Reset the Forest NFT consists in the design of prototypes for Reset the Forest: Interactive Reforestation Device research into possible haptic interfaces that is a project developed from an ecomedia per- explore anthropomorphic questions and new spective. Its main objective is to promote aware- forms of ergonomics. The use of these specu- ness of forest fires through a device equipped lative artifacts as instruments generates atmo- with an interactive graphic interface. The instal- spheres through specific references to sci-fi, lation shows the aerial view of a burned space, cyberpunk mythology and sound experimenta- which is displayed on a horizontal screen cov- tion. Emphasis is placed on the problems asso- ered with a transparent fertile substrate. The ciated with technological hybridization, body user selects a point of the image at will and the mutation and negative effects of this transfor- device then proceeds to sow a real seed in it. mation process.
296 297 CAMPUS PROGRAM / Cheung Kong School of Art and Design — Digital Media Art Department, Shantou University
Alejandra Marinaro (AR) Lat BioLab ECODERMIS PSEUDOREALITY ALTERNATIVES UMAI Maimonides University Ecodermis is an artwork that alludes to the skin Cheung Kong School of Art and Design — Curator: Diego Pimentel as an organ connecting the human being with Digital Media Art Department, Shantou University his environment, as it reflects the life, memory Is Humanity near its end? Is our community in an Curator: Predrag K. Nikolic and sensations of each individual. At the same evolutionary process of collective thought? These time, the skin is also what gives man part of his are some of the questions we ask ourselves at identity as a species and therefore allows him Worldwide human society is moving from the be an interesting challenge for new generations the Lat BioLab. Fargas raises the hypothesis of to coexist and differentiate himself from others. digital to hyper digital age where virtuality is of designers. perpetuating human life in unexplored environ- Ecodermis, with its own consciousness, gathers becoming as important as reality. Interpersonal Shantou University is a comprehensive univer- ments, in the charge of robotic entities that house and agglutinates the sensations experienced by communication is largely happening within a sity established in 1981 with the approval of human embryos. The question is: will AI be able to those who choose to share their skin markings. pseudo-real social landscape recently enriched the State Council. The school was supported by educate the future humans scattered throughout with new artificial intelligence. However, we still famous patriots and internationally renowned of the universe? Are we willing to allow intelligent find it confusing to navigate our existing social entrepreneur Mr. Li Ka Shing. Currently, Shantou and autonomous entities, independent of human environment and understand each other clearly University is a tertiary institution jointly estab- control, the care and preservation of our species? on different levels such as cultural, emotional, lished by the Ministry of Education, Guangdong Robotika, The Nannybot is a cyber nanny whose intellectual, and interpersonal. Through the Province, and the Li Ka Shing Foundation. Shan- duty is to preserve the human species if the end works exhibited by Cheung Kong School of Art tou University Cheung Kong School of Art and of human civilization arrives in a near or distant and Design, students are trying to communicate Design, Digital Media Art Department is strongly future challenging the limits of the human being ideas of multiple understandings and misunder- committed to providing professional design edu- concept. Fargas imagines that humanity will be standings, subtle and alternative meanings, and cation that highlights creativity, and promoting soon in a technological position to send capsules how that can affect our social and emotional individuals’ creative thinking with a strong focus
containing potential human life to far away desti- Balbuena Mika realities. Regardless of the variety of choices on integrating Chinese culture with new world nations within the universe. Based on this fiction, technology has brought us, we are still lacking concepts. he conceived this project in 2010. Since ancient Joaquín Fargas (AR) platforms capable of overriding potential inter- times, circles represented the synthesis of the personal and intercultural communication prob- Shantou University, Cheung Kong School of Art and community. Bloom states that the first manifes- Design, Digital Media Art Department ROBOTIKA, The Nannybot lems. This means that finding alternatives for Shantou University, College of Engineering, Magatronics tations of collective thought between bacteria existing new media communication options will Engineering Department arose more than three and a half million years ago, Robotika, The Nannybot. Are we, human beings, while Harari argues that the essence of the Homo able to guarantee the preservation of the human Sapiens is based on his ability to cooperate. The species? Are we facing the end of human civiliza- circle as an ancient geometric figure remind us tion? Can we trust in AI to perpetuate humanity? Stonhenge, 3000BC. It is also present in Leonar- Robotika is a cyber nanny whose duty is to Xu Dongyan (CN), Guo Biyu (CN), Liu Kexu (CN), Ye YiChen (CN), Zheng Jiang do’s Uomo Vitrubiano and even as a fundamental preserve the human race. Robotika challenges Zhong Manting (CN), Zhengren Chen (CN) (CN), Dong Geng (CN), Wenjie Liang (CN) component of the human iris. Embroiderers use the limits of the human being concept. It is a a circle for their warp and weft. The Earth itself robot vested with artificial intelligence that shall Shadow of Original Sin Peer act as a “galactic ark,” looking for a suitable can be perceived as a circle when observed from Shadow of Original Sin is an interactive instal- The Peer is a work based on exploration, which environment for human development. the space. Ecodermis’s skin is framed by this cir- lation that explores human original sin. Where uses symbolic snooping movements to explore cle. The images produced by the public are pro- there’s light, there must be shadows. From unusual images in the real world. By looking jected over the stretched synthetic skin, compos- the shadows, we can always see the dark side through a tubular structure, the undefined view ing a collective construction where participants of human nature. The inside of the device will causes people’s desire to snoop. The mechanical choose to donate a photographic imprint of their reflect the original sin inside of you as a human structure inside the black box rotates the screen skin. Each participant is asked: Do we want to being. In the installation, the shadow of the to the corresponding location based on the visi- donate our individuality to the collective human of audience will turn into a monster. The monster tor’s position. At the same time, the film images Ecodermis? Or do we prefer to preserve it? From is completely controlled by the audience, and of the six pipelines share the same theme: the its decisions the skin mutates, transforms and is what the monster will react to depends on the multifaceted nature of human beings in society. synthesized into a single skin. audience. The subconscious evil of human nature Ecodermis: Alejandra Marinaro, concept and development; Elia Gasparolo is entirely exposed. Diego Alberti, programmer; Mika Balbuena, photographer; Robotika: Joaquín Fargas, Artist; Lat BioLab; Elia Gasparolo, Design and Development
298 299 CAMPUS PROGRAM / HKU University of the Arts Utrecht
Wang Shuyin (CN), Sun Xun (CN), Huang Rong (CN), Hu Ziping (CN), Xiangdong Lu (CN) HKU Showcase Angry Bubble HKU University of the Arts Utrecht Anger is often contagious. When a person’s anger Curator: Martijn van Gessel reaches a certain level, his behavior and speech will always hurt or affect others. But if a per- HKU Showcase is a mini showcase of upcom- The Expertise Centre for Creative Technology son expresses anger in a language or ridiculous ing talents from the HKU University of the Arts explores the possibilities of Virtual and Aug- behavior that you don’t understand at all, you Shadow of Original Sin Utrecht. The focus for this showcase is on three mented Reality (VR and AR), sensors, robots, may not be affected by anger, but you may find diverse works in the field of “playful interven- 3D printing, algorithms and interfaces, and their it interesting. When visitors stand in front of the tion.” The HKU Expertise Centre for Creative application in art education. We aim to show the installation, the angry face spits cheerful bub- Technology has curated this mini showcase. many ways in which technology can enrich the bles on them, making the angry facial expression HKU University of the Arts Utrecht distinguishes arts and how art can help us reflect critically on hard to interpret and ultimately pointless. itself with a broad range of study programs in technological advancements. The center facil- arts and media to educate the next generation itates multidisciplinary experiments to ensure of creative professionals. We have a long track HKU remains ahead of the curve when it comes record of successful interdisciplinary projects, to cutting-edge facilities and workplaces. Wang Shuyin (CN), Sun Xun (CN), Huang international partnerships and meaningful inno- Rong (CN), Hu Ziping (CN), Xiangdong Lu (CN) Peer vation for the creative industries and beyond. 4000 students attend HKU, studying at nine You Don’t Know Me HKU University of the Arts Utrecht schools: Fine Art, Design, Music and Technol- HKU Expertise Centre for Creative Technology Cultural differences often lead to many misun- ogy, Games and Interaction, Art and Economics, HKU Music and Technology derstandings. The installation deals with mixed Media, Utrecht Conservatoire, Theatre and HKU HKU Theatre cultural — misunderstanding phenomena and College. HKU has four expertise centers that HKU Media HKU Fine Arts multiple-realities interpretations, opening a new are responsible for practical research, innova- Pim Boreel world of contrasts and alternatives. In the boxes tion programs and knowledge development. Eva Asscheman are videos with multiple meanings which could be easily (mis)interpreted differently based on different cultural backgrounds. Visitors are chal- lenged to guess the meanings. If they are wrong, Angry Bubble the installation responds with — You Don’t Know Me. Pim Boreel (NL) Flora Jin Ni (CN), Huang Mingyuan (CN), Flora is a living audiovisual installation that Zhengren Chen (CN) explores the relationship between human beings, technology and nature. This installation is an air- Gluttonous Snake tight glass cube, totally cut off from the outside Our emotions can be conveyed through expres- world. Within this cube, an ecosystem is growing sions and have the power to influence people You Don’t Know Me based on condensation. Fractal-like spores are around us. How do different emotions affect taking shape on the glass. When drops of con- each other when they are together? Will hap- densation hit sensors inside the installation, light piness and sorrow counterbalance? Does anger and sound impulses are set in motion. Set within cause a butterfly effect? Which kind of emotion a dark space, this creates an experience for the will make the snake grow stronger rather than audience around the living entity that is Flora. kill it? The answer is simple, happiness. We are generating emojis based on facial expressions. Different emojis have different powers. Try to keep growing the snake with happiness.
Gluttonous Snake
300 301 CAMPUS PROGRAM / Theory of Interactive Media Masaryk University, Faculty of Arts, Brno, Czech Republic
Hands-on Media Art Theory Casper de Jong (NL) Multidisciplinary team of HKU students (INT) Theory of Interactive Media (BA, MA study program) Casper’s Ex City Walk Masaryk University, Faculty of Arts, Brno, Czech Republic Casper’s Ex is a playful interactive installation In City Walk, several HKU students work in inter- words, new media art and theory are situated on the relationship between human beings and disciplinary teams to create different augmented MEDIA ART within the same coded and programmed envi- everyday technology. More specifically, this reality video tours through the city center of Linz. New media art is a term denoting the critical, ronment. Therefore, media art theory not only installation is about the relationship between our They invite you to watch the city in a completely subversive, speculative, and creative strategies reflects on media art practices, but it progres- smartphones and ourselves. We feel attached to different way, by zooming in on specific stories which have the potential to test the limits of sively merges with them, and thus itself becomes our devices, but as soon as a newer and better and details that often stay unseen. The audience programmed processes, expressions, and expe- speculative, subversive, and experimental. model crosses our path, we trade them in with- will be directed to the starting point of the city riences mediated by the infrastructure of infor- out remorse. The phone, however, cannot move walk by the map on their phone. The video will mation and communication technologies. New HANDS-ON MEDIA ART THEORY on. Your data, your scent, and your picture is all guide the audience from that point. Walk safe: media artifacts are a result of creative acts which they have left. Casper’s Ex is a lonely smartphone don’t forget to be aware of your surroundings resemble the work of curators rather than the The Theory of Interactive Media study program that’s been left behind and is trying to connect and traffic! work of creators, DJs rather than interpreters, is influenced by the convergence of new media with you while you are passing by. and dancers rather than sculptors. art and theory. Its curriculum includes several subjects which provide students with hands-on MEDIA ART THEORY experiences of new media as tools of creativity. The goal is to acquaint them with the “logic, Both artists and theoreticians are trapped in the vocabulary, and grammar” of the media that technologically enhanced network of distributed artists deal with. The exhibition shows selected control. They are sentenced to wander in search outcomes of the media art hands-on lectures. of escape routes, survival kits, and red/blue pills. Moreover, two examples of “out of the box” Critical distance, which has been regarded as research projects, situated on the borderline insurance for objectivity and independence of between media art theory, practice, and cura- academic theoretical reflection on culture and torship, will be presented. society, was revealed to be a mere illusion of the over-confident intellectual mind. There is Students of Theory of Interactive Media study program Department of Musicology; nothing quite like objective truth behind the Faculty of Arts, Masaryk University; integrated spectacle of mediated, instant experi- TA ČR, Technological Agency of the Czech Republic; ences, but there is only the more or less skillfully The Brno House of Arts; designed rhetoric of arguments knitted within Vašulka Kitchen Brno — Center for New Media Art Moravia IT; Casper’s Ex fuzzy human-machine interactions. In other MUCHA
Teacher: Filip Johánek (CZ) Aura of Audiography What is an audiography? It is a remedy for visual smog we have to breathe; it is an alternative to an integrated spectacle of instant visual and tac- tile pleasures that seduce us; it is an imprint of sound which can serve as a trigger of personal memory emergence. The audiography has the same power as the smell of Madeleine cakes in Remembrance of Things Past by Marcel Proust.
Marcel Dolman Marcel Close your eyes and listen. What do you see? Jurcaga Jakub City Walk
302 303 CAMPUS PROGRAM / Theory of Interactive Media Masaryk University, Faculty of Arts, Brno, Czech Republic
Teacher: Tomáš Staudek (CZ) Math is the New Latin Algorithms in art are no longer mere visualiza- tion tools, but rather creative partners with a considerable share of aesthetic responsibility. The universal language of algorithms is math. Students of the subject put hands-on principles of mathematics in art, get acquainted with more
than 50 creative software tools (visual gram- Stelclova mars, fractals, chaos, tessellations, etc.) and artgorithms.droppages.com; picture — Natália Lajčiaková, learn how to understand and critically reflect on technique: Multidimensional complex fractal, Software: Kratochvil calculated creativity. Mandelbulb3d, Photoshop Remake the Media History!
Jana Horáková (CZ), Jiří Mucha (CZ) Computer Graphic Re-visited This is a high-tech reconstruction of the Com- puter Graphic exhibition organized at the Brno House of Arts in 1968 by the artist, curator and theorist Jiří Valoch. It was one of the first gallery presentations of computer art worldwide and the very first exhibition of this art in the so-called Eastern Bloc. The exhibition project called Computer Graphic Re-visited draws on archival research. However, it is not a reconstruction of Spicak the original event, but rather a remake balancing Behind the Interface between a digital art-history experiment and the screenshot “remembering exhibition” (R. Greenberg).
Teacher: Martina Ivičič (SK) Teachers: Monika Szűcsová (SK), Adam Franc (CZ) Jana Horáková (CZ), Jiří Schimmel (CZ) et al. Remake the Media History! Behind the Interface Deep Learning from Vasulkas’ Video Archive Born online, new media art is like a cultural Software art refers to the artistic activity that The goal of the project is to experimentally test nomad aimlessly walking through the rhizom- allows software (and the software’s cultural sig- the utility of artificial neural networks in service atic meanders of an archive without walls. It nificance) to be reflected within the media or of media art historiography and theory. Arti flickers back and forth in the annals of history material of software. The course Software Art is ficial neural networks conduct iconographic and and crosses geographic, cultural, and institu- divided into theoretical lectures on the history audiographic analyses of the Woody and Steina tional boundaries, both physically and virtually. and genealogy of software art on one hand, and Vasulka video archive. We suppose that the The aim of the subject The Best of New Media Art practical application on the other. The presented application of deep learning technologies in the is to acquaint students with media art history in works are the result of linking theoretical and study of the archive content could serve not only a similar way. They are encouraged to enter into practical skills that students have acquired. They for data mining purposes but, more importantly, a creative and critical dialogue with canonical demonstrate a variety of approaches to creating can become a creative means for rethinking the works of avant-garde and media art in order to and reflecting on software artworks. poetics of early electronic art. Bajzik Sikora link current new media art and culture practices Application partners of the project are The Vašulka with their roots. Picture — Author: Jan Špičák, technique: text generator, Kitchen Brno — Center for New Media Art and The Brno software: Python programming language (open source) House of Arts. The project (TL02000270 Media Art Live Archive) is conducted with financial support from TA ČR. Technological Agency of the Czech Republic.
304 305 CAMPUS PROGRAM / Shanghai Institute of Visual Arts, Roy Ascott Technoetic Arts Studio
Technoetic Pharmakon Shanghai Institute of Visual Arts, Roy Ascott Technoetic Arts Studio, DETAO Masters Academy Bill (BiCheng) Zhou (CN) Curators: John Bardakos, Bill Zhou, Jessie Dong Noise Eater Noise Eater is a kinetic art piece exploring the At the heart of every cybernetic structure lies a of remediation offer opportunities to recuperate poetics of noise electronics and the human con- black box, which many see as the main protag- and renew. dition. The installation allows the participants as onist in every narrative around feedback loops, Within this context of healing, we are very well as the art piece itself to consume noise, gen- outputs, and communication between living proud to present the art installation Technoetic erate noise and provide an aesthetic experiment organisms and machines. Therefore, for the Pharmakon as a field of dialectic entities: a series consisting of electronics, exploring concepts of theme Out of the Box, we choose to emphasize of Technoetic creations from the students of the humanity and nature. decentralized exploration of the “field” of inter- Roy Ascott Technoetic Arts Studio, DeTao Masters actions that surround this central black box core. Academy, Shanghai Institute of Visual Arts This field acts as an environment inhabited by (SIVA). The Technoetic Arts Major is an advanced processes and sub-processes that manifest as art program based on the research-creation information flows, behavioral acts, and all man- paradigm. We expose students to the important Bill (BiCheng) Zhou (CN) ner of dialectic correlations. Influenced by Alfred emerging theories and practices across the fields S>A
Slime mold reality S>A
Slime mold reality
306 307 CAMPUS PROGRAM / SAIC School of the Art Institute of Chicago
Doug Rosman (US) Yuemin Huang (CN) self-contained III Space Always Already Alien A neural network trained to see the world as Inspired by the Shanghai Metro, audience move- SAIC School of the Art Institute of Chicago variations of the artist’s body enacts a process ment inside this crowded space triggers a range of algorithmic interpretation that contends with of sonic responses. A series of large white bal- Curator: Duncan Bass a body as a subject of multiplicity. The neural loons fill the installation, forcing the viewer to network, with its photographic understanding of squeeze between them. Acting as unpredictable The world has changed since 1969. In the fifty The first of its type in the United States, SAIC’S the artist, creates a pseudo-autonomous figure controllers, these abstract bodies respond to years since the inception of Art and Technology Art and Technology Studies department was unconstrained by physics, biology and time, that human visitors and to one another, creating a Studies, networked technologies have become established in 1969 with the introduction of a is simultaneously one and many. The movements cacophony that increases as we try to escape it. ubiquitous — mediating nearly every aspect of single course operating at the intersection of art, and costumes of this algorithmic entity attempt We can leave because it is an artwork, we can’t our daily lives. Always Already Alien explores the science, and technology. to answer the question: how does one represent escape when it is life. societal impact of these systems by analyzing Since its inception, the program has continually themselves in a data set? the way we relate to one another in physical and pioneered the use of emerging technologies in virtual spaces. Are we closer to our loved ones contemporary art, developing new models of Leah Solomon (US) Rafa Rivas (US) around the globe than the strangers we push artistic practice and integrating these models past in the metro? Can we avoid this seemingly into the curriculum of one of the world’s most EndIIEnd VR: Illumined EXULANSIS inevitable sense of alienation? The selected influential art and design schools. works attempt to blur the boundaries between and Illuminated [the VR experience] real and virtual, speculating new forms of cohab- EndIIEnd VR: Illumined and Illuminatedre-imag- Enter the world of dreams through a portal in a itation that insist on the physical presence of the Martin Berger, Provost ines the poems of Carol Ciavonne, weaving the future city from a different dimension. Welcome bodies navigating these spaces. Always Already Arnold Kemp, Graduate Dean vantage points of an Azimuth, Quadrant, and to EXULANSIS, an immersive and interactive Alien showcases work by recent graduates of Gretchen Talbot, Dean of Administration, Budget and Meridian to explore themes of exile, rebirth, and experience. Planning the Art and Technology Studies department at black sonic resistance. the School of the Art Institute of Chicago (SAIC), MaryAnn Schaefer, Executive Director of Enrollment Marketing & Operations including Yuemin Huang, Amay Kataria, Rafael Nicole Hall, Director of Graduate Admissions Rivas, Doug Rosman, and Leah Solomon. Provost Council
Amay Kataria (IN)
LAN: Live Agent Nest self-contained III Space LAN (Live Agent Nest) is a colony of synthetic agents constantly in a state of action. The proto cols driving them manifest in behaviors like attraction, repulsion, and forming connections. Their contact with other agents leads to emer- gent behaviors depending on the agent’s capa- bilities. After forming connections with other bodies, a network of dialog starts transpiring in these super agents. This flow can be disrupted by the intervention of humans, detected using a camera in the space. EndIIEnd VR: Illumined and Illuminated EXULANSIS [the VR experience]
308 309 CAMPUS PROGRAM / Aichi University of the Arts (AUA)
Tsutomu Yamamoto (JP) Philosophy of Drawing Resolution of landscape Aichi University of the Arts (AUA) Resolution of Landscape is a work of mixed real- Curator: Atsuhito Sekiguchi ity. Viewers can experience two spaces between the exhibition space and a landscape movie shown on the iPad. Through this experience, the Aichi University of Art (AUA) is exhibiting the T.YAMAMTO Resolution of landscape. Works viewer draws a space in their own mind. That Media Art Study Group of JASIAS (Japan) Society that have cognitive effects on their physicality experience expresses spatial sense and contem- of Image Arts and Sciences, in particular, works by their own vision, K.KODAKA Bodiject-oriented . porary realism in virtual space. with media visuals and traditional expressions The image of returning to water accesses from media artists active in the Chubu region people’s own memories, N.OSAKI Portraits. AUA of Japan.The theme of AUA’s exhibition is Phi- Project that draws a new “constellation” on the losophy of Drawing, showcasing artists and ground using satellite and handmade radio wave researchers from the area around the univer- reflector, H.SUZUKI+N.OHKI Constellations of sity. This exhibition focuses on the physical act the Earth. Analog drawing machine with wooden Kenri Kodaka (JP) of “drawing” and shows works that juxtapose scale arm, A.SEKIGUCHI and I.KATAYAMA Arm “inner sight” and “drawing,” perceiving the Existance2019. Using the small display makes Bodiject-oriented physical act. This project exhibits 7 groups of viewer to experience like “look through the micro Bodiject-oriented is a media installation designed works by 10 artists. Works that show the dif- world”, H.ISHIKAWA RGB microscope. to give viewers an experience of “bodiject” (body ference between individual drawings and the as object). In this work, a single double-sided concept of sets, such as DTG DM 1.0. Works mirror vertically divides a flat display into two that approach the landscape in memory by AR, Agency for Cultural Affaires, Government of Japan left and right planes; the body-image plane and the object-image plane. Some deformed fingers are shown from the body-image plane and some vegetable sticks are shown from the object-im- age plane, where they are continuously operated by someone’s hands in a loosely synchronized manner. This kind of parallel observation enables AUA viewers to detach ownership from their physical DTG (JP) body. DM 1.0 Image analysis by deep learning has improved AI drastically, but the AI does not yet understand Nobuyuki Osaki (JP) the meaning of “cat.” DM 1.0 is an interactive Portraits drawing machine, and the intention is to experi- ment with an abstract concept (this time a circle) Meditating about myself and others. About mem- that people have. Humans draw through rota- ory and perception. About the reality of all of us, tional movement of their joints, and the draw- living in the information society. And also medi- ing process of DM 1.0 is a combination of two tating about politics, society and unpredictable linear motions. This work will make us aware of disasters, about our future. The more I think the difference between human physicality and about it, the more “this world” is flooded with machine drawing. vagueness and uncertainties. That isn’t meant to AUA
be negative at all. The vague and uncertain state AUA presents a possibility floating to the unknown. I use myself like a coordinate axis, I meditate about this feeling of “vagueness” and “uncer- tainty” and ask myself about the existence and possibility of this world.
310 311 CAMPUS PROGRAM / Academy of Media Arts Cologne, Media and Fine Art, Academic Group: exMedia
Hiroshi Suzuki (JP), Masato Ohki (JP) Constellations of the Neigungsgruppe Medienfassade Earth Academy of Media Arts Cologne, Media and Fine Art, Academic Group: exMedia Constellations of the Earth is a project that draws a new “constellation” on the ground using a sat- Curator: Dawid Liftinger ellite and a handmade radio wave reflector. The earth observation satellite Daichi 2 transmits By approaching the facade of the Ars Electronica exMedia is an academic group which shares the radio waves and observes the ground’s surface Center as an oversized (yet direct) stage towards conviction that experimental aesthetic projects by registering the reflected radio waves. By
AUA the public sphere, the students of the Academy and socio-technical research lead to an expan- arranging a radio wave reflector on the ground, of Media Arts Cologne propose an analysis, sion of scholarly and creative horizons that effec- we efficiently reflect the radio wave of Daichi 2 exploration, and even revision of the façade’s tively address existential human conditions in on the ground and draw a “constellation” there. role, meaning and functions. Through manifold the 21st century. exMedia integrates design, cod- site-specific interventions including interactive, ing, sound and animation, and connects critical political, expanded/animated, performative reflection with experimental approaches based and art historical aspects, the façade serves as on fundamental questions raised by individuals vector and container for individual artistic dis- and society. exMedia works on the conditions of courses to coexist. a technology-driven culture and addresses its Atsuhito Sekiguchi (JP), Isato Kataoka (JP) future, including post-media perspectives. Arm Existence2019 We usually write and draw pictures without doubting the length of our arms. If someone sud- YUE (CN) denly grabs your arms and they become immo- bile, it also feels like putting an arm in the mud. Overloading / Overloaded: Touch Me Softly If you cannot confirm the information by eye, you Interactive installation will only feel the outside world from your own body reaction. The Ars Electronica Center itself is being tors to touch, caress, scratch, strike and hit the
AUA Canon Inc. expanded to include touch-sensitive sensors building. Touch, in turn, creates wave animations which will be transformed into an interactive that spread across the building. Overloading the installation. Several sensor-points placed on sensors (eg. hard knocking) causes the whole different positions on the façade invite visi- façade to crash.
Hina Ishikawa (JP) RGB microscope This drawing system uses the characteristics of the three primary colors of light. I focused on the differences between the action of drawing and the things which were drawn. Using the small display gives the viewer an expe- rience like “looking through the micro world.” AUA
312 313 CAMPUS PROGRAM / Academy of Media Arts Cologne, Media and Fine Art, Academic Group: exMedia
Moritz Laumert (DE) Dawid Liftinger (AT) Nord Süd Hyperscreen [Testpattern] Animation Animation
Nord Süd deals with two important non-repre- A search for the limit of the technical boundaries sentational painters: Josef Albers and Günther of the media façade at the threshold of human Fruhtrunk. Both have great art-historical rele- perception; redeeming their promise as fast, vance and are points of reference to consumer colorful pictures. Every “pixel” always changes culture and design alike. Fruhtrunk designed the every frame. Flicker, no pause, high-contrast: plastic bag for Aldi-Nord, which irrevocably con- everything is always on. This is noise for the eyes. nects him to the brand. Albers’ famous painting, “Homage to the Square,” has surprising paral- lels to the Aldi-Süd or Hofer logo. Both of the painting-inspired graphics are processed and animated on the façade.
Kudo Mayuko (JP) Camilo Sandoval (CO) Tape DEFACING Augmented Reality (AR)-Animation Data visualization
“Every time you imagine something, it’s the key Historically and politically, Colombia is at cross- to reality. Imagination is the key to creation. In roads. After fifty years of internal war and con- other words, everything you imagine is [...] real- flict, it’s time to redefine/rethink our identity ity.” — Omnec Onec, from the planet Venus. In as a nation, the way we see ourselves and our Tape, the AEC is transformed into an oversized, international perception. I use AEC’s façade to sparkling ribbon-wrapped box. If you point an visualize data showing a broad panorama of what AR-app on it, the ribbon disengages and opens a was and is still going on in Colombia. The data gate that reveals the content: fleeing color dots, come from several institutions and observers of which slowly form figures that rise from an intan- the conflict and are meant to reflect the magni- gible, all-energy world into our reality. tude of the events through abstraction.
Lee Sooyeun (KR) Bela Usabaev (DE) Symmetry Body Public Space Visual Animation Image An animation that considers the reflections of Multimedia interactive performance the media façade in the Danube. Simple shapes, From the public space around the AEC, impulses sinus waves, mandala patterns that double in are transmitted through the body to the façade the water. as part of an interactive performance. The com- pletely free structure of public space meets the defined counterpart of the body in order to be mounted on the façade as if on a canvas. It is an exploration of the time and structure of the immediate environment using one’s own body. The performance has a calm and investigative character; that of an object, organically moved, in public space. 314 315 TIMELESSNESS Universidade de Lisboa, Faculdade de Belas-Artes Pedro Soares (PT) Curators: Mónica Mendes, Ana Teresa Vicente ARchaeologies In Archaeologies, we’re faced with a sheet of When Ars Electronica completes 40 years, we LARSYS. Since 2004, Multimedia Art at FBAUL paper in which an iconic picture from the past might be inclined to think that digital art is strives to deepen artistic research by bringing was engraved through folding. Observers may bound, by technology, to the time of its creation. a multidisciplinary approach to an institution use the available materials to produce their own Experiencing this selection in which drawings that is simultaneously contemporary and his- drawings while simultaneously revealing the are excavated and expanded through augmented torical, while fostering collaboration within other hidden image. By observing the piece with an reality, however, a viewer’s gaze is allowed to departments in the institution and establishing Augmented Reality app, we can see the strata degrade the photographic image, and the tan- partnerships such as that with Instituto Superior that contain each individual citation made by the gible or performative gestures of the audience Técnico and with NOVA laboratory for Computer participants and how every new intervention is are used to evoke memories or point to new Science and Informatics. FBAUL is located in conditioned by the ones before it. directions. We realize that creativity can defi- Chiado, a cosmopolitan, bohemian and artistic nitely transcend the technology used to build it. neighborhood in downtown Lisbon, Portugal. Calling upon temporality, space, and memory as Adriana Moreno (BR) key ingredients, Timelessness engages the par- ticipants on a journey through social, aesthetic, Multimedia Art Head of Department: Patrícia Gouveia; SandBox — Grains in Memory and temporal landscapes. The exhibition gathers Faculty: António de Sousa Dias, Mónica Mendes, Pedro artistic projects developed by undergraduate, Ângelo; Featured Artists: Adriana Moreno, Ana Teresa Sandbox is an interactive art installation that pro- Vicente, Andreia Batista / André Fidalgo Silva / Luís masters, and doctoral degree students in the poses continuous reflections on the human rela- Morais / Miguel Ribeiro, Joana Resende, João Batista scope of the Multimedia Art Department of the / Noel Martins / Pedro Gonçalves / Hugo Rocha, Pedro tionship between the sea and its identity paths. Faculdade de Belas-Artes of the Universidade de Soares, Régis Costa; Collaborators: Maurício Martins, The installation consists of a corpus of sound Lisboa — FBAUL. Since its foundation as a School Tiago Rorke, Rita Carvalho (Technical support and Doc- memories based on the experiences of people umentation, Makers in Little Lisbon — MILL) João Costa who narrate their relationships of belonging with of Arts in 1836, FBAUL has always sought to inte- and João Rocha (Exhibition Product Design, ProjectLabb grate multiple artistic and design areas. One of — FBAUL); INSTITUTIONS — Invited institution and the sea. Memories — both “soundscapes”, a con- its most recent departments, Multimedia Art, research centres: Universidade de Lisboa, Faculdade de cept adapted from Schafer referring to sounds incorporates its traditional expertise in painting, Belas-Artes — FBAUL, http://www.belasartes.ulisboa.pt; in the marine environment, and oral narratives Universidade de Lisboa, Faculdade de Belas-Artes, recorded during fieldwork — are then revealed by sculpture, communication and product design Centro de Investigação e de Estudos em Belas-Artes — with new technologies and media for results CIEBA, http://cieba.belasartes.ulisboa.pt; Partnerships: moving wet sand in an instrumented box. that are timeless. The Multimedia Art depart- Interactive Technologies Institute — ITI / LARSYS ment is connected to the Centro de Investigação https://iti.larsys.pt, Instituto Superior Técnico — IST, https://tecnico.ulisboa.pt; Support: ARTiVIS — Art and e de Estudos em Belas-Artes — CIEBA, and to Technology for Sustainability, http://artivis.net, MILL — the Interactive Technologies Institute — ITI/ Makers in Little Lisbonhttp://mill.pt Joana Resende (PT) Frontiers || Territories Ana Teresa Vicente (PT) Boundaries are constantly being changed, and Wandering Gaze those we find today may have already changed tomorrow. In a protected area of the Greater The Wandering Gaze project explores the rela- Lisbon area, aerial images are collected to build tionship between the observer’s gaze and an a map with open source software. These are image through eye-tracking technology. The shared through a website that is, itself, also a installation allows the viewers’ gaze to be mate- map, allowing for the visualization of economic, rialized into a tangible path that will erode the ecological and social while trying to see how well
surface of a photograph. The image is thus a per- Maria Martins a territory / protected area is respected — “para formative space, as the viewers’ gaze is invited mais tarde recordar” (for later recall). to wander about and explore it, contributing to Developed with the technical assistance of MILL the piece even while causing its deterioration. (Tiago Rorke, Maurício Martins and Pedro Ângelo). 316 317 CAMPUS PROGRAM / The Academy of Arts, Architecture and Design in Prague
Andreia Batista (PT), André Fidalgo Silva (PT), Luís Morais (PT), Miguel Ribeiro (PT) The Fortress The Ornaments of the The Fortress is a story-driven video game for com- Post-Anthropocene puters where choices and interactions explored within the game result in different outcomes. The Academy of Arts, Architecture and Design in Prague Its main mechanics correlate with social inter- Curators: Prof. ak. arch. Imrich Vaško, MgA. Shota Tsikoliya, Ph.D, M.Sc. and MgA. David Kovařík actions: by switching between two characters with different personalities, the player needs to unravel the mystery of each puzzle/level of the Smooth surfaces and glazed facades repre- semester, it opened two new studios: the fortress. sented the challenges of modernist architecture. Guest Artist Programme (Spring, 2018), where The project was created under the aegis of the Architecture without ornaments or, as defined UMPRUM invites an acknowledged foreign artist Multimedia Art Department and the Instituto by Beatriz Colomina, “X-ray” architecture now to work with its students, and Photography II Superior Técnico Master’s Degree in Games. faces the challenges of the post-Anthropocene. (Winter, 2018, under the Graphic Design Depart- Andreia Batista Andreia These are buildings not inhabited by people but ment), to provide a new generation of talent to by machines; built to produce, share, reorga- innovate within the visual world. nize or store. It’s architecture without daylight, At the moment, the Academy offers about 600 facades without windows, and floors without students with 25 studios in 6 departments. Twice João Batista (PT), Noel Martins (PT), Pedro Gonçalves (PT), Hugo Rocha (PT) stairs. How do architects respond to the emerg- a year, it opens to the public for a presentation of Orbita ing challenges of the new era and their environ- student works entitled “Artsemestr.” Each year ment? The exhibition will present previously the academy organizes over 15 exhibitions, half Orbita is an open-world, virtual reality game rejected ornaments as integrated parts of sev- of which are shown abroad. developed to represent a futuristic point of view eral projects designed for or by the machines. In 2018, UMPRUM entered the prestigious QS in which science and spirituality coexist. It uses The Academy of Arts, Architecture and Design World University Rankings and it is currently puzzles to stimulate the player into exploring its in Prague (UMPRUM) was founded in 1885. listed among the world’s 51st and 100th top uni- environments. Confronting players with a futur- Throughout its existence it has ranked among versities, together with schools such as the École istic possibility that does not rank science above the best educational institutions in the country. nationale supérieure des arts decoratifs (ENSAD) spirituality (or vice versa), this game gives them a It boasts a number of successful graduates who in Paris, Cornell University and the Cranbrook chance to understand the metaphors that under- have gone on to become respected profession- Academy of Art in the US, and Sheffield Hallam pin the main character’s journey. als, garnering acclaim beyond the Czech Repub- University and Kingston University in the UK. lic. The academy is divided into the departments
Joao Batista of architecture, design, fine arts, applied arts, Studio Architecture III is an experimental and graphic design and theory and history of art. research-oriented platform and a part of the Academy Each department is divided into studios accord- of Arts, Architecture and Design in Prague. Students: ing to their area of specialization. Studio heads Adam Angelov (CZ), Frida Block (SE), Malin Hilding, Petra are leading figures in the Czech art scene. Garajová (SK), Ivan Olontsev (KZ), Marketa Osifová (CZ), Régis Costa de Oliveira (BR) Shervin Peyghambari (IR), Tomáš Růžička (CZ), Tamara The Academy is also reacting to market needs Salajová (CZ), Petra Sochůrková (CZ), Dan Sviták (CZ), Inter Faces and new student interests. During the 2018/2019 Záviš Unzeitig (CZ), Adam Varga (SK) The Inter Faces performance uses augmented reality to replace the performer’s body — includ- ing self-portraits — with digital images framed on a screen. The performers will act in a space Studio Architecture III that fuses the real with the digital. Their actions will likewise occur by crossing in between these Platforms of Differential Growth two worlds, exploring simulacra and making it Design based on the algorithmic evolution of Such systems are capable of self-reproduction evident it from digital contents that seemingly geometries represents machine production and self-reparation. The exhibited concrete appeal to us, even as it also makes clear how without need for human intervention. elements are cut-outs of an endless structure. such temptations can exert a narcoticizing, hallucinogenic effect on us.
318 319 CAMPUS PROGRAM / CAFA, Central Academy of Fine Arts Beijing
Studio Architecture III Studio Architecture III Material Moods Buildings Without People Zen · Machine This ongoing investigation explores the natural Buildings without people are already an inte- CAFA, Central Academy of Fine Arts Beijing behavior of materials and their possibilities of gral part of our cities, though often not archi- Curators: Qiu Zhijie, Jo Wei self-organization. The synthesis of robotic pro- tecturally integrated to them yet. These projects duction and material performance lies at the replace five iconic 20th-century buildings with AlphaGo was able to beat humans at chess monks are forced to confront a series of existen- center of a research project aiming to develop 21st century typologies such as data centers because playing chess is the perfect activity for a tial doubts. By reflecting on these doubts, they new and fluid-based construction composites. or logistics hubs inside of which humans are robot. If we could connect AlphaGo’s “brain” to a are able to gain new forms of enlightenment. unwelcome or, at best, inconvenient guests. computer, we would quickly see that it possesses Huatou is not mere occultism — it teaches us that a level of concentration much greater than that everyone can develop their own interpretation of of humans, that it never grows tired, and that, a certain issue. unlike us, it is not a slave to its emotions. For The Central Academy of Fine Arts (CAFA) EAST thousands of years, Eastern monks have used Season is a platform devoted to international various forms of meditation to tap into hidden dialogues across multiple disciplines — namely wisdom. Now, however, using technology such education, art, science, and technology (EAST). as AI and big data, we have created a type of This year’s exhibition revolves around neuro- wisdom that vastly surpasses our own. science and artificial intelligence. Based on the The purpose of Zen Buddhism is not just limited theme of all things Zen, works in this exhibition to harnessing wisdom through concentration and reflect on how human thought may change under meditation. The Zen Buddhist notion of “huatou” the influence of external equipment such as (dialectical meditation) is a highly original brain-computer interfaces, as well as the pos- method of teaching: by asking themselves a sibility that computers will develop the same question that, on the surface, seems illogical, capacity for thought as humans. Shota Tsikoliya Material Moods
Qi Chen (CN) Brainwave Project to Help Patients with Disorders of Consciousness This project is a functional artwork aiming at “art healing.” In this project, I hope to provide an approach to help people who are in a min- imally conscious state (MCS) and have partial preservation of conscious awareness by using wearable devices to detect real-time brain waves and generate images to help doctors and families understand the different brain responses to different audiovisual inputs.
Technical support: Ma Xiaxiao, Zhang Chi Qi Chen Shota Tsikoliya Shota Tsikoliya Buildings Without People Platforms of Differential Growth
320 321 CAMPUS PROGRAM / CAFA, Central Academy of Fine Arts Beijing
He Xuan (CN) Liu Zhicheng (CN) Mind Particles Wind Charm The particles (little balls) are suspended and What were the earliest musical Instruments aggregated in the air, and the brain waves gen- of mankind? How did humanity start enjoying erated by concentration during meditation con- music? Human beings have become more sen- trol the substances in the container. When the sitive to emotions through technology, and now control stops, the air movement stops, the par- they have become too meticulous. This work ticles return to the absolute steady state and attempts to transform emotions into simple are scattered. He Xuan signals produced by blowing air on bottlenecks, which is directly controlled by brain waves. Like the hand of a pioneer musician, the users explore
Jianhao Lei (CN) Liu Guiyu (CN) the boundary between sound and emotion with Liu Zhicheng their brain waves. Time Body Poetry Making time orderly is a temptation that nobody Body Poetry is an exploration of future body data can resist. What I present in this project is a and poetic human data. When linking the body to Qiu Siyao (CN) trapped clock. The audience takes an EEG and the data, perhaps our sadness, fear and enthusi- the data extracted from their brain activities asm are not only the spirituality of poetry, but the Gaze into Haze reinvigorate the clock. Then, the clock is no lon- result of the algorithm. Here, intelligent wear- Will the rise of single gazes also mean a decline of ger moving second by second, but at a real-time ables are used to creatively express the “poetry the global view? Every single gaze means letting pace according to the brain activity of the viewer. of the body.” Our body functions can be calcu- go of the larger picture. The person being gazed lated in the future. Can each emotion be derived at may feel embarrassed. Is it possible for the from the algorithm? inorganic object being gazed at to change? Who can remember what happened in the moment before a distraction? Qiu Siyao
Qiu Zhijie (CN), He Xiaodong (CN) Mappa Mundi: An Interactive Artistic Mind Map Generator with Artificial Imagination A multi-level mind map and corresponding graph- ics are generated via an LSTM model to form an artistic image based on live stimuli, injected with AI imagination. This work recognizes semantics via ASR and POS tagging, and further processes and generates associations among them. Qiu Zhijie, He Xiaodong Qiu Zhijie, Jianhao Lei Liu Guiyu Time Body Poetry
322 323 CAMPUS PROGRAM / Korea Creative Content Agency (KOCCA)
Iris Long (CN), Deng Hanbin (CN), Wu Tiancheng (CN) RASA-BOX Rasa is a “mirror” — it evaluates your “emotional Content One Campus — state” in real-time based on your gestures. The project explores the limits of the comfort zone Network Intelligence of the “privacy of one’s own feelings.” A camera and the algorithms will detect in real-time the Organized by Ministry of Culture, Sports and Tourism of the Republic skeleton data of the viewers and deduce their of Korea (MCST) and Korea Creative Content Agency (KOCCA) emotional state in order to write a sentence that falls in the same emotion category. With its disruptive AI, robot, data, 3D, and VR Ministry of Culture, Sports and Tourism of the technologies, the Fourth Industrial Revolution Republic of Korea(MCST) and the Korea Creative Iris Long has triggered a fundamental change in the way Content Agency (KOCCA), is designed to make we live, work and relate to one another. The sense of the Fourth Industrial Revolution’s tech- speed and breadth of the economic, political, nological context; eliciting collaborative proj- social, and cultural changes produced by tech- ects in four theatres of operation school, lab, nology are literally beyond our comprehension. institution, industry to cultivate creators at the Baoyang Chen (CN) It is time to think, act, and collaborate to bring intersection of different disciplines. This unique ARTificial Banality, The Faking of Looking, about new methodologies for the coming age. initiative has successfully merged seemingly What, then, will be the best strategic approach? incompatible academic, corporate, and institu- and Alchemical Gaming What manners of collaboration are necessary? tional approaches into one integrated process Two humanoids surrounded by four screens How can we educate our talented creators? to navigate the future together. showing swapped faces and machine’s vision. These urgent questions point to the integration In 2018, the Content One Campus supported This project explores the ontological dichoto- of the arts and humanities with science and four such collaborations, which provided stu- mies among us, technology and society by again technology. dents with the opportunity to earn college credit questioning if machine can think. A brain in the The increasing importance of institutional sup- for their participation and cultivated over 1000 vat craves to be awakened. A tulip — of us, mass port is to construct an ecosystem for easier and creators. Based on last year’s success, 2019 will media, and technology — withers by our illusion smarter interdisciplinary collaboration between witness a significant expansion in its geograph- of body awakening. This paragraph was gener- art and science, design and technology. The ical scope, number of projects (15) and partici- ated by AI after showing the image of the work Content One Campus, launched in 2018 by the pants in interdisciplinary convergence (3,750).
Baoyang Chen Baoyang to AI.
Sejong University (Sejong University Industry Academy Cooperation Foundation), ComixV Co. VR Webtoon Creation and Business Model Collaboration Project as Next Generation Content IP Ao Yanxi (CN) Tracing Sejong University and ComixV Co. are preparing student to mentor work done through consulting for the next generation of the dynamically evolv- with participating and webtoon-related agencies. Tracing is a robot that “eavesdrops” on humans ing webtoon paradigm by proposing the next via audio speech recognition, language process- curriculum for intelligent VR webtoons. The “VR Participants: ing, and part-of-speech tagging. Finally, the con- Webtoon Creation and Business Model Collab- Sejong University: Han Chang Wan (Manager of Sejong versations are printed out. The robots are free oration Project as Next Generation Content IP” University Convergence Content Industry Research Iab, to move around in the exhibition space, spitting project was aimed at completing a VR webtoon Professor of Sejong University Cartoon animation tech), out an intriguing piece of text from time to time. that incorporated intelligent technology. For its Ryu Yu-hee (Researcher), Park Sung-hee (Researcher), Huh Tae-ho (Researcher), Chihairan (Researcher) The imprints left by humans invite us to discuss development, the project relied on theory, prac- ComixV Co.: Yang Byung Suk (CEO), Seok Ji won the relationship between people and machines. tice, and storytelling; with in-depth, one-on-one (ComixV PD), Jang Se-yeon (ComixV PD)
324 325 CAMPUS PROGRAM / Korea Creative Content Agency (KOCCA)
ChungKang College of Cultural Industries (Industry-Academic Cooperation Foundation), Creek & River Entertainment Co. Ltd. Konkuk University (Konkuk University-Industry Cooperation Foundation), Ubion Co.Ltd. Converged Content Development Development of Convergent Educational Content Training through Content IP Expansion and Badge Service based on Blockchain This project between the Chungkang College of animation schools will produce 2D and 3D videos In an era where online content innovation is educational data in a decentralized manner and Cultural Industries and Creek & River Entertain- for the musical stage, and the fashion school much anticipated, Konkuk University and Ubion activate a blockchain-based Moodle learning ment seeks to produce interdisciplinary perfor- design the stage costumes. have collaborated to develop a badge service management system by developing online edu- mance content. Creek & River Entertainment aimed at revitalizing educational contents and cational contents. holds the IP for the original musical, Gaksital, Participants: ChungKang College of Cultural Industries: Choi Seoung Shin (Principal Investigator), Park In Ha platforms on the basis of blockchain technol- Participants: and will play a vital role in the development of its (Main Researcher), Kim Ji Yeon (Main Researcher), Kim Konkuk University: Keol Lim (Principal Investigator), commercialized performance, while Chunkang ogy. The project built a blockchain-based digi- Sang Dong (Main Researcher), Yum Dong Hyun (Main Minho Joo (Co-investigator), Jieun Lee (Main Researcher), tal badge service on the Learning Management College will be in charge of directing, acting, and Researcher), Kim Myung Hee (Main Researcher) Yujin Kim (Main Researcher), Minyoung Kim (Main sound production. The comics, game content and Creek & River Entertainment Co. Ltd.: Yun Yeon Sik (CEO) System through the application of open badge Researcher), Yunho Jang (Main Researcher), Junseo Park 2.0 standard. It will support the integration of (Main Researcher), Jinju Choi (Main Researcher)
Chung-Ang University, Ajou University Industry-Academic Cooperation Foundation Visual Perception Model of Digital, Human-Based (on Visible Korean Brain) Big Data Korea National University of Arts (Industry-Academic Cooperation Foundation), Chung-Ang University, the College of Art and movements without the use of keying or cap- BIRDHAND Co. Ltd. Technology, has conducted educational pro- tured eye-tracking data. The project plans to Convergence Art Education through Production of grams and convergence projects. Engineering create an immersive content that can storytell Performance Motion Capture-used VR/MR Contents technical support is provided by the Software from the point of eye contact and interact with College at Chung-Ang University, while related the audience. Yeon-ji Kim (VR Planning & Storytelling), Jae-woo Lee medical contents, such as visual human infor- The project is a performance motion-capture Participants: Chung-Ang University: Donghwan Har (VR Planning & Storytelling), Jong-hoon Eun (VR Acting mation and anatomical practice, are provided through virtual/extended reality, which is a genre (Principal Investigator), Taekyoung Yoo (Main Researcher, & Performance Directing), Ji-in Park (Storytelling & by Medical College in Ajou University. The goal Professor), Minsuk Chung (Main Researcher), Dohee Cho of extended-reality art through participative sto- Film Directing), Hyung-yoon Jang (Storytelling & Film is to automatically generate digital, human eye (Main Researcher), Bumsun Chung (Main Researcher) rytelling. It aims to demonstrate and to present Directing), Hye-jin Jeong (Storytelling & Film Directing), performance and narrative types of VR contents Ji-hyun Jeong (Storytelling & Film Directing), Yeong-yoon that use wearable motion capture, as well as to Song (Project Planning), Myung-seok Chae (VR Acting & Performance Directing), Dong-geun Shin (VR Acting produce two types of small, studio-prototype & Performance Directing), Seong-tae Kim (VR Acting & works for film, drama, and dance contents. The Performance Directing), Jin-hyung Kim (VR Filming & Daejeon Information & Culture Industry Promotion Agency, Mokwon University goal is to become a new genre of media art that Record Image Filming), Hyung-joon Gwon (VR Acting will expand the curriculum into interdisciplinary & Performance Directing), Tae-wan Jeong (VR Filming Smart Webtoon Production; Smart Web Fairytale & Record Image Filming), Soo-jin Kim (Sound Effect fields beyond engineering-related subjects. & Music Composition), Ji-won Son (Music Planning & Appbook Production; 3D Character (AR/VR Game) Production; Composition), Sang-hyun Yoo (VR Planning & Produc- Participants: tion, Wonderspaces), Seong-hoon Bahn (VR Planning & 3D Character (Drone Video) Production Korea National University of Arts: Choong-hyun Joh Production, Hanyang University) (VR Planning & Visualizing), Seoung-mu Lee (VR Direction BIRDHAND Co. Ltd.: Hee-hwan Oh (Planning & Production, The Smart Webtoon Production, Smart Web Fairy- project works to create a webtoon that combines & Storytelling), Jeong-min Lee (VR Animation), Jae-hong Team Leader), Sang-hoon Heo (Game Engine, Team Tale Appbook Production, 3D Character (AR/VR smart content and web animated works to create Jang (Stereo), Won-woo Lee (VR Sound Technical Leader), Han-bit Lee (Graphic Directing, Team Leader), Directing), Hye-in Jeong (VR Planning & Storytelling), Jubilee (Game Engine, Senior Researcher) Game) Production, and 3D Character (Drone video) a fusion, 3D character for use with VR/AR games Production are a series of educational projects and drones. that combine comics and webtoons with major
technologies of the Fourth Industrial Revolution, Participants: Mokwon University: Sung In Hong (Principal such as smart, VR, AR, and 3D animation. The Investigator), Byung Soo Kim (Main Researcher)
326 327 CAMPUS PROGRAM / Korea Creative Content Agency (KOCCA)
Kyungnam University (Industry-Academic Cooperation Foundation of Kyungnam University), Chungnam Culture Technology Industry Agency, Sangmyung University Gyeongnam Culture and Arts Foundation (Sangmyung University Industry-Academy Cooperation Foundation), AVA Entertainment Co. Ltd. Convergence Sensibility Content Education Project, 360 Live Animation, Media Art VR Movie Convergence Another Level: Five Senses Contact Training Project Maeheon, Yoon Bong-gil
Kyungnam University’s Cultural Content Depart- historical stories of Gaya, a webtoon-based The Chungnam Culture Technology Industry Participants: Chungnam Culture Technology Industry: ment and the Gyeongnam Culture and Arts Foun- content and media art technology. Agency operates various infrastructure facilities Kim Dong Kyu (Head of the Chungnam Culture Technology Industry Agency), Kim Jeakon (Director of Business dation, both of which are leading players in the in support of creative talent, and Sangmyung Operation), Yun Hong Jun (Business Operations) Participants: Kyungnam University: Yoo Young-Jae (Principal culture & arts of the region. University has a well-equipped and integrated Sangmyung University: Lee Hae Kwang (Participatory Investigator, Professor), Hwang Kook-Tae (Business Planning, Responsibility/ Associate Professor), Shim Hyungkeun Their collaboration, The Convergence Sensibility Professor), Kim Sun-Hyung & Prof. An Chairin (Storytelling, education system based on fusion content. AVA (Business Planning/ Associate Professor), Kwon Byung Content Education Project “Another Level: Five Professor), Han Jeong-Seok (Media Art, Professor), Kim Entertainment is South Korea’s top fusion con- Chul (Professor of Business Planning and Implementa- Jong-Won (Stage Performance, Professor), Kim Han-Shin Senses”, aims to foster creative talent in the tent provider, and has produced more than 300 tion), Lee Jong Yoon (Assistant Professor of Business (Historical Story Building (Professor), Jang Yoon-Jung culture-technology field of Gyeongsangnam-do. VR videos, media art and real-life content. Their Planning and Implementation), Choi Hyun ju (Assistant (History of Gaya, Professor), Lee Jong-Kook (Digital Video Professor of Business Planning and Implementation), A regionally-led project, it hopes to show a unique Production, Professor), Ha Chun-Geun (Business Planning, collaborative project is centered on Yoon Bong- Yu Keun hye (Project Execution and Performance cultural convergence between the distinctive General Manager), Park Hee-Young (Business Planning) gil, a national hero who fought bravely against Management/Professor) Japanese imperialism. It unfolds before and AVA Entertainment Co. Ltd.: Nam Hae Kee (Participatory after three days of his patriotic deed in Hong-Gu Responsibility/Ava Entertainment Director), Lim Ji-hwan Park on April 29, 1932, and considers his death. (Camera Production/Ava Entertainment Team Leader) Jeju Film & Culture Industry Promotion Agency, Cheju Halla University (Cheju Halla University Academy-Industry Co-op) Interactive Convergence Project Sungkyul University (Sungkyul University Industry-Academy Cooperation Foundation), Along With the Gods: Fly Oreum Anyang Creative Industry Promotion Agency Education for the Development of Hyper-realistic The goal of this collaborative project is to courses including VR aerial photographing, implement the mythical island of Jeju with local underwater camera photography, a special lec- Media Contents Based on XR (Extended Reality) cultural contents. Through drone footage, the ture, field experience, and a mythology seminar. Sungkyul University seeks to educate hyper- The collaborative project aims to develop content audience can experience a virtual, bird’s-eye- realistic media content development based on that allows multiple people to simultaneously view experience of Jeju Island, just like the Participants: XR. Anyang City Creation Industry Promotion watch performances in a virtual space through mythical creature. The project is divided into Jeju Film & Culture Industry Promotion Agency: Hyun Agency cooperates with this comparative course network VR technology, using ambisonics. four regular courses including video animation, Kyung Chul, Hwang Tae Yun, Kim Myeong Ju, Kang Seong Jun, Koh Kyung Wook through the establishment of a corporate net- design studio, 3D stereoscopic image editing and Cheju Halla University: Kim Sang Hoon, Kim Dong Man, work and the support of young entrepreneurs. Participants: Hyunsik Yoo (Main Researcher) capstone design; as well as eleven, non-regular Byun Young Jun, Kim Hyunwoo
Dongguk University Gyeongju (Dongguk University Gyeongju Foundation of University-Industry Gwangju University (Institute of Educational-Industrial Cooperation), Asia Culture Institute Cooperation), College of Humanities, College of Management & Economics, The Center of Research VR Immersive Media for Asian Food & Culture Contents for Silla Culture, Culture Art Design Institute Development of Character & Tourism Products Using Historical Gwangju University and the Asia Culture Institute technology, and to conduct the convergence have established a collaborative project to create project for Asian food culture. and Cultural Content in the Gyeongsangbuk-do Province Area contents that combine educational programming Participants: Gwangju University: Daeyeon Cho (Professor), This project involves developing prototypes for an expert company, and business administration with Asian Cultural Heritage Archives. Benefiting Kyouseok Baik (Regular course/ Professor), Eunwon Yang from their respective roles as academic and pro- (Project Manager/ Researcher), Sarah Kim (Project Manager/ characters and tourism products based on local studies. fessional institutions, they will design a joint cur- Researcher), Seungmin Lee (Assistant Researcher); historic and cultural knowledge with participat- Participants: riculum for students to produce contents using Asia Culture Institute: Jaeyeon Ahn (Head of Research ing students, and encouraging them to start a Dongguk University Gyeongju: Kim Gyu Tae (Principal and Planning Team/ Researcher), Hyoyoon Shim business based on convergence education. It VR immersive media technology. This project (Irregular course/ Researcher); Consultants: Investigator), Ryu Wan Ha (Main Researchers), Kim Young aims to provide education grounded on art and Jaewoong Park, JIinhong Park, Hyunhee Han is developed through the integration of art & Chul (Main Researchers), Joo Jae Hun (Main Researchers), design, the development of each field through Park Kwang Youn (Main Researchers)
328 329 CAMPUS PROGRAM / Academic Design Network Austria
“The Messy Shape of Problems” Past, Present and Future Kaywon University (Kaywon University of Art & Design Industrial-Academic Cooperation Group), Perspectives of Design GIANTSTEP Inc. Realtime Interacting Virtual Character System Setup Academic Design Network Austria
The department of animation at Kaywon Univer- methodologies, a real-time motion capture Exhibition, Impulse lectures, Fishbowl Discussions and Workshops sity of Art and Design offers a traditional edu- function and automatic lip-sync function, among cation in 2D, 3D augmented and virtual reality other features; it should make communication Designers are facing an increasingly complex Die Angewandte Wien; FH Joanneum, Graz; FH animation. The purpose of this collaborative with virtual Youtubers in real-time possible. field of global challenges, which necessitate Salzburg (Puch-Urstein); FH Salzburg (Kuchl); FH project is to plan and produce virtual charac- great sensitivity to relevant questions, adequate St. Pölten; FH Vorarlberg; Kunstuniversität Linz, ters for real-time interactions that are suitable approaches, and tools for developing sustainable New Design University, St. Pölten; Universität for MCN contents and performance art. Given Kaywon University of Art & Design: Chae Yun Kyoung solutions. How can design education convey the Mozarteum, Salzburg, Alpen Adria Universität (Professor), Dong Keuramee (Assistant Professor), required skills and perspectives to cope with this Klagenfurt; FH Oberösterreich the quick growth of the MCN industry, and Choi Young Rak (Assistant Professor), Shin Won Ho dramatic rise in complexity? And how do tech- through the use of high-efficiency production (Head of the Main Office) nological advances shape the future of design? Focusing on these questions, the Campus exhi- Die Angewandte. University of Applied Arts Vienna. Oliver Kartak — www.dieangewandte.at; FH Joanneum. Univer- bition of the Academic Design Network Austria sity of Applied Sciences Graz. Karl Stocker, Daniel Fabry, aims to epitomize the wide range of approaches Orhan Kipcak, Erika Thümmel, Sigrid Bürstmayr — characterizing the design education landscape www.fh-joanneum.at; FH Salzburg Campus Urstein & in Austria. The student projects presented form Kuchl. Thomas Hitthaler, Thomas Grundnigg, Günther Grall, Wolfgang Irlinger, Matthias Tratz, Lisa Winkler — the point of departure for a three-day discursive www.fh-salzburg.ac.at; FH St. Pölten. St. Pölten University Soonchunhyang University (Soonchunhyang Industry-Academy Cooperation Foundation), DIGIFORÊT format consisting of impulse lectures, fishbowl of Applied Sciences. Markus Wintersberger, Christian discussions, and workshops such as a specula- Munk, Rosa von Suess — www.fhstp.ac.at; FH Vorarlberg. Development of Virtual/Mixed Reality Education tive design lab. This participatory format brings University of Applied Sciences Dornbirn. Markus Hanzer, Margarita Köhl, Roland Alton-Scheidl, Karin Bleiweiss together interested visitors with representatives Contents with Romeo & Juliet — www.fhv.at; Kunst Universität Linz. Universität für of design universities to discuss present and künstlerische und industrielle Gestaltung Linz. Tina Frank, This collaborative project demonstrates the first story. This project develops educational contents future developments in the field of design with Mario Zeppelzauer, Marianne Pührerfellner — www.ufg.at; reference to ongoing technological transforma- New Design University. Privatuniversität St. Pölten. phase of Romeo and Juliet content as a complex through the convergence of English literature, Stefan Moritsch, Christine Schwaiger — www.ndu.ac.at; reality by using realistic topography in conjunc- cultural contents, VR / MR design, and the Inter- tion. Diverse approaches, perspectives and the Mozarteum University Salzburg. Gertrud Fischbacher, tion with 3D scanning based on graphical imple- net of Things (IoT). potential of design to address major challenges Laura Ackermann, Marius Schebella — www.moz.ac.at; mentation in the virtual environment. Players of contemporary and future societies will be Alpen-Adria-Universität Klagenfurt — www.aau.at; FH Oberösterreich. University of Applied Sciences Upper Soon Chun Hyang University: Lee young soo (Principal discussed. The continually expanding Academic will interact with the characters and objects in a Austria — www.fh-ooe.at; Danube University Krems. Investigator), Lee Hyon-u (Main Researchers), Misun virtual / augmented reality environment through Design Network Austria currently comprises the Florian Halm — www.donau-uni.ac.at; Supported by Yun (Main Researchers), Kim Jung Ki (Main Researchers), following partner institutions in Austria: designaustria. Martin Fössleitner — www.designaustria.at an HMD or holographic lens in ways that allow Dong Min Kim (Main Researchers), Jung Yeop Lee them to engage in dialogue and advance the (Main Researchers); DIGIFORÊT: Park Sung Hoon Academic Design Network Austria Academic Design Network
330 331 CAMPUS PROGRAM / Academic Design Network Austria Dominik Einfalt, Noah von Stietencron, Fachhochschule Vorarlberg/ Vorarlberg University of Applied Sciences Class of Graphic Design, Prof. Oliver Kartak, University of Applied Arts Vienna InterMedia MA — Masters’s Degree Program Design 1 DEEP FEELING — An Interactive Utopia 5 Experiencing a future design process; Individuals who have experienced little or no are executed without empathy, conscience or What are you going to do tomorrow? love in their development will for the most part social responsibility. These are characteristics of act in an unloving and calculating manner in their a dissocial and sociopathic personality. Experiencing a future design process addresses transformation will affect the self-esteem of mil- later lives. They are lacking in their ability to Deep Feeling lets artificial intelligence experi- the possible effects of artificial intelligence on lions of people psychologically. Still we define experience emotions and in their emotional and ence human affection to enable the growth of a the communication design profession. Which our efficiency as a virtue more accurate than social competence. Without an understanding social, feeling and loving AI. This prototype of a tasks can be solved with the help of algorithms? “efficiency” in the sense of ambitious work eth- of what affection feels like, their social actions computer input device is equipped with sensors For which requirements will human services be ics. But we are approaching times where there are based on sober, calculating schemes and that transmit human touch to the AI. indispensable in the future? With the help of may not be any jobs in the classical conception an interactive game, design processes can be anymore. Therefore this project focuses on the played through and the possible role of tech- question of what types of transformation on a FH JOANNEUM Institute of Design & Communication nological support can be experienced. What societal as well as an individual basis in needed 2 Spatial Turn — Interactive Portfolio are you going to do tomorrow: Current economic to cope with these changes. The installation Spatial Turn shows numerous proj- tute, designers are trained with the ability to think St. Pölten University of Applied Sciences, Bachelor Degree Program Media Technology ects created by students in the fields of communi- critically and consider economic, social, cultural cation design, exhibition design, interaction design, and technological backgrounds in order to design and Master Program Digital Design, Masterclass Experimental Media media design and sound design from recent gradu- effectively for society. Design expertise and skills, 6 fhSPACE YouTube Palace ates of the Institute of Design & Communication of user-centered methods and field research are all the University of Applied Sciences Graz as an inter- important components of the degree programs. Selected Students of the Bachelor Degree Pro- It is more a matter of searching for the experiment active media portfolio experience. At the insti- Students of master’s degree programs Exhibition Design gram, Media Technology and Master Program Digi- than of offering ready-made solutions. and Communication, Media, Sound and Interaction Design. tal Design / Masterclass Experimental Media at the WISH, UGUDAG — Antonio Labuhar, Laurenz Öllinger; St. Pölten University of Applied Sciences present ILLUSION — Carina Baumgartner, Jakob Felsner, David Salt Castle Studio, Fachhochschule Salzburg a selection of current media projects in the form Kierberger, Erich Linha, Laurenz Öllinger, Nikolaus Wie- of experimental video works. The works, which ner; 126 — Antonio Labuhar, Laurenz Öllinger; OCEAN OF 3 COLORS — Ines Blatterer, Sophie Yang; AMISSA — Ines Chapeau deal with the topic “echo chamber,” provide an Blatterer, Philipp Gierlinger, Christian Milutinovic, Sophie Chapeau is a fast-paced multiplayer platformer Keep your momentum going to move faster, beat up-to-date insight into the experimental media Yang; ECHOES OF THE PAST — Viktoria Regen; ESCAPE — Anna Chocholowicz; AUTOPHOBIA — Omar Awad, Chris- where you and your friends each play a quirky your competition, and avoid falling to the ground production of the students. Some of them are independent AV productions, others are exper- tian Milutinovic; KALAIDOTEETH — Armin Havrest, Laura hat, challenging each other for objectives while by using the environment and roaming people to Jelinek, Nicola Toth, Maximilian Schwetz; WHO ARE YOU engaging in mid-air combat. You will have to try your advantage! imental translations of interactive installations. — Hanna Schimek; Eva Fischer, Christian Munk, Thomas your best to stay ahead while fluidly jumping, The synopsis forms a varied arc of suspense. Wagensommerer und Markus Wintersberger gliding and dashing through beautifully crafted Developer: Salt Castle Studio — www.saltcastlestudio.com; levels, inspired by Austria’s historic city centers. Fachhochschule Salzburg; FHStartup Center Christoph Picco, Sophia Eder Kunst Universität Linz. Universität für künstlerische und industrielle Gestaltung Linz New Design University Privatuniversität GesmbH, BA Design, Handwerk & 7 Utopie/Dystopie materielle Kultur, MA Innenarchitektur & Visuelle Kommunikation A_Wearable 5 6 4 Pets As Henry David Thoreau said: “The price of any- The Bachelor Degree Program Design, Handwerk The New Design University St. Pölten is an inter- thing is the amount of life you exchange for it.” & materielle Kultur deals with the question of national destination for quality education in the And we exchange an alarming amount of our time how design and production are changing in the fields of design, technology and business, the New for digital content. Mindfulness, Mental Resilience Reifer Christoph Picco, Picco, Christoph Sophia Eder postindustrial era. Georg Siegele’s diploma thesis Design University trains creative thinkers who and Digital Detox are emerging trends. But even Pets (2019) is a good example of the projects by advance social change and explore tomorrow’s if we want to, very few of us are able to escape 7 students in this program. Based on artistic and sci- work and design practice today. the tricks and well-developed strategies content entific research, they investigate how our material creators use to keep us in their system. Our most world is changing and what role design plays in it. https://www.ndu.ac.at valuable good is being stolen while we are slaves
1 2 3 4 caged in a bubble. Realizing that we cannot free ourselves on our own, A_Wearable was developed to help us resist the lure of all swipeable surfaces. 332 333 Miriam Körösi Frances Stusche Frances ARS ELECTRONICA ANIMATION
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Serial Parallels, Max Hattler (DK/UK/DE/HK) Ars Electronica ANIMATION FESTIVAL 2019
As every year, Ars Electronica Animation Festival number of 165 productions, considering the is a condensed best-of of current productions three days of deliberation. These also form in digital filmmaking, selected from the entries the foundation for the programs of this year’s of this year’s Prix Ars Electronica, the interna- Ars Electronica Animation Festival. Additionally, tional competition for cyber arts in the computer there are guest screenings by Anifilm Třeboň, animation category. Trends of the last few years Digital Media — Hagenberg Campus, Animations are continuing with further growth in AI-related institut of the Film Academy Baden-Württemberg, themes, VR productions, installative works, large ISCA (International Students Creative Award) scale mappings, and interactive elements. This and Japan Media Arts Festival. Young filmmakers year there have been 835 entries in total. In two under age 10 will be presented in the Young pre-jury rounds, first by Christine Schöpf, Juer- Animations category. A studio feature from gen Hagler, and Nana Thurner, then in an online Platige Image shows animated short movies rating by the jurors Alex Verhaest, Ina Conradi, from the last 20 years. All in all, the program Birgitta Hosea, Ferdi Alici, and Nobuaki Doi, the provides an interesting insight into current inter- count has been reduced to the more manageable national productions of digital filmmaking.
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Studio Feature: Platige Image Data Narration
Platige Image is an award-winning film produc- This program seeks to raise some sociological tion, VFX, animation and post-production com- and ecological questions. Visualizations of air pany based in Warsaw, Poland. They work for the pollution, maritime data, artistic research into biggest brands in the world, the best video game diabetes, and an analysis of group dynamics are publishers and some of the finest film directors. among the topics. It also asks what happens They started out as a studio composed of a dozen when humans and AI mutate into a single con- or so people producing mainly commercials and sciousness. music videos. Gradually, they developed their team and expanded their portfolio with short MIAZMAT, Klaudiusz Wesołowski (PL) KIDS, Michael Frei (CH), Mario von Rickenbach (CH)/Playables films, cinematics, 3D live theatre sets, VFX for live action movies and special projects, such as museum installations.
Electronic Theatre Narration
In 1987, which was also the year of the first Narration in the classical sense acquires a new Prix Ars Electronica, the Electronic Theatre was dimension in the digital realm and shows lacon- established as an open-air show. The program ically in images, what wouldn’t be possible with shows the 15 best works selected by the jury and words. A little girl dreaming of becoming an is at the same time a showcase for current pro- astronaut, randomly found film footage cast- ductions from an artistic, substantial, cultural, ing new light on a deceased father, what will and cutting-edge technological perspective. happen when a group of people suddenly lose their self-control — just a few examples of this Manic VR, Kalina Bertin (CA), Fred Casia (CA), One Small Step, Andrew Chesworth, Bobby Pontillas, program. Sandra Rodriguez (CA), Nicolas S. Roy (CA) Shaofu Zhang (US, CN)
Music & Visuals Expanded Animation
A dance performance by a group of snails on This compilation assembles works that explore the wing of an airplane, an indecisive woman new forms of animated visual worlds far from sitting in front of her letter of resignation, a car the usual norm and shows, among other things, ride through a dreamy desert landscape, aes- an interactive shadow installation, animated thetically staged growth processes of organic MR rooms, an installation combining animated forms, or dancing mochis. This program contains images with a dance performance, a multi-me- music videos and various experimental forms of dia façade for the Elbphilharmonie Hamburg and picture-sound synthesis in different animation experimental VR projects. techniques. Powder — New Tribe, AC-bu (JP) Dökk, fuse (IT)
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Experimental Gender
This program presents new innovative trajecto- This program portrays fairly diverse gender posi- ries within current cinematography at the inter- tions: A man and a woman meet each other — section of art and science and brings together an unpleasant yet at the same time provocative works with contemporary positions, from com- situation between attraction and rejection. An puter-generated procedural structures to trail- experimental animation about gender and sexu- blazing examples of frame-by-frame animated ality with vagina and penis as its main elements. sequences. An analysis of anorexia and a black comedy about a couple with differing attitudes towards Boy transcoded from phosphine, Rodrigo Faustini (BR) gender norms. Egg, Martina Scarpelli (IT)
Statement Mental States
A group of soldiers set off on a peaceful explora- Mental confusion, fears and dead-end states tion of the city through a war zone in the middle form the undercurrent of this program. A young of Manhattan, a game of pretended emergencies, woman breaks free of her everyday life and a society that buries its head in the sand. Film- embarks on an uncertain journey. makers take a stand on various political issues A story about outsiders in a pub, a group therapy such as censorship in Saudi Arabia or ask ques- session with animals, and a boy trapped in tions about staged images in the refugee crisis. societal constructions.
The Ostrich Politic, Mohamad Houhou (FR) ACID RAIN, Tomek Popakul (PL)
World Machines LateNite
Urbanization and globalization in the digital age The late night program: irreverent, satirical and is one example. Another one is a movie portraying little indecent. In Late Nite, the films walk the various traditional patterns of the Ainu people, thin line between dead seriousness and biting the native inhabitants of Northern Japan. satire; they are full of philosophical approaches Seoul City Machine is a city symphony of an urban on one side, and trashy humor on the other. space of tomorrow, written and narrated by an AI Mourning and loss are processed in colorful and chatbot. Or maybe a city portrait of young people brutal cartoon aesthetic, memes and Internet and their personal data. humor thematized in the pixel format, and some Solar Walk, Réka Bucsi (HU) of the films will remain a mystery even after still lost I guess, here’s a tunnel…, Darío Alva (SP), sound thorough reflection. by Diego Navarro (SP)
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Young Animations Animationsinstitut of the Film u19 — CREATE YOUR WORLD (AT), bugnplay.ch Academy Baden-Württemberg (CH), mb21 (DE) und C3<19 (HU) Animationsinstitut, part of Filmakademie Gifted young filmmakers annually submit Baden-Württemberg, is one of the world’s lead- their weird, subtle, witty, utopian, critical and ing film schools, offering the areas of study dystopian works for consideration to the Prix “Animation Artist,” “Effects Artist,” “Animation/ Ars Electronica’s u19 — CREATE YOUR WORLD Effects Producing,” “Technical Directing,” and category (AT), bugnplay.ch (CH), mb21 (DE) and “Interactive Media.” This screening features C3<19 (HU). The greatest hits are featured in some of the latest and greatest student projects Young Animations. Nightmare before my birthday, Blieschow, Christoph Sarow (DE) Celina Niederhuber (AT) realized at Animationsinstitut. Curated by Sirikit Amann (KulturKontakt Austria)
Anifilm Presents: ISCA (International Students Czech Animation Now Creative Award)
In this selection of short films, you can discover ISCA (International Students Creative Award) brand new Czech creations. It is a very diverse is an international arts and information media portfolio of contemporary Czech production competition for universities, graduate schools offering shorts by students, films by experi- and vocational schools, sponsored by the Knowl- enced authors, and experimental works. Since edge Capital Association. It is an international of the main goals of Anifilm is to cover all domes- competition open to students from Japan and tic creations, the Czech Horizon (Český obzor) around the globe. Advertising the Earth Radio — Stephen P. McGreevy’s VLF Tashikas Strange Adventure, Nao Sakamoto, Cut-outs, Zbyšek Semelka (CZ) competition category was established recently. Airi Sato (JP) All of the films presented here took part in that national contest. Pavel Horáček, program director
Digital Media, Japan Media Arts Festival Hagenberg Campus 2019 A behind-the-times fisherman leaves the safe The Japan Media Arts Festival honors outstand- harbor and sets outs to the open sea, two mail ing works in a wide variety of media in four cate- carriers deliver a huge eccentric package, a fig- gories: art, entertainment, animation and manga. ure with an old-fashioned monitor plays a spe- This program consists of various excellent films cial version of the game rock-paper-scissors, a singled out for recognition by the 2019 Japan woman gets lost in a roundabout, and a gorilla Media Arts Festival. eavesdrops on the conversation of two meer- Obscura, Elmar Glaubauf (AT) La Chute, Boris Labbé (FR) kats. This program features a selection of recent student works, ranging from narrative shorts to experimental animations, from the Digital Media Department at the University of Applied Sciences Upper Austria in Hagenberg.
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Juergen Hagler (AT) Expanded Animation 2019 OUT OF THE BOX
involving public opinion, in order to reflect and Dias and the 3D artist and director Julius Stein- ”Expanded Cinema” is everything that goes beyond conventional movie projection, and reinforce current aesthetic trends. hauser from the animation studio ZEITGUISED therefore ranges from multiple projections to the utopia of pill films and cloud projections The symposium opens a new chapter with / foam studio will present applied works, from [...] as well as from connection with other media [...] to the cinematic environment. the panel Expanded Games. The intersection motion graphics to experimental 3D animations. Expanded Cinema is an attempt to push the boundaries of the movie screen.1 between animation and games is elucidated from Additionally, many of the presented works can the angles of art, theory and practice. Filmmaker be watched at the Ars Electronica Animation and game designer Michael Frei will grant insight Screening and in the Deep Space 8K at the For seven years the symposium Expanded The symposium starts with the Prix Forum, where into his artistic works, Miguel Sicart will give a Ars Electronica Center. Animation has been researching contemporary the Prix Ars Electronica 2019 winners in the com- lecture about the aesthetic experience of games, positions at the intersection of technology, art, puter animation category present their awarded and Andreas Suika will talk about current work- Speakers at the 2019 Expanded Animation symposium: animation, and aesthetics under a different works. Following that, the anthology Expanded flows in the game industry. Prix Ars Electronica 2019 Winners in the category thematic focal point every year. This year’s Animation. Mapping an Unlimited Landscape 2, Computer Animation, Beeple — Mike Winkelmann (US), The panel “Art and Industry” will once again edition takes the festival motto Out of the Box — will be displayed. The work contains a synopsis Mark Chavez (US), Nidia Dias (PT), Michael Frei (CH), present current trends from the applied artistic Pak (TR), Jakob Schuh (DE), Miguel Sicart (DK), Andreas the Midlife Crisis of the Digital Revolution and of lectures and artistic positions from the last five field of 3D animation and motion graphics. Suika (DE), Klaudiusz Wesołowski (PL) and ZEITGUISED / offers several panel discussions of current years and showcases a selection of contempo- Beeple — Mike Winkelmann provides insight into foam Studio — Julius Steinhauser. trends in the extended field of computer ani- rary artistic works from Prix Ars Electronica. The Organization: Expanded Animation is produced jointly his artistic œuvre, the “everydays,” so-called mation. Out of the Box in the sense of “think- first panel is dedicated to the central topic Out by the Upper Austria University of Applied Sciences’ “finger exercises” that are created on a single day. Hagenberg Campus and the Festival Ars Electronica, ing against all conventions” captures the basic of the Box: Jakob Schuh, multiple-award-winning Beeple is among the pioneers of this genre — he and organized by Elmar Glaubauf, Jeremiah Diephuis, essence of the Expanded Cinema movement, animation filmmaker, and Klaudiusz Wesołowski, Juergen Hagler, Michael Lankes, Alexander Wilhelm / has created over 4500 “everydays” during the widely regarded as a pioneer of media art. director at the award-winning animation studio Upper Austria University of Applied Sciences’ Hagenberg last 12 years and enjoys cult status among his As in the first conferences about computer Platige, are both textbook examples of a cine- Campus / Department Digital Media. fanbase. Furthermore, the media designer Nidia www.expandedanimation.com / www.fh-ooe.at animations within Ars Electronica during the matic narration off the beaten path. Ina Conradi 1980s, practice and theory are of equal impor- and Mark Chavez present an artistic research tance. The symposium tries to give answers to project about quantum theory, and media artist 1 Hans Scheugl and Ernst Schmidt, Eine Subgeschichte des Films. Lexikon des Avantgarde-, Experimental- und current positions and presents approaches from Pak will talk about his experiences in delegat- Undergroundfilms (Frankfurt a. M.:, 1974), p. 253. the fields of art, research and industry. ing the curator’s role to the machine, thereby 2 Juergen Hagler et al., eds., Expanded Animation. Mapping an Unlimited Landscape (Hatje Cantz, 2019).
EXPANDED GAMES
Digital games have long since left their original Symposium, “Expanded Games” explores Hagenberg Campus of the University of Applied With games by: Philipp Brantner (AT), Maximilian residences in living rooms and hallowed arcade game projects that “think outside the box,” fea- Sciences Upper Austria serves as a resource Fölss (AT), Florian Friedrich (AT), Miriam Hager (AT), Peter Hofbauer (AT), Bernhard Hofer (AT), Jakob halls and can now be played virtually any- turing innovative game mechanics, explorative for a playful reflection on the blurred borders Januschkowetz (AT), Dominik Hackl (AT), Michael where, sometimes integrating real-world data to usage of content and interesting applications of between digital games and other forms of media Klammer (AT), Gabriel Mittermair (AT), Matthias create hybrid realities or being used for a variety of game technology. A selection of student games and media art. Patscheider (IT), Lukas Paul (AT), Markus Ploier (AT), Samantha Povolny (AT), Viktoria Ronacher (AT), Florian purposes beyond sheer entertainment. In from the Media Technology and Design, Inter- Jeremiah Diephuis (US), Juergen Hagler (AT), Schmidt (AT), Lukas Stöbich (AT), Katrin Tieber (AT), Alessa conjunction with the “Expanded Animation” active Media and Digital Arts programs at the Michael Lankes (AT) Wolfram (AT), Maximilian Wöß (AT), Bianca Zankl (AT)
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CREATE YOUR WORLD 2019 Future Festival of the Next Generation
The Future of Communication BASICS
The social intelligence of present Another focus of this year’s CREATE YOUR At CREATE YOUR WORLD, we are allowed to times WORLD festival is the communication of funda- admit to not knowing how all that really works. mental information about complex technologies We have a chance to experience how all of this What does it take to improve our lives together such as artificial intelligence, robotics, virtual started and how fascinating it can be at the same now and in the future? How can we structure reality and much more. As technologies creep time. decisions in a better way? Which processes into our everyday life, all of a sudden we find our- The festival within the festival demonstrates should be rethought? What is wrong with our selves using multiple digital means of communi- complex technologies to touch and try out — and communication culture right now? cation and utilities without questioning them or we really are allowed to start from scratch. No These are questions that CREATE YOUR WORLD even understanding how they work. Therefore, a matter what age we are, these topics are relevant poses to many different generations this year, development such as artificial intelligence may to us all, and in the comfortable festival atmo- presenting a multitude of ideas and projects by almost seem like a threat from another world — sphere we can gather information and exchange regional and international artists. there is respect, skepticism, and also fear. Yet, with others. For it’s only in collective and active What should present and future communication in fact this “intelligence” comes from ourselves: dialog that we can find out time and time again, look like, in the digital realm and in general? it was us who developed and created it. how we want to design our lives together. The future is the past? Why should I go to school, if I probably won’t Vog.photo have a future? This statement is currently circu- Hebocon lating all over the world. Indeed, it’s now becom- ing slowly but surely visible what we have failed to do in the past. What could have been done differently? How should we have communicated with each other? But this is not what we want to ask — instead, the platform CREATE YOUR WORLD is meant to inspire thinking about an optimized and positive form of communication dealing with the present age.
Quiet Zone “You’ve already seen the message, but you still haven’t answered!” Currently there aren’t that
many situations left where we are completely Vog.photo on our own. We are pursued, we accept sur- The Error City, Otelo eGen (AT) Jugend Hackt Zone, Jugend Hackt (AT) veillance, we often spend a whole day without talking, yet communicate more. These forms The create your world festival is the center for world festival, making it a unique meeting point
of communication create an increasing level of Vog.photo creative projects and ideas. As an independent for people interested in the future. New tech- stress for both recipient and sender... Jugend Hackt Zone, Jugend Hackt (AT) festival within the framework of the annual nologies, unusual models and concepts of living, Ars Electronica Festival, it is just the perfect innovative ideas and approaches for the world place to access the international artist network of tomorrow are being tested as an “open lab of Ars Electronica. Many artists, associations and experiment.” The perfect place for tinkerers, lat- innovative companies are part of the create your eral thinkers and those with a thirst for knowledge!
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HUMAN CYBORG Borg Bad Leonfelden (AT), Elke Hackl (AT)
“Humans must become cyborgs to stay relevant.” FABLAB Elon Musk Mira Alida Haberfellner (AT), Elisabeth Valarie Maurer (AT), Textiles Zentrum Haslach (AT), Ars Electronica (AT) How would the world look if Elon Musk were right? FabLab 2019 is a mobile textile laboratory. In an message in the world wide web, but rather an In this new, better world it wouldn’t be the robots open-manufacturing format, non-digitally con- individual piece of art to take back home or a who rule, but humans with high-tech bodies. trolled forms of work processes are communi- communal total work of art created by the com- While in today’s world, enhanced versions of the cated. It’s the place to print, sew, fold, and above mitment of the festival-goers. Communication ephemeral body are preferably hidden or forced all, experiment. It’s all about fun, according to done differently! into a humanoid form, the future will be dom- the motto “back to the basics.” Getting to know How does a hand loom actually work? How are inated by self-evident and visible extensions, old traditions and rediscovering them. The joy of pleats created? high-tech extremities and sensory systems. doing and experimenting is central, and every- All of these questions can be experienced and We want to imagine how these cyborgs could one’s invited! The end result is not a temporary answered in actual practice at FabLab. look and approximate what could be possible tomorrow: cybernetic hybrid organisms, func- tionally improved human or humanoid life forms that are among us as a matter of course. But which functions are worth improving, if we shift our concept of the human condition past the biological realm in order to stay relevant as humans, as Elon Musk suggests? Ultimately we are constructing simple extensions
Elke Hackl Elke to approach the Human Cyborg phenomenon.
SOCIAL INTELLIGENCE AGENCY (SIA) Landestheater Linz (AT), Ars Electronica
BE PART OF SIA — THE WORLD NEEDS YOU The digital revolution is in full swing. And now what? Between smart phone and tablet, between VR and AI we are on a quest for something our modern technology doesn’t yet possess: social intelligence. Without that, our world is in danger Elisabeth Maurer FABLAB, Anilin unfolded1 of becoming a dark place. The solution: SIA. The aim: Nothing less than to save the world! With young people from Upper Austria, CREATE YOUR WORLD and the Landestheater Linz, SIA will be brought to life. We will ask ourselves what our world would need the most. Out of the digital comfort zone and into real life. We will develop, discuss, try out and train
playfully in workshops and fulfill missions during Hermann Posch Ars Electronica Festival 2019.
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GRAFFITI Reclaim the walls/No demolition please Walze (AT)
GRAFFITI has long been established as a modern
art form. Its often very direct nature is especially Mesic Tom appealing to youth. Art in public space has gen- erally enhanced our cityscapes, so colorful walls are a must for the festival area. Visual communication in a slightly different PRIX ARS ELECTRONICA
format and legal, too! Jonas Fliedl u19 — create your world Exhibition YOUNG CREATIVES AND YOUNG PROFESSIONALS In 2019 the category u19 — CREATE YOUR oped an artistic and/or critical project for the WORLD of Prix Ars Electronica was divided into world of tomorrow. The u19 exhibition invites two subcategories: At YOUNG CREATIVES (up all winners to show their projects or further to age 14) the first ideas and projects can be develop them within an open lab, together with What a wonderful world applied. The co-creation of future and present the visitors. Here the future prize winners can get Dominik Schön (DE), Elias Kremer (DE) from the perspective of children is impressively some inspiration! In the dedicated u19 atelier demonstrated in this subcategory. At YOUNG the young people present the way they work and Wonderful World is a play/art installation in PROFESSIONALS (age 14 — 19) there is a quest how they shape their ideas for implementation. which the players must work together cooper- for innovative lateral thinkers who have devel- atively to fill a dark, digital world piece by piece with nature. This is achieved by capturing float- u19 Ceremony ing fragments of light with the shadow of one’s own hands and collecting them in a hollow in the The u19 Ceremony is the central highlight at the who despite their high quality couldn’t be among sand. Since the projection of nature changes with CREATE YOUR WORLD Festival: All 24 winning the awarded projects. On the one hand, relevant the shape of the sand, each natural landscape projects will be awarded and presented in a fun projects will be invited to the festival as Addi- that the players uncover is completely different. and comfortable setting. The event is directly tional Prix Projects and can be presented there After the players have successfully filled the integrated into the bustling activity of the Festi- to the visitors. And on the other hand, CREATE tables, they can become active themselves and val and has become a particularly popular fixture YOUR WORLD tries to be a facilitator for “sum-
Filmakademie Baden Württemberg Filmakademie design the resulting landscape according to their of the whole Festival. mer jobs” for young people — and fortunately imagination. in a very successful way: during the numerous From idea to summer project… The game makes the current trend “Augmented cooperation talks there is always the consider- Opportunities for young people through Reality” tangible: Fast interaction feedback, ation of young people potentially accepting a participation at Prix Ars Electronica intuitive controls and enchanting graphics make commissioned project from certain companies, this sandbox game a magical experience. Over 700 applications were received this year in in order to get a truly authentic evaluation for The game was developed in a four-month project the u19 category of Prix Ars Electronica. This high them, and at the same time creating a product phase during our studies at the Filmakademie number makes it more and more difficult for the for the companies to use for further research Baden-Württemberg. jury to select the winners — and still only 24 proj- or development purposes. The CREATE YOUR ects can be awarded. But: for a couple of years, WORLD team searched for appropriate projects the CREATE YOUR WORLD team has focused on and was able to procure paid commission work fostering and supporting those project groups for five project groups this year. 350 351 CREATE YOUR WORLD
PRIX ARS ELECTRONICA u19 — create your world E-DICE Lukas Bittner (AT), Lorenzo Arturo (AT), additional projects Adam Musiejovsky (AT), Fabian Ortner (AT)
The E-Dice is a dice for the 21st century. By com- In this Open Space, projects and ideas will be support all those projects that are not among bining an accelerometer with several controlla- presented from young people who have applied the winners. Here they can be immersed in the ble LEDs, a new and diverse game experience is for Prix Ars Electronica in the u19 category. festival network here and gain a lot of experience achieved. Even more possibilities are created by With this focus, CREATE YOUR WORLD is set to for developing their ideas and projects further. generating random numbers between 1 and 9! Lorenzo Arturo Lorenzo
IN REACTIO VERITAS Felix Strobl (AT), Barbara Gregori (AT), Community Art Cover Claudio Reiter (AT) Gestalte dein Cover via Augmented Reality Conflict and dispute are older than humanity itself, yet the term “confrontation” still has a pri- marily negative connotation. In Reactio Veritas is set to challenge this by generating algorithmic works of art through electro-encephalography, which does not merely analyze the dispute, but should inspire us to see the beauty and commu- nality behind the conflict. Claudio Reiter Birte Brudermann Gregori Barbara
WHO IS CIHAN? INTERACTIVE COVER BEGEGNUNG IM ÖFFENTLICHEN RAUM Pupils of the 1DS of the Business Academy Barbara Gregori, Claudio Reiter, Felix Strobl, Artur Schernthaner-Lourdesamy, Vincent Entekhabi (AT) Donaustadt (AT), Birte Brudermann (AT) Gregor Kosian (AT) This installation addresses interaction in public A film on the topic of “identity.” 25 personal Ever since the invention of woodblock printing spaces on an auditory and visual level. In a video interviews with the following rule: “Describe around 650 BC, various forms of reproduction installation, an objective view of an encounter is your identity without mentioning name, origins, have accompanied us. Yet the digital revolu- created. The spectator watches separate worlds mother language, ethnic background, born gen- tion has caused a change which today’s mag- collide, merge and avoid each other. In contrast der.” The contents of the text, the person reading azines and newspapers haven’t yet caught up to the visual representation, the auditory mate- the text and the person visible in the images are with: interactivity. The project Interactive Cover rial is reproduced subjectively. In an interplay of three independent components. Together, they gives readers the opportunity to feel the commu- confused everyday noises and musical improvi- form a fictitious identity. nity behind the medium and create unique and sation on the double bass and piano, a carpet Only the texts seen in the subtitles are from the mutable works of art together: globally, inter- of sound is created in reflection of the visual person visible on screen. linked, and in real-time. depiction. Artur Schernthaner-Lourdesamy
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CODER DOJO COMMON SENSE CoderDojo Linz (AT) Kevin Strüber (DE)
Children will be able to program their first com- Common Sense is an interactive sound instal- puter game at the CoderDojo. The development lation consisting of several sound creatures. environment is going to be Scratch. The game’s Through sound pressure transducers, piezo complexity can be adapted to the children’s microphones, and a custom algorithm, the sur- previous knowledge. Those who are more into rounding ambience can be perceived, analyzed electronics can instead realize a simple elec- ABC-DOJO and imitated. The creatures thus exchange with tronic project with a soldering iron. Kids and Pädagogische Hochschule Oberösterreich each other and develop a sonic swarm behavior. young people with a lot of programming experi- (Teachers’ College of Upper Austria) — An ebb and flow of sonic experience, with the vis- ence under their belt can learn how to program Education Innovation Studio (AT) itors as an active and crucial contributing factor. a website with the Mentoring Team of CoderDojo. Linda Schäffler The CoderDojo team will provide instruction At the abc-Dojo you can program floor robots and manuals for inspiration that can be followed try to trick an artificial intelligence or even cre- while programming or assembling. Kids with ate a speaking image! Floor robots on a treasure ZAPZARAP more experience with Scratch, e.g from school quest, portals with face recognition, or speaking Tanja Neubäck (AT), Michael Friedl (AT), lessons or the CoderDojo, can let their imagina- images made with MakeyMakey: All of this can Marija Milenkovic (AT), Lina Dengg (AT) tion run free and implement their own game-re- be experienced at this year’s AI lab for children lated ideas. and beginners. The game ZAPZARAP presented in the shape of an arcade game, seeks to call attention to social problems related to the (post)colonial exploita- tion of Africa. A special focus lies on the eman- cipation of identity markers that were previously underrepresented in the world of games: the heroine is a woman of color. It aims to make the industry as well as the relatively young demo- graphic reflect, in addition to confronting the subject matter.
MUSIC RESEARCH LAB mica — music austria (AT), FH St. Pölten (AT), Ars Electronica (AT)
Festival-goers are invited here to produce sounds, atmospheres and short pieces of music on their own, which will then be used for digi- tal games, animations, and live-action films or situations. Free from any restrictions of genre or style, music will revert to one of its original functions: an ambassador of emotions providing the various projects with sounds that may both
Rainer Stropek Rainer irritate and amuse. In this year’s music research lab, there will also be a presentation of semester projects by stu- dents of the FH St. Pölten, and mica — music austria, creating various formats with the focus Vog.photo on game sound and the music business. This amalgam of various themes offers a broad scale for the festival-goers and invites us to explore and experiment.
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FM4 EXTRALEBEN CINEMA 4D — JUGEND ORF radio FM4 (AT) BEGEGNUNGSPROJEKT 2019 Founded in the fall of 2013 by the three-mem- Participants of mb21 Dresden (DE), ber team of editors, Conny Lee, Rainer Sigl and c3 Budapest (HU), bug’n’play Zürich (CH) Robert Glashütter, the monthly radio program The youth exchange project is a workshop with FM4 Extraleben has the motto “Let’s talk about an international group of students taking place computer games.” Each episode is dedicated to in POSTCITY over the entire festival period. a specific topic, examined from the perspective Every year CREATE YOUR WORLD invites 20 of various aspects of digital game culture — such international students to spend five days at the as work, architecture, sexuality, health, realism Ars Electronica Festival, where they can create a or learning. FM4 Extraleben is characterized game, a film, or a sound project and experiment by well-researched yet casual, sociable, and with new forms of technology. It is always a lot understandable talks, collectively negotiating of fun and offers the chance to experience new arguments, exploring aspects and exchanging things and meet interesting people. theme-specific/relevant anecdotes. Products This year’s youth exchange project is entitled (certain games) and reviews are secondary to Cinema 4D Animation. Young international peo- FM4 Extraleben, the focus being on playfully ple will experiment with technology and learn conducted debates and analyses around game 3D animation basics together with experts. With culture. the high-end software “Maxon Cinema 4D,” they will work with 3D characters, make their own sequences, and create their own 3D animation.
SUMMER SESSIONS Arbeiterkammer OÖ (AT)
create (y)our digital world The Summer Sessions are serving as a prepara- ABLETON x MI.MU GLOVES tion for this year’s CREATE YOUR WORLD festival ABLETON (DE) in cooperation with the Upper Austrian Chamber of Labor. Building robots, programming games, Pushing buttons and turning dials often doesn’t soldering boards, discovering Arduino, draw- translate well for an audience; however, new ing digital graffiti, experiencing virtual reality, technologies have emerged that allow for FM4 SPIELEKAMMERL becoming a cyborg — or simply dropping every- increased dynamic and expressive control of ORF radio FM4 (AT) thing: At the AK summer sessions young people music software and electronic instruments using between 15 and 19 can try out the future over hand and body gestures. FM4 Spielekammerl is a weekly variety newer, some not so new. We are also conducting the course of five days. At this year’s Ars Electronica, Ableton certified game-streaming format on Twitch.tv that goes interviews with guests from different fields. trainer Madeleine Bloom will demonstrate how live every Thursday from 5 to 9 pm. “Spieleka- SUMMER FEELING IN TRAUN/OÖ she uses MI.MU gloves to generate and control mmerl” is an Austrian expression for a small, Video games and video game culture are our sound and music with Push and Ableton Live, Various artists will gather in Traun to look charming room where you play video games. main focus, but we don’t stop there. Hanging out creating a more immediate and visually engaging into the future together with young people Sometimes, the Spielekammerl goes on tour, at FM4 Spielekammerl is easy-going and fun. It’s experience for audience and performer alike. and develop new ideas, to be presented at too. Then we stream live from Ars Electronica about talking and having a good time. And it’s a Ars Electronica 2019. Festival, for example! FM4’s video game staff proven fact that playing video games often helps is playing different games all the time — some with that!
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LITERALLY OUT OF THE BOX — analogue playground Spieleagentur White Castle (AT)
A game is an experience. A game is a microcosm In the White Castle gaming booths, you can with its own code. A game is a space of symbolic actively participate in such design processes and actions. A game is a medium. The ANALOG game reflect on collective gaming, with both young and is a complex microcosm in a cardboard box. experienced game designers, the strengths and The analog game is a unique medium, which weak points of the prototypes at hand. allows a topic to be not only communicated but There will also be time slots where you can present experienced: The content of a game box (its your own prototypes. material, design, set of rules) provides us with all necessary basics to experience the contained microcosm. But “out of the box” comes neither a digital engine, nor a built-in tutor that keeps us from breaking out of the set of rules created
Valentin Ortner Valentin by the designers. The content of a small box is sufficient to bring a complex world to life. Which basics are required for the creation of such a world? How can game designers accom- plish the feat to make such a complex world learnable? And how can one motivate the game players to reflect at all times on whether their actions make sense within this microcosm? Designing analog games requires not only the fine art of creating an intuitive symbiosis of mate- rial, narrative, design and possible actions, but also the art of communicating it comprehensibly. Anita Landgraf Clemens Fantur Ortner Valentin FM4 EXTRALEBEN CINEMA 4D — JUGENDBEGEGNUNGSPROJEKT 2019
BRAIN LAB Adela Perte (AT)
With the BrainLab you can create an insight into the activities of a youthful brain and get to know its full complexity through experimenting. In a playful way you can learn at various stations how the brain works, how our feelings and thoughts are created, how we appropriate new things and understand the brain as a plastic, emotional and social organ. Tom Mesic Tom Tom Mesic Tom ABLETON SUMMER SESSIONS (AK OÖ) ABLETON x MI.MU GLOVES
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STAHLSTADT NEUES LINZER THEATER (AT)
Young asylum seekers in Upper Austria face an At the beginning of September the core group increasingly tough climate. As diverse as they are, of 25 members, together with 2 actors and all they all have questions regarding work, education, regional and transregional cooperation partners, language acquisition, love and self-presenta- will narrate the history of Stahlstadt. Until now tion, and social media in common. STAHLSTADT. we only know that magic portals will emerge at ONLINE is an alternate-reality game where the Ars Elecrtonic 2019 that will “swallow up” young people themselves have created an alter- young people in stress situations. But every- nate reality — Linz becomes “Stahlstadt.” From thing else stays “top secret.” Our Youtubers and February to July 2019, there are monthly work Instragrammers already report from the Stahl- meetings and workshops, where the adolescents stadt as @LINZLIEBE. Let’s solve the mystery are writing the history of Stahlstadt together. together! Vog.photo
ARTIFICIAL INTELLIGENCE LAB Melina Undesser (AT), Sebastian Lindinger (AT), software architects (AT)
A traditional strong point of computers is their out an installation for September 2019, where ability to execute precise calculations. This helps visitors of all ages will be able to track and us transmit data, navigate cars, or fly into space. comprehend the work of the two contributors, But when it’s about interpreting perceptions of customize their own variants of the game, and our environment, things that are trivial to humans learn something about the functionality of AI. pose a tremendous challenge to computers. Over The project should demonstrate on the one hand the last years there have been great advance- that even young people with little programming ments in technologies, commonly called artifical experience are able to put AI to effective use in intelligence (AI) or machine learning (ML). By their own software projects. And on the other applying them, we can literally teach computers hand, the project should help to familiarize the Neues Linzer Theater Neues Linzer things that would have been unthinkable to pro- participants with AI during the festival in a play- gram just a couple of years ago. ful way, fostering an interesting discourse about In the presented project, two adolescents will the possibilities, boundaries and dangers of this realize a project for the Ars Electronica Festival technology. where a simple computer game will become IN_VISIBLE ISLAND WORDLAB/WORTSCHMIEDE This project is presented in the framework of the Euro- controllable via gestures such as head move- Ruhiyati Idayu Abu Talib (MY), Predrag K. pean ARTificial Intelligence Lab and co-funded by the ments or facial expressions. The aim is to work Creative Europe Programme of the European Union. Nikolic (CN/RS), Mohd Shahrizal Sunar (MY) Create your own word In_Visible Island is a multi-sensory platform that In the era of digital communication, words are offers visually impaired children an opportunity often only displayed as signs, codes or acronyms. MORGENESSEN to experience interactive, non-linear, multi-sen- A mix of various languages is an everyday com- 100 years. Cooking in a flowerpot is not an every- Alfred Pointner (AT) sory storytelling while actively involving them monality and new linguistic trends are emerging. day solution. But it is possible to see, feel and Within the focus of “The Future of Communi- taste the material’s advantages. Clay radiates in creating stories with their sighted peers. It A flowerpot as a cooking appliance is a multimodal modular table supported by cation,” new words or non-words can emerge a “pleasant” heat. The porosity of the mate- multi-sensory disks capable of producing sound from this wordlab. In a transgenerational word Clay as a material has been in use for thousands rial regulates the ambient humidity. Recycling and vibration, and able to detect gestures in the (clarification) lab, the festival-goers can create of years. The basic ingredients are earth and terracotta products is very easy. After crushing progressive context of the storyline, while trig- new words and let their definitions grow. water. During the process of drying and baking, or grinding, the former implement becomes a gering the central computer to generate the next What do: hdl, xox, abf, bff, dau, eob, irl, kwt hot air is added. “Earthen” vessels have long natural element of the earth again. Flowerpots part of the story. mean? What is a “Schnirrsenkl” and what does been used by humans for the production and are filled with the ingredients of a breakfast “derrisch” imply? Maybe this could even be the storage of food and drinks. Depending on the meal. From vegetables, fruits, cereals, and birthplace of one or more imaginary jobs that will modernization level of some cultures, earthen- legumes one sweet and one spicy variant will be become reality only in the future? ware was replaced by more durable materials created. Steaming or baking in the earthenware such as metals and plastics during the last 40 to produces the final result. 360 361 CREATE YOUR WORLD BE WIRED MOOD ZUR KOMMUNIKATION Judith Auer (AT), Claudia Cruceru (AT), Bettina Gangl (AT), Birgit Pölz (AT), Raphaela Danner (AT), Maria-Anna Helmut Doblhofer (AT), participants Eckerstorfer (AT), Gerda Martinez Lopez (AT), in Virtual Office FAB Linz (AT) Adina Socoliuc (AT) Mood to communicate. Communication often How is it possible to draw sculpturally with requires some courage, yet sometimes it hap- wire? Who will continue the construction and at pens in a seemingly automatic way. The young what point? And how is the sculpture going to people of the Virtual Office researched and be illuminated? Where to install the switches? worked on some relevant issues of communica- Students of drawing at Art University Linz will tion. Together with the visitors, an atmospheric collaborate with visitors to the Festival to make picture is created, describing the positions the an interactive wire sculpture. The main focus is visitors assume when confronted with the new on collective work and interacting with sculp- communication media. ture, human beings, and electric energy. Various The burning issue of preferred ways of future colored wires are woven with light chains and communication was the topic of an Arduino controlled by simple DIY switches. Additionally, workshop the young people had taken part in. a fast-motion movie will document the process of creation. The visitors can join the construction work in the open workshop or playfully find out which way the electricity flows. MATHRIX Hakan Lidbo (SE), Per-Olov Jernberg (SE), Johan Eriksson (SE)
Mathrix is a complex, multi-layered modular synthesizer and a strategic board game at the
same time. Four players create improvised music OMAi with the non-linear sequencer by re-patching the sounds and at the same time aim to take the opponent’s pieces and win the game. Mathrix is not built for us, the humans we are today, but for the humans we might become in the future. If we then truly merge with digital intelligence and learn new abilities, e.g. to think in multiple
Raphaela Danner Raphaela layers and purposes, we might also be able to master Mathrix. Oneshots Tagtool Projection Mapping YOUKI (AT) OMAi (AT) Cutting edge film production: with smart phones Tagtool Community Showcase and simple microphones, “one shots” can be produced at the Festival film set. Here the story For over 10 years now, building façades and like jazz musicians, and seek new forms of visual is always going on: like a chain letter, the visitors stage sets worldwide have been illuminated expression. can continue telling the story, but only via “one with spontaneous images rendered and ani- In the framework of the Ars Electronica Festival shots,” film sequences without any edits. The mated live. The people who make this happen 2019, works from the international Tagtool scenes will later be edited together at YOUKI are members of the Tagtool community; what Community are interactively presented at the Open Lab. How will the story start and how will they have in common is an alternative vision of Tagtool-Station in POSTCITY. Festival-goers of it end? The music to the film is also made by fes- digital art. They work on the street or in the the- all ages are invited to get hands-on experience tival-goers — right from the music research lab. ater instead of in front of a computer screen, jam with projection painting. MATHRIX
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Conferences @ CREATE YOUR WORLD
Symposium “Perspectives of Political Studies” Let’s argue. Conflict culture in the age of digital battlefields Conflicts and fights have been with humanity ation, and opportunities for manipulation and, since primeval times. In an ideal case they are last but not least, whether new forms of conflicts a prime mover for societal development, in the would emerge through the digital transforma- worst case they set free destructive powers tion of society. In lectures and workshops, new of incommensurable strength, combined with socio-political repercussions are demonstrated human suffering and ecological, economic, and and discussed on various levels, pondering the political catastrophes. Only the development and consequences for a new realignment of political cultivation of a conflict and fight culture under education regarding the development of person- humanistic premises can provide a positive ality and living together in society, while working rethinking of this potentially destructive force. on and presenting practice-oriented strategies The symposium seeks to investigate the degree for implementation. to which social media can contribute anything to a new culture of conflict and fighting or if these An event produced jointly by the Upper Austria Teacher- media obstruct such a culture, whether digita- Training College, Upper Austria Chamber of Labor and lization has changed communication, cooper- Ars Electronica
Vog.photo ZusammenHelfen Conference: Day of Encouragement ZusammenHelfen in Oberösterreich — Gemeinsam für geflüchtete Menschen (AT)
This is the fifth consecutive year that Zusam- and challenges, and elaborate on successful FUTURE ZONE menHelfen in Oberösterreich — Gemeinsam für projects. One inspiring speaker on the program Otelo — Martin Hollinetz (AT), Flora Nimue Hollinetz (AT), Lea Felicita Haslmair (AT) geflüchtete Menschen is staging a conference for is Jad Turjman, who will recount anecdotes from all those who are committed to and interested his life as described in his book Wenn der Jasmin in helping people forced to flee, or are affected auswandert. Dirk Baier, head of the Institute for The noise of silence Ket Zone by refugees and integration. This year’s conclave Delinquency and criminal prevention of the Uni- A place of silence but not silent at all. In the Children experience the digital realm — a little entitled “Day of Encouragement” will scrutinize versity of Zurich and the communication project Noise of Silence Dome talking is forbidden, only world of experience and relaxation for the new prospects, discuss the latest developments #ichbinhier will also enrich the conference. the smart phone or tablet may serve as a means youngest visitors. Five areas are open for them of communication. It is silent, but is it calm, too? to explore and broaden their minds. Projects In the NOS Dome your own digital noise can be include a small robot that can be constructed traced back in the silence of the Dome. and printed in the Robomat assembly, and per- sonalized later. SDGone The UN action plan “Transformation of Our World: Agenda 2030 for Sustainable Develop- ment” is increasingly becoming the base for the development of the next years. It’s time to form a personal attitude and orientation towards the 17 goals of the UN. We offer insight into four selected goals, provide practical examples of applications and start a cooperative develop- ment project together with the festival-goers. Tom Mesic Tom 364 365 GUEST PROJECTS
Chilean Artists at the Ars Electronica Festival
The Chilean Artists at the Ars Electronica Festival 2019 with an open call asking for artists, scien- program debuted in 2018 with a successful tists, designers, researchers, entrepreneurs and cooperation between the Ministerio de las Cul- social activists from Chile or with a Chilean back- turas, las Artes y el Patrimonio, the Ministerio de ground to participate in this year’s festival. Five Relaciones Exteriores | Gobierno de Chile and projects were selected and will be showcased GUEST Ars Electronica. The collaboration continued in throughout the Ars Electronica Festival 2019. Constanza Piña (CL) PROJECTS KHIPU Electrotextile prehispanic computer
The Inca khipu are textile devices for record- ancestors, meant to express how the universe is ing information, made of cotton or camelid fiber governed by harmonious numerical proportions. strings that store data coded as knots. This piece What we are hearing now is thus the amplifica- is an open-source textile computer based on the tion of inaudible Space, the voices of specters manufacture of astronomical khipu, the cords visiting the void, a celestial score, the music of of which were hand-spun with alpaca wool and the spheres: the voice of silence. copper wire. It functions as an antenna for elec- Direction and Concept: Constanza Piña tromagnetic fields that is connected to an ampli- Realization: Melissa Aguilar, Ana Cervantes, Ana Ortiz, fier circuit. The encoded data in it corresponds Daniela Sofía Main Reyes, Constanza Piña Electronics: Constanza Piña to: a spectral classification of the stars in the Graphic and editorial design: Melissa Aguilar Boötes constellation; a lunar calendar; a solar Technical assistance: Alexandre Castonguay eclipse; two earthquakes, and the elliptic posi- Made in MedialabMX (Mexico City) and Perte de Signal tion of the sun and moon at the time of our births. (Montreal). Supported by Ministerio de las Culturas, las Artes y el This project is a sound and arts interpretation Patrimonio and the Ministerio de Relaciones Exteriores | of the technology, wisdom and history of our Gobierno de Chile Perte de signal, Camille Montuelle de signal, Camille Perte
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Mónica Bate (CL) The Life of Crystals [C][O][R][O]
The TLC project started with a simple and symbolic. The archeology of matter will lead us familiar question: “How does this work?” Though to reflect on our dominion of it, and to see it as this may be a recurring for those who live sur- transformed natural matter for which humans rounded by machines, it doesn’t imply that we’ve play an evolutionary role. surpassed our ‘black box-like’ relationship with certain types of technology. With this conceptual Collaborators: outline, the TLC project proposes to observe a Antonio Galdámez PhD, Department of Chemistry, Universidad de Chile. material that’s profusely used in electronics and Sound: Claudio Muñoz a widely known phenomenon: piezoelectricity. Artist-Engineer: Álvaro Pimentel At the intersection of the natural and the arti- ficial, between life and the machine, art and Supported by Departamento de Artes Visuales — Uni versidad de Chile, MediaMAC-Anilla, Fundación Flores, science; technology will be re-purposed in a way Ministerio de las Culturas, las Artes y el Patrimonio and that isn’t practical or efficient, but poetic and the Ministerio de Relaciones Exteriores | Gobierno de Chile
Jean Danton Laffert (CL), Karin Astudillo (CL), Camilo Gouet (CL) Meditative Symbiosis
Meditative Symbiosis is a trans-disciplinary project The process generates a cycle of constant and that explores the interdependence of a living mutual dependence: while the plants grow, the organism and an electronic system, looking digital image evolves from the data supplied by for the aesthetic result of a digital-biological them, producing a bio-electronic aesthetic that process. evolves in time. The installation is composed of containers with plants (Soleirolia soleirolii) and sensors inside. This project is supported by: Fablab U.Chile. Research The photosynthetic activity of the plants is laboratory. Technical and staff support. Development team: sensed by the carbon dioxide absorption rate. Sensor and electronic interfaces: Esteban Norambuena This information is then sent to a computer mod- Computer platform and programming: Mauricio Hormazabal ule, which processes the data to create graphic Second scientific support: Daniel Opazo Bunster Automatization interfaces: Nicolás Briceño patterns in real time. These are then projected on Supported by Ministerio de las Culturas, las Artes y el the surface plants, influencing photosynthesis by Patrimonio and the Ministerio de Relaciones Exteriores |
the light intensity of the figures. Gobierno de Chile Camila Estrella
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Gonzalo Mezza (CL), Sebastian Vidal Valenzuela (CL) Mezza: Archivo Liberado
Mezza: Archivo Liberado is a curatorial project in the eyes of a media art pioneer, the initial that reviews the archives and works (1969–1990) processes of technological implementation in of the Chilean artist, Gonzalo Mezza (1949–), a Chilean art. By a selection of documents and pioneer of media art. For sixty years, his innova- works, the exhibition offers a revisionist view, tive work has been focused on the implementa- presented as an exercise in media archeology, tion of media technologies in Chile. He has stood exploring one’s own history (of middle age) under Carla Bolgeri (CL/IT), Francisco Marín (CL) out for critically modifying the visual language, different layers through a body of work that through video art, performance, installation, progressively models and anticipates important Vocals Polaroid photography, photocopy and the use conflicts of today’s society. of computers, among others, being one of the The main idea of this piece is to amplify the taking place as the performance occurs. first to carry out this type of practice in Chile and Curator: Sebastian Vidal Valenzuela Project financed by the Chile’s National Fund for the Arts voice in the performance space through a live This project is an invitation to visualize the move- beyond. His poetic approach to the landscape, sound system. The sonic power of speech in an ments of language as a flow of sonic processes (Fondart 2018), Ministry of Culture, Arts, and Heritage of his reformist reading of art history, photographic Chile acoustic and corporeal practice that uses the in space and in the body. exploration and multimedia installation, among New Media Area, Ministry of Culture, Arts, and Heritage sound of languages in an attempt to transform other topics, led him to consolidate a body of of Chile Direction: Carla Bolgeri Ministry of Foreign Affairs of Chile, Foreign Office Board the expressive experience that operates within work that opens complex readings about ecology, our communicative processes into other pos- Art: BOLGERI & MARÍN of Cultural Affairs (DIRAC), Music and sound design: Francisco Marín geopolitics, spirituality and media culture. This Ars Electronica Festival 2019 sible configurations of meaning. Encounters of Peformer: Carla Bolgeri exhibition highlights how documents and works Art Gallery D21 Proyectos de Arte real and invented languages overlap in mean- Illumination design: Jonathan Inostroza are now combined in a conceptual proposal that Center for Art Studies, CEdA Foundation ings, sounds, vocals, consonants, etc., in diverse Costume Design: Evita Hidalgo Alberto Hurtado University This project is supported by Center of Creation and configures a retroactive archive, as input for the forms of voices, produced by a microphone that Special thanks to Simón Pérez Wilson, Pedro Montes, Residence NAVE, Ministerio de las Culturas, las Artes y el artist himself. Mezza: Archivo Liberado reviews, Sergio Parra, Fernando Pérez Villalón, and Mariairis Flores is amplified and processed live. The performer’s Patrimonio and the Ministerio de Relaciones Exteriores | voice and the reproduction of that voice are Gobierno de Chile Isabel Ortiz
Mezza archivo liberado, 1970 — 1987
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Stadtwerkstatt (AT) STWST48x5 STAY UNFINISHED 48 Hours New Art Contexts. Totally Ready. UNFINISHED CLUB Founded as an artists’ collective forty years ago, in 1979, Stadtwerkstatt (STWST) — a living and striving cultural space — takes pride in its autonomous structure. In 2019, STWST48x5 STAY Conceived and realized by Shu Lea Cheang UNFINISHED, the 5th edition of its 48-hour showcase extravaganza, brings together critical producers and artists to negotiate permanently unfinished conditions. Taking over the club space at STWST, the UNFIN- to intervene and re-version the TALK sessions. STWST48x5 STAY UNFINISHED presents the internet error messages. Highlighting the unfin- ISHED CLUB will be hosting two all-night public ACT RE:ACT will held from 19:32 (sunset of following array of programming: ished archive of Stadtwerkstatt’s 40-year cele- events. TALK RE:TALK will be held from 19:35 Saturday, September 7, Linz) to 6:29 (sunrise STWST New Art Contexts: SANDHOLE by Franz bration, there will be two nights of UNFINISHED (sunset of Friday, September 6, Linz) to 06:28 of Sunday, September 8, Linz) will include five Xaver, accompanied by Heike Kaltenbrunner; CLUB under the titles of TALK RE:TALK and ACT (sunrise of Saturday, September 7, Linz), and sessions: Unfinished Archives (led by Thomas DEEP DRILLING FOR CONTRACTS, by Tanja RE:ACT, each of which will include five sessions include five sessions: Unfinished Business (led Lehner, STWST 40 Years); Unfinished Access (led Brandmayr; ml-iso|la|tion|ism by taro; GIBLING and demand the public to stay awake from sun- by Franz Xaver on existence tactics and alli- by Laura McGough, reviewing artists and public LUCIFERENSIS by taro and Eva Grün; CRYPTOB- set to sunrise in Linz. UNFINISHED LIST brings ance binding); Unfinished Code (led by Winnie access television from 1972—1994); Unfinished ORDERS and ŦɏŁᵻⱣⱥ (ŦLⱣ) by Michael Aschauer; together five existing mailing lists (nettime, Soon on queering, speaking and vocable code); Utopia (where sci-fi fantasia will be meeting the hydroponic construct NOTNOPONTON by crumb, faces, -empyre-, spectre) live on radio Unfinished Lab (led by Pedro Soler on labs for the real, existing utopia); Unfinished Porn (led Jakob Breitwieser. The ongoing Mycelium Net- FRO. Years of mailing lists’ open archives will be worldmaking, mutant breeding and revela- by Jürgen Brüning, on the power of porn) and work Society will host an MNS SUMMIT to fur- further processed and composted by Shu Lea tion); Unfinished Network (led by Servus.at on Unfinished Dream (led by Fabi Borges and Rafael ther recruit the nodes. Through open call and Cheang’s COMPOSTING THE NET performance. the power, lacks and deviances of networking) Frazao,who will guide the construction of a work invitations: SOYBEAN FUTURES by Dimension STWST48x5 STAY UNFINISHED programs and Unfinished Body (led by Quimera Rosa on of speculative fiction). Ending the sessions with Plus; TELEAGRICULTURE by Julian Stadon; CIVIL remain unfinished as we welcome friends old self-experimentation and the trans* process). playback at dawn, we will walk out of the club to WILDERNESS by Claudia Reiche and Helene von and new, revisit dated and current media, take RE:TALK patching will be led by Martin Howse greet sunrise by the Danube, not-quite-finished. Oldenburg; with the APRIORI group, Berlin’s up unfinished workshops, unfinished kitchens, RAUMERWEITERUNGSHALLE association and unfinished social projects to engage in public Darko Fritz resurrecting I_AM_STILL_ALIVE. dialogue and debates, in the hope that these will HTML (2009) to remind us about the unfinished add new layers to PREVIOUS LAYERS.
Unfinished Coding by Winnie Soon, Fisting Club at Unfinished Porn, curated by Photo: Winnie Soon Jürgen Brüning, Photo: Shu Lea Cheang
Plakatsujets STWST48x5, Design/AD: ortnerschinko.com
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UNFINISHED UNFINISHED LIST ARCHIVE celebrates Conceived and realized by Shu Lea Cheang
the 40 years Triggered by a nettime posting (Date: Friday, June cal perspectives since 2002, and is moderated 07, 2019 10:41 AM) from the nettime mod squad, by Renate Ferro and Tim Murray; spectre, which of Stadtwerkstatt “subject:
Composting the Net, Photo: Shu Lea Cheang Clickscape 98 — Ars Electronica 98, 1998, Photo: Norbert Artner, © Bildrecht.at
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SAND HOLE is an INFOLAB project of STWST New Art Contexts By Franz Xaver
A concave sandhole with a 12-meter diameter is being dug in front of Stadtwerkstatt. This hole bundles the hydrogen radiation of the universe, through which we receive a signal we will call “NegInformation”.
Franz Xaver asks what information is. To answer 100 years ago, where he countered life to entropy. this question, a 12-meter sandhole is being dug Claude Shannon subsequently introduced an at STWST48x5 to capture hydrogen radiation information theory in which information is only from various stages of the universe’s devel- transported from one place to another as effi- opment. We can receive pasts from the pres- ciently as possible. ent of up to 10 million light-years at once, in a This is a theory of information transmission meaningless signal we call “NegInformation”. which above all serves economic market advan- The “NegInformation” stands for the human tages, even as it fails to deal with what the component in the new logical world order “essence of information” might be. “In the begin- information theory brought us. “NegInforma- ning was hydrogen”: with this view, our structure tion” thus opposes the concept of NegEntropy offers the possibility of perceive information in that Erwin Schrödinger first formulated over its earliest stage of development.
DEEP DRILLING FOR CONTRACTS is a IDPW (JP), Sofia Braga (AT) Quasikunst project of STWST New Art Contexts The Internet Yami-Ichi By Tanja Brandmayr Shut down your computer and join the second Quasikunst has been conducting systemic- early ring mythology negotiating the transition edition of The Internet Yami-Ichi in Linz! The performative art research for several years. from pre-modern to the modern in the late 19th Internet Yami-Ichi, from the Japanese “Internet Depending on the project, it calls out coordinates, century. First, dig down and knock ore out of Black Market,” but also “sickness” and “addic- increasing and performing contradictions. In the mountain; then, use technological voodoo tion,” is a flea market where people consumed by 2019, and under the title “Deep Drilling for Con- to forge a ring, to be followed by contracts and the Internet can share and buy Internet-related tracts“, Quasikunst will dig down a sound hole capital. Even at the onset everyone was unhappy. things in real life. in the basement of STWST. Underground: The The contracts expired. Many years later, busi- The Internet Yami-Ichi was created by the knocking out of power/BUSINESS from nature ness is at a turning point. Exploitation continues Japanese art collective IDPW in 2012, and took is a core competence of our early industrial/ as ever. And we just keep digging down, deep place in Tokyo for the first time. Since then many CULTURAL history. Twelve seconds of metallic drilling for NEW Contracts. editions have been organized in various cities hammering as the looped sound-essence of an stwst48x5.stwst.at like New York, Seoul, Moscow, Berlin and more.
This project is supported by Ars Electronica and Interface Cultures Curated by Sofia Braga Official website: http://yami-ichi.biz/
Bau einer Schablone für eine 33 m Reflektorantenne, 1996, Quasikunst 2019, Photo: Tanja Brandmayr Photo: Joachim Baur
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BIO AUSTRIA (AT) BIO AUSTRIA Bauernmarkt: All organic. All reliable. All regional.
In a nutshell, these are the characteristics of It wasn’t only the Ars Electronica Festival the organic foods produced by our BIO AUSTRIA that kicked off 40 years ago — the Associa- farmers. They are convinced that they fulfill tion of Organic Farmers, a forerunner of BIO higher requirements than the law prescribes, AUSTRIA, was founded at the same time. which means more animal welfare, more envi- Pioneers of organic agriculture joined forces ronmental and climate protection and more to exchange experiences and promote the biodiversity. The special quality of BIO AUSTRIA development of organic agriculture in Austria. food is guaranteed by strict quality assurance 40 years later, organic farming is a success story from the field to the shelf. If the organic food with a promising future, which is still actively comes from the region, it meets the gold shaped by the association BIO AUSTRIA and its standard of the food sector. On September member farms. BIO AUSTRIA is the network of 7th the farmers of BIO AUSTRIA will present Austrian organic farmers. As the largest organic their unique regional products. Visitors to the association in Europe, BIO AUSTRIA represents festival can try, taste, and enjoy the organic Austrian organic agriculture and the interests food and talk to the producers. Information of organic farmers — with 13,500 members Hörstadt — Anatol Bogendorfer (AT), Peter Androsch (AT) about organic farming and how organic farmers and more than 400 partner companies in the benefit our climate and environment round off economy. Further information can be found at the BIO AUSTRIA farmers’ market. www.bio-austria.at Monophon yello)))
The Monophon yello))) is the most recent work the acoustic space. According to Hörstadt, this from a series of ear trumpets that the Linz collec- is only the beginning for all the new possibili- tive Hörstadt has produced since its foundation ties (intellectual and technical) in communities, 10 years ago. Monophon yello))) concentrates on spatial and urban planning. Peter Androsch and a context that is as fundamental as it is essen- Anatol Bogendorfer often choose artistic means tial for many Hörstadt projects: public space to express their perception of acoustic space. is always acoustic space. It can be designed In doing so, they always put hearing (and not acoustically on the basis of all the set pieces. the production of sound) first in their aesthetic Noise is not the central theme here, but sound debate. as an important resource for people (for com- munication, orientation, information, articula- Design: Anatol Bogendorfer Team Hörstadt: Peter Androsch, Anatol Bogendorfer, tion, participation, etc.). Political will to create Leo Saftic, Margit Knipp and creative performance are often reflected in Contributors: Stefan Füreder, Tabea Cray Bio Ernte
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Nadine Arbeiter (DE), Cordula Ditz (DE), Daniel Egg (AT), Dan Farrimond (UK), Juha van Ingen (FI), Joey Holder (UK), Kathrin Günter (DE), Raquel Meyers (ES), Matthias Moos (CH), Niccolò Moronato (IT), Jarkko Räsänen (FI), Seppo Renvall (FI) and UBERMORGEN (AT/CH/USA) “ORF TELETEXT meets art” and Teletext Hackathon
At the Teletext Hackathon in the POSTCITY, five colors of the graphics, text and background or of the participating artists will create live tele- to add a blink effect, a control character needs text art, and the public is also cordially invited to to be inserted. Each time a control character is get creative on site with teletext software. The placed it uses up one space in the grid, which resulting artworks can immediately be published then appears black. And you only have six col- and admired in ORF TELETEXT. The teletext exhi- ors, black, and white. The success of the teletext bition ORF TELETEXT meets art will be shown in medium, which has also been available on the
Domas Schwarz a presentation at Deep Space 8K. Internet and as an app for many years, is due, Teletext was originally launched by the BBC in among other things, to its simplicity of use, its 1974 (known as Ceefax), ORF and ARD started high technical distribution and, of course, its to offer Teletext in 1980; technically it is almost actual content. unchanged since then. A teletext page can be Raumteiler Linz Kulturverein — Amanda Augustin (AT), Lorena Höllrigl (AT) ORF TELETEXT trifft Kunst perceived as a grid of 24 rows and 40 columns. 29.9.2019 — 19.9.2019 Each part of the grid can be used for a letter, ORF TELETEXT (from page 840) Holy Hydra ARD Text (from page 800) a number, a special character, a control char- www.teletextart.com Intergalactic Symposium | Music | Performance in a Church acter or up to six graphic pixels. To change the Cooperation: ORF, ARD and the artists’ cooperative FixC
Holy Hydra is a two-day event offering con- fulfill those characteristics perfectly, and are temporary performances, electronic sound art, exemplary when used for alternative purposes. interactive light installations and a symposium about “Sacral Space = Urban Space” in the par- ish church of Urfahr, next to the Ars Electronica Concept & Production: Amanda Augustin (AT) & Lorena Höllrigl (AT) Maindeck. Its main concern is to present different Production Team: Raumteiler Linz (AT) artistic disciplines in this unique spiritual atmo- Music partly curated by: Peter Lindorfer sphere, so as to offer an experience that can be (B.Ranks / BLVZE) (AT) enjoyed by everyone regardless of their religious Visual Concept: 4youreye — ProjectionArt (AT) The project is supported by Grüner Anker — convictions or beliefs. The project is intended to Jugendkirche der Diözese Linz und Kirche am Fluss — extend or rethink the useage of architecturally Stadtpfarrkirche Urfahr and historically valuable structures. Churches www.holyhydra.at
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Robert Montgomery (UK) YAIR — Your Art is Reality Estuary Poem for Wyndham Lewis YAIR seeks to preserve digital cultural heritage, arts via exhibitions and PR to support interna- standardize ownership and provide free public tional digital artists in sharing their work and to A memorial fire-poem to Wyndham Lewis at access to digital artworks. From video & photog- engage with the latest tech, enabling them to the point in which the River Thames, having left raphy to VR & AR, YAIR is working across all dig- truly unleash the power of the digital arts. London, meets the North Sea. This work is both ital media, building a secure, convenient, stan- YAIR is creating new ownership models for col- a ceremonial elegy to Lewis (an important fig- dardized and tokenized ecosystem for the digital lectors by using blockchain to sell participation ure in British Modernism and the editor of the arts on a blockchain infrastructure. To do this, rights (via tokens) for an emerging economy of concrete poetry journal BLAST) and an updating YAIR is establishing a foundation with a commu- artwork IP licensing. A new form of art collecting of his phrase “Enemies of the Stars” for the age nity of experts in the field of contemporary art. in the digital era is about to be unleashed. of ecological crisis. It seems that we have now Through it, artists, collectors and institutions can all become the enemies of the icebergs and the join forces to build a platform that will pave the stars... Directors: Leonardo Lüpertz, Anna Jill Lüpertz way for a new generation of digital artists. The Curator: Hong Yu Courtesy Robert Montgomery Studio YAIR foundation will actively promote new media Owners: Leonardo Lüpertz, Florian Braeunig
Estuary Poem for Wyndham Lewis, 2017, Robert Montgomery (UK)
Wu Juehui (CN) bitTOWER Maria Marshall (UK) bitTOWER is inspired by the ouroboros, one in — their close, mutual contact and mutual which every element of the installation acts restraint —, is necessary to open a new dimen- serves as a visual metaphor for something. The sion for space between destruction and growth. The Hudson scaffold matrix creates a space with a limited bitTOWER acts as an art spell in that it attempts Men in suits and ties carrying briefcases appear mass, as though the epidermis of the excessively to explore these different dimensional spaces. on the Hudson River and walk onto the beach expanding city had been torn apart, exposing It is an access code, partway between reincar- and beyond the frame. Their clothes are wet. The its internal organs. The cycle of lights acts as nation, renascence, borderlessness, bounded- same men appear with dry clothes and walk out a moon and sun, with shadows of mottled steel ness, and even the informational world and the of frame. The soundtrack is of a Trump speech pipes expanding the borders of the matrix. The universe. about putting up the wall, sped-up to sound like interplay of lights and projected digital images Today Art Museum Mickey Mouse. The soundtrack: Three of the creates a virtual world that’s swiftly shifting same soundtracks are played at different inter- between night and day. The spiral cases inside vals so that there will be a cacophony of sound, the matrix overlap and, just like the ouroboros, but audible wherever the viewer stands. begins where it also ends. The immersive envi- ronment opens a wormhole into another dimen- Director/Artist: Maria Marshall sion for the audience, with the synesthetic DOP and actor: Andrew Oberstadt ceremony leading to a sense of reverie. Experiments in different-dimensional spaces The Hudson, 2018, Maria Marshall (UK) are crucial to the future development of art and technological advances leading to the ability to reach greater depths in exploration. In order to do this, the co-evolution of art and technology bitTOWER, 2019, Wu Juehui (CN)
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Yan Lei (CN) Rêverie Reset
Rêverie Reset is a system that expands on Yan color, while the local, artificial neural network Lei’s practice of dissolving images into concepts. describes it textually, in human-like terms. The video installation makes use of cutting-edge Lei constantly probes into the image’s cultural computational systems and networking technol- relevance by recursively questioning what is ogies in order to reaffirm the artist’s notion of implicit in its act of representation whilst empha- the artificiality of representation and the irrele- sizing its superfluous nature. One could refer to vance of the image. Each of the sixteen displays Yan Lei’s creative process as a destructive prac- is networked into a system programmed to con- tice that is closest to conceptualism; in which stantly show images submitted by the audience layers of ideas are superimposed over visual through their phones and from a local database. expression in an action that reduces realistic Every time an image is uploaded, the software representations into abstract monochromes. processes it by calculating its average pixel 北京技艺云文化有限公司 Beijing jishu&Art Culture Co., Ltd.
Julius von Bismarck (DE) Calle 22
Calle 22 is Julius von Bismarck’s documentation camera captures the street in one, continuous of the street of the same name in Bogotá, Colom- tracking shot, there is no possibility for selection. bia. With a high-speed camera and a spotlight, Von Bismarck alludes to Western photography Kathrin Stumreich (AT) he shoots over 2500 frames per second during a in poorer countries as having become trained to high-speed car along its south side at night. This trigger certain emotions or reactions in the viewer hosted by Ars Electronica takes him from the prosperous parts of town to by selecting its motifs. His spotlight produces an its poor quarters, allowing him to present urban aggressive interference in the private lives of In the scope of this year’s Ars Electronica Festival illustrate the intrusive potential and ubiquity of development in a very compressed space, and to locals, as is often the case with Western reports 2019, Bildraum 07 in Vienna presents current technological dispositives and make encrypted reflect on the city’s political process by travelli- of other cultures. With a fast drive and a spotlight, works by Kathrin Stumreich. The artist gives information accessible with the “sound” of the kng down a single road. He questions the outside individual scenes are placed in focus and the insights into her sound research, in which she latest technology. gaze on the social strata of another country by people of Bogotá are portrayed as if by accident, examines order and code, movement choreogra- capturing images of it in slow motion that seem because until they have realized the moment of phy and complex robotics, as well as coincidence Bildraum 07, Burggasse 7-9, Vienna 1070 to show an almost frozen scenery. Since the the shot, the camera is already ahead. and chaos as material properties. The multi- Tue-Fri: 13 — 18 pm www.bildrecht.at award winning flag installation “Sovereignty” A cooperation of Bildrecht and and Stumreich’s video-based work “Code Talk” Ars Electronic Festival 2019
Rêverie Reset, Yan Lei (CN) Calle 22, 2015, Julius von Bismarck (DE)
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arebyte Gallery STATION ROSE (AT) U >< N<>I<
Mark Farid (UK) Seeing I Performance, Video, Conceptual
For 24 hours a day, for 28 days, artist Mark Farid will wear a virtual reality headset, seeing and hearing what one person sees and hears for 28 days. Seeing I will confine Farid to a gallery space in London, subjected to the simulated life Seeing I, Mark Farid (UK) of the project’s Other. With no pre-knowledge of, or existing relationship to the Other, the only details confirmed to Farid will be that the Other the 28-day performance in 2020. This residency is in a relationship and at least eighteen years will see Farid wear a VR headset for seven days. of age. For the duration of the project’s 28 days, Finally, a public conversation between Farid and Farid will experience no human interaction rel- the project’s Clinical Psychologist, Dr. Tamara ative to his own life, allowing his indirect rela- Russell will be held. tionship with the Other to become Farid’s leading Seeing I is commissioned by arebyte Gallery, London, in narrative. Will the constant stream of artificial partnership with the Sundance Institute, the Mindfulness sights and sounds start to displace his own inter- Centre of Excellence, and Imagine Science Film Festival. Photos: Sophie le Roux, and Seeing I. Artist, Producer nal monologue? How many days will it take to and Subject: Mark Farid. Funder and Co-Producer: alter Farid’s movement, mannerisms, memory Nimrod Vardi. Development of the custom built recorder: or rationale? Without free will to determine who Tadej Vindis (System Design and Project Management), he is, will Farid’s consciousness be enough to Frank Davies (System Design and Software Development), Drew Richards (Product Design). Clinical Psychologist: deter significant changes? At Ars Electronica we Dr. Tamara Russell Biometric Research: Carl Smith, will be doing our final trial run in the build up to Mark Ransom. Documentary Maker: Petri Luukkainen.
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Besides the annual Festival and the Prix Ars Electronica numerous projects and activities are conducted throughout the year by the different departments and teams of Ars Electronica.
Ars Electronica Center
Ars Electronica Futurelab
Ars Electronica Solutions
Ars Electronica Export
Ars Electronica Japan
The following part gives a brief overview of these activities since last year. HEADLINE ARS ELECTRONICA CENTER Robert Bauernhansl Robert Museum of the Future
Compass — Navigating the Future The new Ars Electronica Center
On September 18, 1979, the very first small but groundbreaking “Festival for Art, Technology and telescope that opens up a glimpse of the future into a compass and companion through the man-made Society” began in Linz. Today, four decades later, Ars Electronica is one of the world’s largest and systems of the 21st century. New exhibitions, new laboratories, new communication formats, a new most important platforms for media art, ideas for the future and innovation — and in demand as self-image — with Compass — Navigating the Future, the Ars Electronica Center in Linz opens its next never before. The Ars Electronica Center opened as an important milestone in 1996. As a year-round chapter. It offers a wealth of interactive scenarios, artistic works, scientific research projects, info platform for presentation and creation, the Museum of the Future quickly became an integral part stations, workshops and laboratories, all of which revolve around current developments in the fields of Linz’s cityscape and life. In the run-up to Linz European Capital of Culture, the then two-story of artificial intelligence, neuroscience, neuro-bionics, robotics, prosthetics, autonomous mobility, building was expanded to its current size, including new, large exhibition areas in the basement and genetic engineering and biotechnology. Due to the comprehensive redesign of the Ars Electronica an interactive media façade, and reopened on January 1, 2009. Almost exactly 10 years later, the Center this year, we are publishing an extra volume, which gives an extended overview of the different Ars Electronica Center is reinventing itself! The Ars Electronica Center has transformed itself from a sections in the museum.
390 391 HEADLINE ARS ELECTRONICA FUTURELAB Singing Sand 2.0, Tadej Droljc (SI), © Robert Bauernhansl (SI), © Robert Droljc Singing Sand 2.0, Tadej
Author: Horst Hörtner
The Ars Electronica Futurelab acts as the think tank, atelier/laboratory, and R&D-department of an invitation to the audience to discover and discuss new perspectives on the addressed content Ars Electronica. The Futurelab utilizes scientific exploration and artistic expression to generate — and its relevance for our communities and society. projects that attempt to sound out the meaning of particular future scenarios to our society. The themes of our projects and research topics are generated from within the highly transdisciplinary The Ars Electronica Futurelab is working to achieve open, transdisciplinary, accessible and team. Different disciplines work together, from physicists to industrial designers, from artists to participatory science and art, which enables a broad audience to join the discourse about our civil engineers, from sociologists to software engineers. Unlike universities, the disciplines are not society’s future. We want people to think of the future as something to create, rather than some- faculty-based or separated, but rather un-structured combinations along research questions, which thing to be observed. Art also offers critical perspectives and raises questions about social and allow and request contributions from all different disciplines within the Lab. The Ars Electronica technological developments. Our projects utilize art to help us to take on new perspectives: they Futurelab generates its economic basis from collaborations with diverse partners from different help us to take on the role of designing the future rather than observing it, to become co-creators sectors, such as contracted research and art works with industry partners like NTT, Rotax, SAP and of a desired development, instead of the victims of a development by others. Through this mindset, Bandai Namco, to name a few, well as publicly funded national and European research programs. which we call “Art Thinking,” the Ars Electronica Futurelab’s projects are created neither for the The common perspective in all our projects is to sketch a future scenario in the form of a tangible sake of the art nor for the sake of science. Instead, they all focus on the role of the human at the functional prototype — a proof of concept, to say the least. Beyond concepts on paper, we aim to nexus of art, technology and society. The following is a compilation of perspectives by laboratory create ways to transform cutting-edge scientific outcomes and technologies into accessible, tangible members on selected activities of the Ars Electronica Futurelab; a collection of playful, tangible scenarios, which are then presented to a broad audience. We understand our project outcomes as and human-centered approaches towards our future.
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Author: Maria Pfeifer Future-oriented thinking and action strategies for the world of tomorrow
“The inability to imagine a world in which things are different is evidence only of poor imagination, not of the impossibility of change” Rutger Bregman, 2017
In today’s knowledge society, future-oriented on the subject of innovation in the construction thinking is a central resource. But how do we industry, or the Digital Skills Camp, developed imagine a desirable future? Change happens all together with the Ars Electronica Center in 2019 the time, but how can we steer change? Part of in order to familiarize companies and individ- the Ars Electronica Futurelab dedicates itself to uals with cutting-edge technologies like Arti- designing future-oriented action strategies on a ficial Intelligence or Blockchain, also draw on discursive level, aiming to empower individuals examples from the art world. Input lectures by and society to perceive themselves as capable of Ars Electronica Futurelab experts, practical action in this increasingly complex world. application examples, as well as dilemma dis- The key lies in creating tangible and accessible cussions complete the workshop programs, future visions that can be developed and shared recontextualizing developments of our time with stakeholders in order to kick-start a discus- and mapping their possible trajectories into the sion. Whether it be research studies or sketches, future. future scenarios or workshops, the inclusion of In a similar fashion, the 2019 Expert Study artistic strategies (Art Thinking) always plays commissioned by KFV “Jobs of the Future in an an essential role in the process. Art acts as an Automated Mobility Environment” coalesces agent of change, on the one hand it offers a fine humanities research with hands-on examples, sensorium for relevant social developments and contextualizing future developments and estab- technological applications beyond superficial lishing conceptual links between trends, devel- trends, on the other hand art is a communicator opments, and technologies. In four fictional for perspective shifts and inspiration. The combi- future scenarios, over 60 different professions nation of discursive strategies and artistic vision are imagined for the speculative future of 2050, has the potential to design alternative futures — delving deeply into questions of the future of the and make them tangible in the present. mobility and the logistics industries. Artistic strategies enable participants to see These alternative discourses help facilitate speculative futures turned into hands-on exper- progress — a progress not understood as lin- iments, to sharpen their sense of possibility, ear growth, but as freedom of movement. The to evaluate future developments, to stimulate resulting research is neither economically driven reflection, to be inspired, and to look for solu- trend research nor classical business forecast- tions off the beaten track. They are a powerful ing; trend analyses, future scenarios and visions tool for changing perspectives on the supposedly are a byproduct. self-evident — on an intellectual, emotional, and Instead, the main focus lies on the potential aesthetic level. This is why discussion formats social ramifications of future and present-day
like the Innovation Lab, staged together with the technologies — using art as a catalyst for discus- Futurelab Ars Electronica Illustrations: rawpixel, Photo: Upper Austrian Economic Chamber in April 2018 sion, exchange, and inspiration.
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Author: Ali Nikrang Frozen Artificial Intelligence and Creativity Understanding artificial neural networks in terms of creativity and interaction.
While the development of artificially intelligent manner, regardless of the fact that a finished rather than counterparts. They can serve as a Our research involves the interaction between systems has seen a surge of research interest trained model always produces the same output new source of inspiration for human creativity human and AI systems with a focus on creative and considerable advances in recent years, inter- given a certain input. by opening up new perspectives and detecting applications. On the one hand, we investigate action between these systems and humans has Algorithms like the one employed in ShadowGAN connections in the data that human observers creative outcomes of AI systems and how they remained, for the most part, one-sided. Once an cannot evolve through interaction once they have might have not been aware of. Even more, they can be led, enhanced and personalized through artificial neural network has been trained with a been trained. Instead, it is us humans who act can be helpful for deepening our understanding interaction with human users and, on the given set of data, the weights and biases within and react, who learn, who adjust, and who steer of our own creativity. other hand, how interactive AI systems can be the network cease to be constantly adjusted the interaction with objectives and intent. However, for more creative or/and interactive designed to best serve human creativity. — the network lacks the plasticity typical for What applies to human-machine interaction also applications, new research has to be done. biological neural networks. Instead, it appears holds true for creative production: Algorithms frozen in place. The resulting human-machine capable of generating texts or composing music interaction is one between a continuously might engage with domains that have tradition- adapting living organism and a system that has ally required creative agency, but assembling learned a certain way of operating, but remains strings of notes or words after having statisti- incapable of further (short-term) adjustment to cally processed a comprehensive set of data ever-changing situations. hardly compares to a human writing a novel or A series of in-house developments currently on creating a composition. The crucial difference display at the Ars Electronica Center approaches is intent — after all, literature is more than a the issue from a didactic perspective, exploring combination of words, music is more than a the various methods of training an AI system set of musical notes. As is evident when listen- with installations like Neural Network Training ing to the AI-generated musical renditions in or Comment AI, or illustrating the operating Ars Electronica’s AI x Music exhibition or reading principles of different AI systems (ShadowGAN, a piece of AI-composed writing, styles can be Prix Space). The installations reveal the mathe- reproduced by machines. matical backbone of AI, aiming to illuminate and However, the same could not be said for a literary demystify the technology. motive, a musical objective or creative intent. The effort is justified: presumptions and expec- Here, too, the intent remains with the human tations attached to artificially intelligent systems user. It is our brain that tries unconsciously to more often than not directly contradict the fac- construct a meaningful mental overall represen- tual circumstances. For instance, the smallest tation of a composition or of a text generated adjustments in data input presented to an inter- by AI. actively used generative neural network sys- Considering these dissonances between per- tem can trigger a seemingly endless variety of ceived and actual behavior of AI, our expecta- outputs, contributing to the impression that the tions of AI in terms of creativity and interaction artificially intelligent system reacts, acts, and must be reconsidered. For the moment, neural
interacts in a dynamic, creative and animated network based AI systems are used as tools vog.photo
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Author: Marianne Eisl Beyond interaction — participation as key element for exhibition design
In this day and age, we expect participation and and the Day after Tomorrow,” developed jointly co-determination — not only in politics and soci- by the Technical University of Chemnitz (Ger- ety, but also as museum visitors. In this area of many) and the Ars Electronica Futurelab and cur- life, too, we want to be freed from our passive rently shown in the Museum for Communication role and become active contributors and associ- in Berlin, visitors were even able to contribute ates, create something lasting, get involved and to data sets used in gesture research using their become part of something bigger than ourselves. own bodies, while at the same time finding them- It is not only the visitors, but also museum work selves represented in the very exhibition they itself which profits from the fulfillment of this were visiting. aspiration — opinions and viewpoints of citizens Scientifically speaking, all our activities con- with their own personal expertise and experi- cerning participation at the museum focus on ences can offer a completely different approach application-oriented explorative research of new to a given topic, thus lending a new depth to the ways of participation, benefiting above all from a photo: Markus Scholl Markus +, photo: Ars Wild Card contents shown in many respects. It is precisely transdisciplinary approach. A second emphasis this additional dimension that turns an exhibi- is placed on possible definitions of prerequisites tion, a lecture or an (interactive) exhibit into an for intuitive participatory formats, which offer an immersive experience which touches the visitors additional value for everybody involved. emotionally and leaves a lasting impression. This very question is the main focus of our current The intensity of participation varies greatly, collaboration with the Natural History Museum ranging from the mere contribution of personal in Vienna, in which we are working together to data and values or the contribution and estab- create a physical space for innovation and exper- lishment of new perspectives to the co-creation imentation. The underlying research interest of entire exhibition concepts. Participation could lies in how to develop inclusive strategies for consist of simply providing one’s heart rate and integrating different social strata into research breathing volume to influence a visualization, activities of the museum: in the new space, visi- as is the case at “The Universe Within” shown tors of all backgrounds are invited to participate at Deep Space 8K, just as it could mean actively in social discourse through active engagement designing exhibition elements, as at a past and new forms of participatory communication. Ars Electronica Festival, where visitors were By doing this, visitors are constantly redesigning invited to create postcards of the Festival area to the exhibition with their contributions and are share their perspective on the exhibition objects. at the same time part of the scientific process
In the exhibition “Gestures — Yesterday, Today, of the museum. Michael Mayr photo: Shadowgestures,
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Author: Roland Haring Through the experience of creating many diverse agency they have in this space. Considering applications for this space over the years, recur- these and other factors, which still need to be Co-Immersive Spaces — ring design patterns have emerged. One factor identified and exposed in future research, the identified is that even the perception of actively research will lay the foundation for formulating interacting users in a shared co-located VR space specific guidelines for the design of experiences, Co-located Multi-user Interaction can create and intensify the feeling of one’s own especially for the technical system requirements immersion. Another one is that users need to of a versatile, multi-functional and co-immersive in Large Screen Virtual Reality be able to intuitively verify and understand the environment. Environments
In recent years, most virtual reality research has (8K and beyond), it becomes necessary to estab- focused on single user systems in the form of lish a deep and broad understanding about the head-mounted displays. In some cases, com- effective design and implementation of applica- bined with localization methods and wireless tion scenarios building on these virtual reality image transmission, a limited freedom for the systems. user to move in space is achieved. Despite the In this exciting field, Deep Space is a pioneer enormous technological progress compared to environment of practical research. Since its earlier models, those systems still have inherent opening in 2009, it has attracted more than limitations by design that can hardly be over- 1 million visitors and has profoundly shown how come. Due to the fact that the user has to wear VR spaces for multiple co-located users can not glasses that cover their field of sight, they are only be designed, but also successfully run. The completely detached from the real spatial envi- VR experiences realized in Deep Space over the ronment. Other users, sharing the same physical years are manifold. This includes, aside from space (co-located), cannot be perceived and thus the daily presentations and special programs, interaction with them or their representation in specific scenarios such as rapid prototyping of the visualization is hardly possible (co-pres- simulations, e.g. of autonomous mobility sys- ence). Virtually present persons, often visual- tems, research on human-robot interaction, ized by avatars, have only a very rudimentary dance and theatre performances, and, recently, body representation and thus a limited social medical education and training. However, similar presence. Although there are some research pro- infrastructures are still rare, also because a lot totypes trying to address this, practical applica- of specific know-how and experience is required tions are rare. All those systems are unsuitable to replicate them. Therefore, it is necessary to , Photo: Ars Electronica / Robert Bauernhansl / Robert Ars Electronica and its magnetic field , Photo: Earth for larger groups of users co-located in a shared address the topic of immersion of user groups space. in projection-based, room-scale virtual reality In that way, virtual reality research dissociates systems on a more general level. Based on the itself clearly from its own original visions, initially models and mechanisms of perception and inter- described by Ivan E. Sutherland in 1965 as the action discovered in this way, specific require- “The Ultimate Display” that later found its way ments for the design and the implementation into popular culture as the “Holodeck.” Actually, of similar future environments can be derived. topics relating to co-located multi-user VR sys- Research indicates that besides the ability to tems have not lost relevance. Quite the contrary: interact (agency), spatial mapping (perspective) all kinds of increasingly complex data requires is the second core factor for the perception of extended visualizations and forms of interac- immersion and presence in VR environments. But tion, in order to make it virtually understand- existing theories do not take co-located multi- able and tangible to groups of users in explor- user interactions into account when defining ative settings. With the advances in VR projector their models. Therefore, we propose the building technology, image generation and rendering of an extended model of “Co-Immersion.”
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CoBot Studio Crossing Realities for Mutual Understanding in Human-Robot Teams
In the future, collaborative robots (CoBots) will cation signals are investigated. In interactive be used at more and more workplaces, working scenarios, robot signals, work tasks and envi- in close physical proximity to people and coop- ronmental parameters can be varied in order to erating with them, e.g. assembling car seats develop best practices for a safe and pleasant together. cooperation between humans and machines.
The project CoBot Studio aims at mutual under- LIT Robopsychology Lab, JKU Linz (AT), standing, predictability, trust and efficiency in Ars Electronica Futurelab (AT), the collaboration between humans and robots. Center for HCI, University of Salzburg (AT), The interdisciplinary project team is developing Joanneum Robotics (AT), Polycular OG (AT), a novel mixed reality simulation environment in Austrian Research Institute for Artificial Intelligence Deep Space 8K in which non-verbal communi- OFAI (AT), Blue Danube Robotics GmbH (AT) Vanessa Graf Graf Vanessa
Rotax MAX Dome Ars Electronica Futurelab (AT), Rotax (AT), Polycular (AT)
The new Rotax MAX Dome combines innova- following a certain track or avoiding obstacles on tive e-kart racing with digital technologies and the floor. Additionally, a team room, designed in gamification. Together with BRP Rotax, the cooperation with the Game Design Studio Poly- Ars Electronica Futurelab has created a compre- cular, provides the experience of an Escape the hensive racetrack experience, reaching beyond Room game, including a ride with the BRP Rotax the physical race itself — video avatars of racers, e-karts. achievement levels and playful scoreboards, a The screens, displays, and added experiences special wall of fame and the centerpiece, a large form a closed system with a common aesthetic tunnel encompassing two floors in the middle language across all applications, turning the of the racetrack, enhance the races. Within the racing experience at the Rotax MAX Dome into tunnel, a variety of digital games let the racer a fast-paced, cohesive and digitally extended
Ars Electronica Futurelab Ars Electronica add points to their final score by collecting coins, adventure.
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Ars Electronica Japan Ars Electronica Futurelab (AT)
The Ars Electronica Japan division within the Art for Education creates new frameworks to Ars Electronica Futurelab develops cultural apply art to education and research, with edu- programs, consulting services and innovative cational programs such as the School of the research in Japan. The team works with citizens, Future Festival at Tokyo Midtown in February creatives, educational public institutes and with providing a combination of lectures, discus- industry representatives to foster dialogue sions, artistic inputs and cultural exchange to between art, technology and Japanese society. fuel the creative society of the future. Lastly, A unique cultural medium with a mixture of Japa- Art for Innovation works with the Art Thinking nese and European backgrounds, Ars Electronica approach to offer new types of consulting, create Japan has developed three main initiatives at experience-based visions and spur innovative the nexus of art and society that aim to promote R&D, resulting in research on ultra-high defini- innovation. Firstly, Art for Society offers a variety tion media content (Beyond the Frame: 8K Future of cultural programs, lectures, exhibitions and Projects, with NHK), swarm-based communica- pinocchio, Photo: vog.photo workshops, such as the Ars Electronica in the tions technology (Swarm Arena, with NTT) or Knowledge Capital Osaka series, presenting its the Tokyo Initiative Art Thinking Program with ninth edition “Playware” from January to March Hakuhodo. Combined, the three initiatives within 2019, or the 2019 exhibition Prix Ars Electronica Ars Electronica Japan form a creative ecosystem Selection: Space of Imagination in Matsudo. for shaping future society. In the spotlight: Industrial Robots on stage
The industrial robot as a dancer, or even a dance acts as the inspiration for mechanical choreog- partner. Industrial robots as puppeteers. The raphies, high-tech robots meet fragile puppets, industrial robot as a visual element. dancers perform together with the inanimate. Industrial robots as actors — scenarios that the At the end, a single consideration urgently tugs Ars Electronica Futurelab, together with the at human thought: What happens to human- CREATIVE ROBOTICS at the Linz University of machine interaction when robots do not appear the Arts, has been experimenting with for as subordinates, but rather as (creative) partners? some time now. At The Berlioz Project at the 2018 Ars Electronica The Berlioz Project: Symphonie Fantastique, Hecor Berlioz Festival, a robot interpreted music with move- (1830); performed by Bruckner Orchestra Linz / Markus Poschner; dancers: SILK Fluegge with Silke Grabinger, ments, performing as a real-time visual element, Gergely Dudás, Elias Choi Buttinger; at first alone, then together with three human Tour en l´air (spinning dresses) by Ursula Neugebauer; dancers. This raises a host of questions: Who roboter choreography and programming: Johannes controls the machine? Is it a human? Is it an Braumann, Peter Freudling, Silke Grabinger, Cori O‘lan; visualization and robot-choreography for 3rd movement by algorithm? And at what point does the machine Cori O’lan; robot: KUKA KR600 industrial robot / control the human? KUKA GmbH This year, the human art of puppeteering is added Pinocchio: Ars Electronica Futurelab; CREATIVE ROBOT- ICS — Kunstuniversität Linz; Johannes Braumann; Amir to the mix: first in the installation pinocchio at Bug´s Beat, Dorita Takido, Yumi Sasaki, photo: Hajime Kato — Matsudo Space of Imagination Bastan, Katharina Halus (Puppenspiel), Michael Lauss the Ars Electronica Center, now at the big stage (Marionette), Benjamin Krux (3D-Druck), KUKA CEE at the Ars Electronica Festival. Human behavior GmbH, BECKHOFF Automation GmbH
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Swarm Arena NTT (Nippon Telegraph and Telephone Corporation) (JP), Ars Electronica Futurelab (AT)
Swarm Arena is the latest outcome of joint boundaries of a conventional rectangular viewing research efforts by the Ars Electronica Futurelab format. After a first presentation to the public and Japanese telecommunications giant NTT. in July 2019 at the Japanese National Museum What started as a shared interest in swarm-based of Emerging Science and Innovation, Miraikan, technology has turned into a large-scale project a Swarm Arena demonstration at the 2019 using unmanned aerial or ground vehicles (UAVs Ars Electronica Festival shares new possibilities and UGVs) as a means of communication. While for sport events, public viewing or interactive the very first project, Sky Compass, as well as its sports exhibitions with festivalgoers. follow-up Swarm Compass, focused mainly on Whether it be the innovative visualization of navigation, public signage, facilitation of traffic, measurements, metrics or competition out- and swarm intelligence, Swarm Arena now shifts comes, expanding the viewing experience to the research question to creating an entirely new remote locations, duplicating games or events audience experience at sport events. or creatively using the groundbots to generate Alice and the world of sorrow, Photo: NHK ENTERPRISES Swarm Arena is a travelling lab for art, sport and unprecedented community experiences, the society that uses a new type of robotic swarm, demonstration gives an insight into the many composed of groundbots, to convey images and doors opened up to sports viewing by Swarm video in a way that completely breaks through the Arena. Beyond the Frame: 8K Future Projects NHK (Japan Broadcasting Cooperation) (JP), Ars Electronica Futurelab (AT)
Ever since its inception in 2017, Beyond the At the 2019 Ars Electronica Festival, a prototype Frame: 8K Future Projects has explored the possi- show offers insights into the ongoing research bilities of 8K ultra high-definition technologies in efforts, presenting a new concept of broadcast- daily life. The joint research project between the ing content for large-scale screens: Deep Space Ars Electronica Futurelab and NHK, Japan’s only TV. The program focuses on real-scale content public broadcasting organization, has brought with Life Scale Weather News and the Life Scale together vast expertise in 8K broadcasting ser- Kids Program, while also presenting possibilities vices on the one hand, and well-founded expe- of using immersive environments with ultra-high rience with a new type of large-scale immersive definition images for a new type of entertain- media environments like Deep Space 8K on the ment content. other. The research focuses on next-generation To this end, the experimental 3D entertainment broadcast media, ranging from how 8K contents program Alice and the World of Sorrow, telling could look for large public screens or immersive the story of a girl escaping from Tokyo to another environments to the integration of ultra-high world to find refuge from the increasing com- definition images into daily life as media fur- plexity of society, is shown. Through these pro- niture or media architecture. Design strategies totypes, the research project aims to extract the as well as interaction design are investigated, most important factors in shifting from tradi- as is the matter of creating the right context for tional TV to experiencing a different, immersive
Shoko Takahashi Shoko people to gather by using 8K technologies. world.
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Ars Electronica Tokyo Initiative Hakuhodo x FUNGUAGE ROOM Koichi Araake (JP), Eiji Iwata (JP), Michinari Kono (JP) Ars Electronica Art Thinking Program BANDAI NAMCO Research Inc. (JP), Hakuhodo Inc. (JP), Ars Electronica Futurelab (AT) Hakuhodo Inc. (JP), Ars Electronica Futurelab (AT)
In 2019, the newly launched research institute entertainment company, and Hakuhodo, in con- Continuing the longstanding cooperation BANDAI NAMCO Research began its mission of junction with the Ars Electronica Futurelab. The between Ars Electronica and Hakuhodo, the joint facilitating FUN through creating entertainment research outcomes are exhibited in a FUNGUAGE Ars Electronica Tokyo Initiative has launched the innovation. As one of its central research top- ROOM, where the new language is installed in a Art Thinking Program, a program for incorporat- ics, FUNGUAGE aims to discover how FUN can real-life environment. The aim is to create a com- ing art into business management and R&D. The make the world a better place and contribute mon platform for better understanding between innovation generation support service aims to to future society. FUNGUAGE is a new form of humans and objects that will eventually increase allow business people to encounter and dive into language that enable humans and objects to engagement between humans and society. the world of art, as well as allowing artists to communicate more effectively with each other, FUNGUAGE was designed to be a metalingual do the inverse, creating mutual exchange that transcending cultural boundaries with the uni- embodiment of a new relationship in which a cultivates innovation and a creative attitude. The versal language of FUN. FUNGUAGE research has FUN spirit is woven at the core. objective is to develop mid- to long-term visions, been conducted since 2017, as a joint initiative Text: Kyoko Kunoh (Ars Electronica Futurelab), Rena draw up technology strategy plans, and train the by BANDAI NAMCO Group, a global leading Tanaka (Hakuhodo Inc.), Hiroyuki Uechi (VoiceVision Inc.) next generation of creative talent, all the while keeping in mind Art Thinking and Design Think- ing methodologies central to Ars Electronica’s activities. Drawing on art and artistic research as inspiration, companies are encouraged to dis- cover their potential and previously neglected opportunities in discussions and workshops led by Ars Electronica and Hakuhodo. Depending on the business, creative questions fundamen- tal to a company’s values and objectives are unearthed, providing an opportunity to set new challenges, assess resources, and envisage the future. The program culminates in the creation of tangible prototypes, embodying the corporate vision. The Art Thinking Program is a place where art and business meet — to discover real issues and work toward resolving them.
Takuma Terata Magdalena Sick-Leitner Magdalena
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Ars Electronica Research Institutes
A further initiative of the Ars Electronica an Ars Electronica Research Institute is Werner “moments” from static visual fields which are frequency of the physical medium of light per- Futurelab is represented by the newly founded Jauk’s “auditory culture sound-gesture- produced through the movement of the body. mits the imaging perception of moments that Ars Electronica Research Institutes. This organi- research & emotional interfaces” and Eveline This synthesizing act of generation, drawing on are the result of one’s own bodily movement. zational form acts as an open membrane of the Wandl-Vogt’s “research out of the box: the internal energy and transcending time and space, Time and space are experienced from within Ars Electronica, allowing closer collaborations ars electronica knowledge for humanity hub is ultimately associated with practicability. as changing or unchanging constructs– formal- with the academic world. Its first incarnation as (k4h+)”. Hearing, on the other hand, is the analysis of ized in a mechanistic worldview. Auditory cul- environmental movements surrounding the body ture and the core concept of sound gestures in agreement with their bodily significance. In describe the hedonic nature of culture-building this process, the body experiences itself as a part interactions of the body with relation to all envi- of an event, involved in it through the perception ronments: the “natural,” social and physical, Werner Jauk (AT) of excitation. as well as the virtual and all their conversions. It is the prompt value of environmental move- Auditory and visual culture ments that situates the body in an interaction AE Research Institutes: Perception is intentional body-environment with it, traduced as emotion through motion. interaction according to the affordance of the The action is thus an implicit recognition of the Auditory culture environment. Control of this interaction through significance of movement to the body. seeing or hearing results in various embodied Auditory culture is predominantly an analysis Sound-gesture research and emotional interfaces cognitions, media-relational codings and formal- of movements in the environment according to izations in world “images.” their bodily significance, resulting in a culture Epistemological media art between science and art Experiments show that visual perception is pri- that manifests itself in the sound gesture as an marily a coding of things, while hearing is the impression of movement and the expression of A.: THEORETICAL/METHODICAL ASPECTS coding of what are generally unconsciously said movement’s significance in physical and processed movements of the environment– the aural terms. In the specificity of a sonically per- “having of in-sight,” the appellative recognition, formative interaction as opposed to a visual one Auditory culture Coding and digitization have produced the is closer to seeing; intentionality (being “in-ten- — instrumental action — the sound gesture may Media worlds manifest themselves to us concept of practicability aside from material sion”) is nearer to hearing. be regarded as a model for emotional interac- primarily as visual and speech-dominated limitations in the virtualities of the immaterial. Cultures can be “seen” as the power-related tion. worlds– worlds of the symbolic representation Both lead to the extension of the body by ulti- reinforcement of the mediatization and formal- Even the dynamization of the image as a series of extended bodily interactions with the environ- mately rendering it “useless”– the mechanical ization of perception processes. of “moments” has been considered a musical- ment, experienced through images and words. Is body, that is. Visual culture is thus linked to ratio, understood ization following from the dynamic of hearing as this a reduction to the mechanistic reflection on What remains is the basal, regulatory process of as the relationship of the “enlightening” dimen- a temporal analysis of movements, formalized the “view” of things? In a “ratio-nal” worldview, every body-environment interaction; its inten- sions of the body and the environment that illu- in music. the mechanical body is the measure of all things tionality. It is this state of being in tension, of the minate themselves through the act of seeing. It In a mediatized worldview, the acceleration of to which it sees itself in physical relation with. excitation levels of movement and thus sound in is measured in geometry, formalized as an arith- information transference to a “frenetic stand- Their design transpires through the formaliza- the environment that prompts to action. metic, and lived out in a mechanistic worldview– still” is an anticipation of Marshall McLuhan’s tion of these relationships, conveyed via codes In an immersive experiencing of the world, hear- a world formalized in numbers indebted to the idea of “all-at-onceness.” Its mode of percep- in numerical systems. ing is the measure for the behavior of all things “ratio-nal” understanding of explicit knowledge. tion is that of the phylogenetically earlier sense There are two implications for the technological through which the hedonistic body experiences Visual culture is predominantly a rationally syn- of hearing, the analysis of movements that sur- developments that have led to the transgression itself “in tension,” and through which body and thesizing culture achieved through the exten- round a mechanically static body. of the mechanistic. Dynamization has resulted environment reciprocally shape each other adap- sion of the moving, mechanical body, and thus McLuhan’s suspicions are now anchored in in a “frenetic standstill” and, consequently, to a tively. The act of seeing is connected to the think- the generator of a series of visual fields. The the empirically validated concept of the sound reversal in the perception of the body-environ- ing synthesis of environments as a construct of interplay between the “sampling rate” of our gesture. Sound is an artifact of movement; ment interaction. time and space based on a series of images of information-processing system and the high its perception produces a physical impression the
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intensity of which constitutes the significance of 2. the bodily expression of the significance of Sound gesture and music The methodology of sound gesture research that movement for the body that’s being placed this “movement” for the body and through its In the history of music, the sound gesture gained With regard to methodology, sound gesture in tension by it. The body expresses this tension, state of tension is based on its affectedness, initial significance with the emergence of nota- research is primarily focused on the expressive which directly leads to sound production through which correlates in turn to its intensity (sharp- tion from the process of sound conveyance/ quality of the upper body; with data on full-body the body or through instruments– musical or ness/loudness). This physical tension natu- mediatization: the imagination of the movement forms of expression (in movement) and facial otherwise — that extend it. For the purpose of rally finds expression in bodily movement as of sound through the perception of sound modu- expression showing corresponding relations. increasing its “chance of survival,” this sonically well as in “sound”– in other words, it directly lation led to the graphic recording of the ephem- Research into sonic performativity by means performative expression has a communicative communicates “excitation.” eral sound. of motion-tracking and sound-generation has effect: through (physical) imitation, it invites to The concept of sound gesture describes the The analog cues of the melodic contour in the now provided a great deal of basic knowledge internalization; it is “emotionally contagious.” nature of the body’s culture-building interactions neumes, and their gridding in a time and fre- on emotional expression within the dimensional Culturally speaking, we refer to qualities of exci- with “natural,” social, physical, as well as virtual quency domain, eventually gave way to musical concept of emotions and the connotatively per- tation as emotions, which will vary according to environments, and their conversions. In the notation, a code system that discretely denotes ceived dimensions of “activity,” “evaluation,” and the situational context. specificity of a sonically performative interaction sounds in terms of duration and frequency. “potency” of stimuli. Sound gesture is a sonically performative as opposed to a visual, instrumental action; the Thus, the analog cues, as well as the discrete The way in which categorical conceptions of modality of the human body’s interaction with sound gesture may be regarded as a model for notation in itself, represent a medium for the emotions — “bodily” states that we refer to with the environment, which — based on its analy- forms of emotional interaction. communication of sound, its storage, distribution names (such as joy, irritation, rage, etc.) — are sis of movements according in relation to their In contrast to cognitively controlled visual and and, finally, for its deliberate assembly/compo- experienced is possibly shaped to a very large bodily excitation value — experiences an ana- instrumental action, motion stimulates emo- sition; one (seemingly) no longer restricted to degree by culture and affirmed in this through lyzing, shaping “in-tension.” This corresponds tion which, in turn, expresses itself in physical the nature of emotional expression. Creation by verbal designation. The communication of to an intentional body-environment interaction; motion. means of “notation” is, in this regard, a paradigm the quality of verbal categories for emotions a hedonically dominated, mechanically pas- Detailed knowledge exists about the connec- of the human shaping of interactions with digital through sound gestures occurs more frequently sive shaping of virtualities — mechanical and tions between the movement of sound, physical worlds. With the transgression of the mechanical in an exclusionary context where sound ges- non-mechanical — in harmony with the body. excitation, and their physical expressions. The body through the digital body, the inclusion of tures “show” what verbally denoted categories While digital culture — as a seeing and mech- technology of motion — tracking, in conjunction the hedonistic body becomes the new measure/ of emotions can’t express. anistic culture — brought with it the transgres- with structures of extraction analyses for the counterbalance of a post-digital world– with An emotional “semantic space” for excitation-re- sion of the body; post-digital culture features movement data, permit adaptive, individual — “musical behavior” as its new design paradigm. lated physical forms of (expressive) movement the inclusion of the body in the artificial worlds/ as well as collective and collectivizing — inter- Chironomy, or the hand movements of the con- and their corresponding perception can be natures of “converged realities.” actions and, it follows, the intelligent, emotional ductor, traces the contour of the melody to con- formulated and applied. generation of “environments” for wo-men- vey the temporal flow of tension in the sound Sound gesture: paradigm of emotional experi- machine interactions. and, with it, the emotional interpretation of the Experimental laboratory research into sound ential worlds, extending beyond the sonically Sound gesture is also a method of exploring perception. Performativity aside, the “sound” in gestures and epistemological media art performative. emotional interactions and their shaping of con- the sound gesture as prosody lends emotional Experimental research sees in the sound gesture Sound gesture is the paradigm of bodily life and, verged realities. It permits the coding of proxi- expression to the content of the language. Both the comprehension of the imagination of sound as consequently, the shaping of converged realities. mal sonic performativity; with the observation chironomy and prosody are usable emotional spatial movement, though without any physical Excitation-based and proximal emotional inter- of behavior serving not so much as a figuratively interfaces. spatialization and solely through sharpness and action is the paradigm of intuitively emotional referential indicator of intentionality, but rather Unlike an instrumental gesture (such as “touch”) loudness. This is based on embodied cognitions, interfaces. as a part of the act of experiencing. as the course of action of an activity, the sound as well as on a conceptual metaphor, namely, Sound gesture is thus the composition of two Post-digital media art is therefore also the par- gesture is the expression of that action’s “how”. the transmission of “gravity” into the sonic sen- compressed sonic performativities: adigm of an epistemological media-art whose In short, it communicates the emotional qual- sations of “volume” and “density.” Related to 1. the imagination and the bodily comprehension center of scientific cognizance is the act of expe- ity of every body-environment interaction (also this imagination of movement in the frequency of the sound in its modulation and so in its riencing, and the study of explicit and implicit dependent on its “affordance,” that is, the domain are its corresponding body movements emotional, spatio-temporal “movement” at body knowledge, its formalization and commu- prompting character of environmental stimuli). (with similarly corresponding movements in the a remove from physical spatialization, and; nication. time domain of, say, acoustic driving).
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Likewise, the sound gesture is the physical interactions of post-digital culture and– follow- whereupon the system will behave in an adaptive emotion, the generation of virtualities is extended expression of the significance of this (or another) ing the transgression of the mechanistic and the manner, and the machine interact in accordance according to behavioral analysis that considers movement for the body. In the body’s state of surmounting of the mechanical body — leading to with “human” expression (that is to say, in reci- their intentionality; that is, the tension control tension, it is an “implied” reaction to a stimuli a culture of “converged realities” which, through procity with the attunement of the participating of body-environment interactions on the basis of any kind– be it physical, or social. In the lat- the inclusion of the hedonistic body, shapes itself bodies, with each adapting its behavior to the of the excitation levels of environmental stim- ter, the sound gesture is a non-verbal, expres- in digital realities. other.) This results in a common emotional system. uli. Their un-mediatedness is assessed, after the sive stimulant aimed at collectivization and, in paradigm of the sound gesture, in accorance to its extension, at collective shaping. The sound Sound gesture and experiential culture Sound gesture as a psychological interface the hedonistic physicality. gesture is thus a stimulant for communication, It is commonly known today that music/sound Building on early graphic tests and later evalua- Through the coding of sounds in notes/numbers, for the act of con-joining together, rather than a as a “language of emotions” is an adequate met- tions conducted with motion-tracking systems, the energy tension of the sounds with relation to medium for information transfer. aphor. Sound is an artifact of motion and emo- and after making a synopsis of previous existing each other was translated into “correlative think- In addition to explanatory lab research, research tion (as physical tension movement); sound, results and conducting experimental research ing;” so that the composition of music became a is also aimed at exploring the experiencing of through “emotional contagion,” stimulates the into unknown “gaps,” we undertook the prognos- kind of algorithmic creative process. Rules indi- the experienced, with no intermediary transpo- comprehension and subsequent internalization tication of a theoretical description/explanation cate the relationships of the codes to each other sitions through language/visualization and thus of dynamic excitation. The interpretation of this of the sound gesture. In addition to the use of in normative terms. Information theory permits thought. This research therefore sees itself as excitation with regard to the verbal designation the body-sound coupling through the technical the mathematical description of this relationship empirically epistemological art that renders of feelings is a matter of context, which happens control of sound by the body, the integration as a chain of transition probabilities. Analyses bodily experience as a method of cognition of a seemingly outside the world of sound. Never- of this empirical knowledge into a structure of of compositions thus extract/render a regu- “tacit dimension” — an implicit body knowledge. theless, natural, physical tension stipulates the perception as an intentional body-environment larity that, when described in algorithms, can cultural framework of a sound form– whether it interaction between media theory and evolution- be applied to the composition of “new” music. be in the thematic work for an opera in scoring ary psychology makes its paradigmatic applica- This is the beginning of computer music and, B.: EXPERIENTIAL AREAS FROM films and games with sound branding. tion to interface design a possible life situation ultimately, the structuring of music from the its In an experiential culture, behavior is linked to connecting the intentional with the instrumental “artificially” established rules. THE TRANSMISSION OF MUSICAL images even if experiencing them is not specifi- aspects of the interaction. In fact, the use of AI in music has not only always cally material/pictorial. It is an abstract, tempo- On this basis, it isn’t just explanations of histor- existed; a side-effect of it was/is algorithmic cre- COMMUNICATION ral behavior, a sense of tension as with sound. ical musical developments that can be carried ation in agreement with rules that are as “emo- Excitation behavior allows us to experience the out, but also developments in direct, physical tional” as possible. That which is explored in epistemological media- “choice” in close proximity as an interactive sound-shaping that, on account of their direct- New experimental aesthetics (BERLYNE 1971, art and studied in laboratory experiments can be process in the “all-at-onceness” of every kind ness, can advance a technoid way of music-mak- 74), using information theory (SHANNON et applied to musical and non-musical emotional of media. ing that’s for every-body. Its use outside the al. 1949) as a basis, statistically formulated communication processes. social/political composition of works (which the excitation level of a series of sounds as an The concept of the sound gesture attained cul- Sound gesture and converged realities ultimately evolved with notation) extends far expectancy value, to develop a theoretical and tural valuation through notation and the resulting This state of research — particularly as it relates beyond the field of applied musicology. methodological groundwork for AI integrating concept of “music-as-work.” Notation is regarded to a post-digital culture through the inclusion of Sound gesture is a paradigm of the emotional emotionality as a creative tool in the design of as a medium for the coding of a physical “tension physicality in converged realities, and not in the (stimulation-based) interaction with physical dynamic experiential worlds. resolution,” that is, as an intermediate transpo- surmounting of mechanical physicality through and social environments/virtualities and their “Media” that’s close to the body — that is, stimu- sition of direct emotional means of expression in its extension in robotics — is the paradigm of the conflation due to its affordance for the body. lative, intuitive interfaces — constitutes the tech- “correlative thinking” — the deliberate shaping of emotional interaction as a method of communi- nical basis for ascertaining emotionally experi- sound-related realities. This concept is the par- cation, of “becoming communis;” appertaining Music and the algorithmic shaping of time enced body tension through the paradigm of the adigm for intuitive interfaces in a digital culture. not to “what” a system should do, but rather to according to body tension sound gesture. “Intelligent” forms of interaction, and thus also “how” it is to act in interaction with human bod- Music and AI It is technoid, popular music-making (such of creativity, enrich their basis for rational cre- ies. This “how”, then, is to be recognized from In keeping with Marvin MINSKY’s question as the compilation of individual playlists from ativity through the excitation-based, emotional the physical expression for the machine, of what AI would be without the inclusion of “samples” according to reception behavior)
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and functional music (as in that of games) that technologies has made possible the development the physical “handling” of “artificially” made adaptive sonic environments that is applied to recalls how the intelligent arrangement/ordering of “forward back”, wherein music is increasingly sounds. Post-digital culture is, to a large extent, private and public habitats in artistic and func- of codes for sounds follows the emotion-regulat- a physical and technoid act of music-making by defined by the inclusion of the homeostatically tional contexts. They are, for example, developed ing reception and thus, the activation regulation and for every-body, with technology serving as regulating body. The sound gesture was, and in therapeutic body work in clinical and wellness found in tension resolution. an “amplification” of this physicality. is, the central form of interaction at the basis areas as applied sound gesture research. In this AI takes musical composition back to the original The impact of music extends beyond itself. Musi- of these cultural developments. After the algo- sense, adaptive living environments are based form of music-making, involving physical inter- calized culture is, in addition to its hedonistic rithmic design of virtualities, the design of “con- on the inclusion of emotional body tension as a action with sound as a medium of communica- designation, dominated by excitation-based verged realities” wil arise increasingly as a result part of the artificially intelligent behavior of envi- tion with the social and physical environment. behavior in every area of quotidian life. It is the of hedonistic physical interaction. ronments. They are, likewise, intuitive interfaces Adaptive sound environments, interactive mood very “cultural medium” that, as a physical stimu- that make use of implicit and emotional bodily management, etc. are all areas of application — lant in the situational mood of pluralistic individ- C.: APPLIED RESEARCH BETWEEN knowledge. Similar theoretical and methodologi- or, rather, for the life — of AI sound design. uals, is lived most intensely in everyday culture, cal concepts are extended to behavioral analysis, AI is thus the structuring of codes that not only be it through making or consuming music. And SCIENCE AND ART: MEDIA-CULTURE where data is derived not from the number of indicate excitation levels and their “correla- these borders are also and increasingly in flux, associated actions as indicators for “desires,” AS AUDITORY CULTURE tive thinking,” which ultimately formulate ten- as is the structured understanding of music and but rather from “how” a behavior is played out sion resolution. It is based on emotional deci- sound. In this sense, music-making is both an dynamically. Emotional decision-making/action sion-making processes that are a direct part of aesthetic and a sociological way of life. Applied research builds primarily on research as a paradigm for the emotionalization of intelli- the physical experiencing of environments. Mediamorphosis regards media-related techni- on the sound gesture, expanding its application gent instrumental behavior is thus used in fields Tested in music and developed from it, culture cal developments as being rooted in aesthetic, as a transference of basic research to all forms such as sound design, game design, and mar- is no longer the idealistic, rational overcoming as well as social and cultural changes. Accel- of emotional interaction and mass communica- keting. of nature, but rather a life in and with natural, as eration/dynamization and coding/digitalization tion between “wo-men”-machine-/ “wo-men”- Finally, research designs from the new experi- well as virtual, experiential worlds based on the have, contrary to the surface observation of “wo-men” in both real and artificial form. Meth- mental aesthetics are applied to experimental needs of the body. the dominance of visual culture as a static and odologically, this is determined by surmounting philosophy (x-phi) to develop and test models for analog “imaging culture,” led to a musicalized lab research and in the overlap between field ethical decision-making in converged realities, Music and auditory culture culture of “all-at-onceness” that adheres to an research and an understanding of media-art as especially as relates to the interaction between To the extent that — following a psychological internal auditory logic, and leads to the hedo- epistemological. Research in the experiential sit- humans and automated worlds. approach — music can be regarded as the formal- nistic analysis of dynamic events surrounding uation makes this the new paradigm for applied The un-mediated, signal-like interaction regard- ization of nature or — according to the anthropo- the body. cultural research. In our case, the formalization ing sound gestures, the interaction with the logical approach — as a cultivation of hearing, Sound can only ever be perceived in time; its of hearing is the method used, and one that is in in-tentional body, represents the foundation for auditory culture is musical culture. It plays with formalization as music is a dynamic type of keeping with the character of auditory culture. all applied research. the unmediated sensuous/physical quality of a time structuring. The storage of this ephemeral The idea of original music-making by folk cul- Auditory culture attempts to transcend its lim- sound that can be experienced only as a time- form occurs via visual (analog) “imaging” and tures is closely related to the development of itation to music-related research and its explan- space event in physical “tension resolution,” its coding. Its “intentional” design thus takes the music-making body as an “instrument” for atory and applied findings for music. In general, and with its transmission/mediatization through place early on, in a “coded” fashion, with the every-body, which is to some extent already lived and based on systematic musicological (as cul- codes/notation in “correlative thinking.” While assembly/composition of codes for sounds out in technoid music cultures. This emotional tural) research, the question to be explored is the visual medium of notation and its coding led according to “correlative thinking” ultimately music — which is artificial in terms of sound “What is music to ... bodily life in media-cul- to the removal of the hedonistic body, the aes- leading to to the Western concept of “the work”. and changeable according to the regulation of tures.” In the process, the epistemological value thetic demand of music comprehension through But analog forms of music-making have existed moods — is dynamically collective and producing of music and music-making for a bodily life in reading (in conjunction with the bourgeoisie’s all over the world in a much greater number– the collectivizing sound streams that are distinct, in post-digital cultures as part of epistemological political striving for emancipation) and media renewed attention paid to them increasing with time and space, from the mood management of media art is to be generalized.
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Eveline Wandl-Vogt (AT) research out of the box: the ars electronica knowledge for humanity hub (k4h+)
Throughout the centuries there were men who took first steps down We are passionate, we want to push ourselves and we want to push new roads armed with nothing but their own vision. the limits of our science — and the currency is knowledge. Ayn Rand Markus Nordberg
k4h+ | knowledge for humanity hub is a brand- at the Ars Electronica Festival 2019 is a glob- GLAM objects. AI+ against a background of References: new research institute established in the ally collaborative approach reflecting the mid- digital humanism and on a participatory path Agenda knowledge for development 2017: Ars Electronica Futurelab in 2019, aiming to life crisis of the digital revolution: the algorithm aims to discover hidden biases and power https://k4dp.files.wordpress.com/2018/09/agenda- accelerate humanities knowledge into action. inventarium (AI+), reaching out for bias research structures and critically reflect on the soci- knowledge-for-development3rdedition.pdf
With its antidisciplinary approach, it intends to against the background of artificial intelligence. etal impact of certain technologies, focusing ALLEA. discussion paper 2019. flourishing in a contribute to inventing the future and re-think- Technologies do not emerge from nowhere. They according to Joichi Ito on the complex ecosys- data-enabled society. https://allea.org/flourish- ing genres, applying open innovation in science are shaped by implicit and explicit choices and tem that emerges from the network of minds ing-in-a-data-enabled-society/ methods and practices based on an RRI-mission thus incorporate a set of values, norms, eco- and our society. It encourages artistic recre- BMVIT and BMWFW (2016): open innovation strategy for statement. k4h+ applies exponential thinking nomic interests, and assumptions about how the ations and experimentation with digital algo- austria. vienna. http://openinnovation.gv.at/wp-content/ against a background of humanities in open and world around us is or should be. Many of these rithms in various cultural contexts. It aims to uploads/2015/08/OI_Barrierefrei_Englisch.pdf experimental discovery processes, furthering choices remain hidden in software programs offer educational materials and toolkits for Chesbrough. h. (2003) open innovation: the new imper- cognitive, creative, interpersonal, and intercul- and the algorithms they implement (cf. Vienna reuse in other awareness- or research-based ative for creating and profiting from technology. boston, MA: harvard business school press. united nations. tural skills. manifesto on digital humanism). European val- initiatives. It invites speculative formulation of k4h+ aims to establish one of the central cor- ues — especially referring to the rich European new possible algorithms, based on the know Foth, m., Mitchell, p., & Estrada-Grajales, c. (2018). Today’s internet for tomorrow’s cities: on algorithmic nerstones of the open innovation research cultural heritage and the ideas of the Kantian “cat- ledge generated. Current project partners are culture and urban imaginaries. second international infrastructure (OI-RI; c.f. figure1), which was egorical imperative” — might find themselves in Exploration Space at the Austrian Academy of handbook of internet research, 1-22. designed in a multistakeholder process in 2017 tension with a data flourishing society (cf. ALLEA Sciences, Austrian Centre for Digital Humanities Ito, Joichi: Forget about artificial intelligence, extended led by the author at the Austrian Academy of flourishing in a data enabled society). | AT, CERN ideasquare | CH and metalab (at) intelligence is the future. Sciences. k4h+ acts as a knowledge designer AI+ aims to create awareness and knowledge harvard | US. wired. 24.4.2019. ttps://www.wired.co.uk/article/ to enable and create cross-organizational, from an antidisciplinary perspective about how artificial-intelligence-extended-intelligence cross-sectoral knowledge partnerships of pur- algorithms surround us and determine our every- UN: sustainable development goals https://www.un.org/ pose and to co-design and co-develop innovation day life in many ways. They operate invisibly ars electronica, futurelab, k4h+ sustainabledevelopment/sustainable-development-goals/ österreichische akademie der wissenschaften, austrian networks, applying humanity-centered design. through our progressively digitized contexts, centre for digital humanities (research manager) Vienna manifesto on digital humanism: The first project issued in the hub and introduced such as newspapers, social media and digital metalab (at) harvard (research affiliate) https://www.informatik.tuwien.ac.at/dighum/manifesto/
418 419 HEADLINE ARS ELECTRONICA SOLUTIONS Ars Electronica
Ars Electronica Solutions conceives, creates and implements interactive worlds of experience as visionary installations. We develop creative, individualized solutions in the form of interactive products and services for exhibitions, brand lands, trade shows, events, and in the urban development field. Whatever your needs—single touch applications or an entire exhibition, leasing reliable products or the creation of a bold prototype; whatever the occasion—a trade fair, a Smart City workshop, a showroom or a whole museum—Ars Electronica Solutions has the expertise and experience it takes to do a superb job!
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INNOVATION & CREATIVITY
We scrutinize and tinker, think and create, communication between the human brain and a design and test — sometimes with such out- computer, interweaving real and virtual scenarios, standing success that we can see right away and creative artificial intelligences. that the results are suited to many different But then again, we use Ars Electronica’s decades applications. That’s how prototype development of experience with technologies, as well as the can lead to products that can be customized to spirit and creativity of Ars Electronica Solutions, a client’s specific needs. And that closes the to create custom-tailored solutions depending process chain from idea and vision to prototype on the client’s target groups and environment. development and ultimately to an innovative Thanks to this balanced mix of cutting-edge and product. The various interfaces we build into our traditional technologies, our work boasts intui- productions are intentionally futuristic — direct tive interfaces and creative storytelling. Expo Austria, © querkraft-bagienski
AUSTRIA@EXPO DUBAI:
voestalpine Wire Rod Austria, © Ars Electronica Rod Wire voestalpine The Austrian Pavilion
“Connecting Minds, Creating the Future” — EXPO 2020 Dubai addresses the issue of visions for the future, and concepts and technologies for living together in an increasingly networked world. The Austrian pavilion “in dialogue with Austria” offers the necessary space to enter into dia- logue with the most important questions about a shared and brighter future. We are very proud to conceptualize and plan the exhibition area inside this outstanding archi- tecture with querkraft architekten as a client, to represent Austria with a pavilion that sparks
EU Presidency Austria, © Ars Electronica EU Presidency curiosity before the visitor even enters.
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voestalpine: Mixed Reality Drone Race Performance
An extraordinary spectacle accompanied the into the blast furnace. The mounted cameras opening of the renovated large blast furnace A in allowed the audience, who followed the pictures Linz, Austria. In order to get across the incredible on huge monitors, to go on a rapid journey and dimensions and the state-of-the-art digitization get spectacular insights in real time through a Walking Music: Music Architecture @ Erste Campus and automation of the production processes that pre-produced 3D video. Walking Music is an interactive social music Ars Electronica Solutions. He is widely known for will go on inside it, we conceived a performance Mixed Reality manages to show visible and installation that turns the Erste Campus into an his piano music and music installations, his elec- starring racing drones and staged it before an invisible building elements as a dynamic unit in instrument. Every person moving there triggers a tronic music project TOSCA and his collaboration audience of VIPs in business and government. a unique way, and to depict an intensive mixture number of sounds in real time. One person cross- with Ars Electronica. Four drones flew at up to 80km/h around and of analogue and digital reality. ing the Campus creates a melody, many people For Huber, music is communication as well as an create a harmony. A tracking system captures active state of peace. movements and triggers musical sounds over a His theory of composing, called dimensional multitude of loudspeakers. music, considers physical space and unknown This piece of music architecture was realized possibilities to create social and participatory by composer Rupert Huber in cooperation with music architecture. Ars Electronica Ars Electronica Ars Electronica Ars Electronica
ABB CIMAC Dinner
büro wien inszenierte kommunikation marketing One part of the show was an interactive live per- gmbh (short büro wien) planned an event for ABB formance: a performer put on a motion capture in Vancouver, Canada. A pier in the north of the suit equipped with motion sensors that were city was selected as the location and event tents fixed to the body. were set up there. One aim of the event was to The dancing motion sequences of the performer
inspire visitors with the help of modern media were taken from the sensors and then translated Ars Electronica technology and an innovative, intelligent overall into dynamic visualizations. The live visualiza- concept. With this goal in mind, Ars Electronica tions inspired by physical phenomena (particle Solutions conceived and realized show elements system) were played on several coupled LED based on modern media technology. steles during the performance.
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PROJECTS
We delight in smart design, demand the impossi- to conceptioneering and producing elaborate ble, and nurture playfulness. Our projects make exhibitions. We work with major institutions KTM Innovation Lab the unattainable come true. Regardless of what such as the European Space Agency and the Particularly noteworthy among our recent message you want to send in today’s world, we Humboldt Forum, high tech brands like MED-EL projects is the Innovation Lab, an interactive lab can get it across in digital media. Our solutions and LIWEST, municipalities and special organi- created for KTM Motohall GmbH in Mattighofen, are aesthetically sophisticated and creatively zations including the City of Timisoara and the Austria. Embedded in the KTM Motohall, which extraordinary; they encourage hands-on explo- Chamber for Workers and Employees, and such offers an unforgettable motorsport experience, ration. We offer digital installations and pro- private-sector heavyweights as KTM, KEBA, the goal in the Innovation Lab is to give children ductions ranging from small-scale highlights Liebherr, Palfinger, Rosenbauer and voestalpine. and young people in particular a playful way to experience design and high tech. In the Innova- tion Lab, they learn how to deal with design and KTM Motohall, © KTM Motohall GmbH Motohall © KTM Motohall, KTM production processes and the associated tools, such as various design software programs, laser cutters for cutting and engraving, and 3D printers that convert digital models into physical objects. In these processes, children and young people are shown their manifold possibilities. In the Innovation Lab they can take part in an entire cycle — from the birth of the idea to its actual realization and production. The aim is to encourage them to give free rein to their cre- AK Wien, Out of Control, © Ars Electronica AK Wien, Out of ativity and to become more willing to take risks — to put ideas on the table without fear of fail- ure. An additional goal is to teach the children Müller-Gardiner © My Trinh Lab, Innovation KTM basic knowledge about electrical engineering, programming & digital design in a playful way. According to the motto “Learning by Doing/Do it yourself,” young people are encouraged to develop curiosity in unfamiliar topics and to con- tinue to deal with them and acquire expertise. LIWEST Experience Shop, © Ars Electronica Shop, Experience LIWEST KTM Innovation Lab, © My Trinh Müller-Gardiner © My Trinh Lab, Innovation KTM
Lumina Libertății, © Seba Tătaru Lumina Timișoara 2021: Light of Freedom, Freedom, 2021: Light of Timișoara 426 427 ARS ELECTRONICA / Ars Electronica Solutions
EXHIBITIONS & BRANDLANDS Innsbruck Tourism: Reopening Brings Historical and Digital Info about Innsbruck Many of our commissions require us to produce Following a seven-month closure due to reno- in close collaboration with an architectural exhibitions. We conceive and execute interactive vation work on the historic walls of Innsbruck’s approach that reflects and respects the historic installations and participative formats for many Burggraben, Innsbruck Info, the city’s tourist site. The new Innsbruck Tourism Information different purposes, featuring a wide variety of information office, reopened to once again pro- won the Tirol Touristica Award 2019. The jury content. Deploying our didactic experience and vide outstanding service to 500,000 visitors per particularly praised the “combination of histor- creative spirit, we configure amazing worlds in year from all over the world. And the facility is ical and modern” and the “multi-layered suc- - which visitors immerse themselves through iden now equipped with modern digital technologies cessful showcase project as a calling card for tification and participation. To carry out these — implemented by Ars Electronica Solutions Innsbruck.” assignments, we implement the most innovative communications trends and the latest technol- ogies. Our creative endeavors follow through on the artistic approach of Ars Electronica. Innsbruck Tourismus Information, © Ars Electronica Information, Innsbruck Tourismus © Ars Electronica Information, Innsbruck Tourismus
Ars Electronica: Global Shift
In the new Ars Electronica Center exhibition take visitors on a stunning journey to beautiful
ESA Φ Experience, © Ars Electronica ESA Φ Experience, Control, © Ars Electronica AK Wien, Out of “Compass — Navigating the Future,” the long- and remote places of our fragile world. “Glacier standing collaboration between the European Retreat” deals with the phenomenon of glacier Space Agency (ESA), the German Aerospace disappearance, placing it in a local and global Center (DLR) and Ars Electronica Solutions context. Combining haptic elements like the helped to create a couple of exciting, unique milled elevation model of the mountain region and innovative areas inside the exhibition of Hohe Tauern with digital technologies offers “Global Shift.” With “Fragility and Beauty,” we the visitors an individual interactive experience. Umdasch Pavillons, © Ars Electronica Umdasch Pavillons, © Ars Electronica Shop, Experience LIWEST Glacier Retreat, © Ars Electronica Glacier Retreat, © Ars Electronica and Beauty, Fragility
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TRADE SHOWS
Ars Electronica Solutions’ portfolio includes an mind, so they can also be used after the show increasing number of trade show stands pro- is over at a corporate headquarters, an event or duced in recent years — from classic presen- other formats. tation settings to interactive experiences. We And experts in this field have been duly us innovative technology set in an eye-catching impressed. The aim is to build up long-term architectural package, and give it a convincing cooperative relationships with such clients as storyline to create a unique attraction. Moreover, Palfinger and Liebherr to gain additional advan- at IAA,Palfinger © Ars Electronica at bauma,Palfinger © Ars Electronica these stands are designed with modularity in tages and synergies for the partners. Palfinger at bauma,Palfinger © Ars Electronica
Liebherr at bauma 2019, © Ars Electronica © C26 METEC, Palfinger: Digitalization on the advance at the IAA and the bauma
Palfinger, a global player in innovative, reliable digital products and explore them interactively. and economical lifting solutions for commer- Different crane models can be experienced cial vehicles and maritime applications, com- virtually and in 3D on VR simulators, the Smart missioned us to come up with an extraordinary Eye connects the technician on site with the live trade show concept for the next big trade shows support. On the interactive service wall, a com- promoting digitalization, innovation and service. bination of print, projection and monitors will be At the International Motor Show (IAA) — the lead- used to showcase Palfinger’s comprehensive, ing trade fair for mobility, transport and logistics lifelong service. At the bauma 2019 — the world’s — Palfinger will unveil the newly designed area top mining and construction machinery fair — the for digitalization under the name NEXCELLENCE, visual, architectural and interactive concept was
Fronius Booth, © Fronius Fronius © Ars Electronica Living Planet Symposium Prague, where visitors can get an overview of Palfinger’s adapted and further developed.
430 431 ARS ELECTRONICA EXPORT Quadrature (DE), photo: Hajime Kato (DE), photo: Quadrature Orbits, Orbits,
Since 2004, Ars Electronica has worked with partners in art and culture, science and education, selections that are curated by Ars Electronica in accordance with thematic, technological or historic commerce and industry to produce a diverse array of projects all over the world. The spectrum criteria and also flexibly permit the integration of our partner’s artistic and technical know-how. includes exhibitions and presentations, conferences and workshops, performances and interventions. Whether it’s a complete package or customized program of activities, our job is to create just the right What these collaborative activities have in common is the inspiration they derive from the ideas and lineup of inspiring artistic and scientific projects, align them into a path that builds on the successes visions of Ars Electronica’s worldwide network. of the past and is conducive to a promising future, and to work together with our partners to get the Ars Electronica EXPORT offers partners the possibility of selecting from a menu of individual options latest developments at the interface of art, technology and society across to international audiences or deciding on a complete package — depending on their particular wishes, interests and resources. as a means of initiating a discussion today about the ideas of tomorrow. It’s up to the partner to decide whether a package of exhibitions, presentations, conferences and workshops are the most cost-efficient way to achieve their objectives, or if the way to go is with ars.electronica.art/export XXXX XXXX ARS ELECTRONICA / Ars Electronica Export
Tokyo Midtown: School of the Future Festival Tokyo Midtown, Tokyo, Japan February 21 — 24, 2019
With the School of the Future Festival from place at the 2019 School of the Future Festival, February 21 to 24, 2019, in the urban complex about which 162 media reported (total reach: Tokyo Midtown in Japan, the series of presen- 4.62 million). Find more at www.tokyo-midtown.com tations and discussions that has been running since 2017 is once again dedicated to future Balance From Within, Jacob Tonski (US) themes at the intersection of art, technology and The Long Now, Verena Friedrich (DE) ObOrO, Ryo Kishi (JP) society — this year, for the first time in the form of πTon, Cod.Act (CH)
a four-day festival. The “School of the Future” is SEER: Simulative Emotional Expression Robot, Takayuki Capital Knowledge intended to be a place where children and adults Todo (JP) can reflect on the future — through exhibitions, I Wanna Deliver a Dolphin…, Ai Hasegawa (JP) Heteroweave, Yasuaki Kakehi Laboratory, The University workshops and lectures. of Tokyo (JP), HOSOO (JP), Yamaguchi Center for Arts Giri Giri was the theme of the first festival and Media [YCAM] (JP) edition of the School of the Future. Sixteen artists Future Flora, Giulia Tomasello (IT) Ars Electronica in the Knowledge presented their works and sixteen partners were ELECTRONICOS FANTASTICOS!, Ei Wada + Nicos Orchest-lab (JP) involved in this four-day festival, which counted Capital — Playware (Vol. 9) GiriGiri Kit, Ars Electronica Futurelab (AT) 123,457 visitors. A total of 29 events took https://www.tokyo-midtown.com/jp/event/school_future/ Knowledge Capital Osaka, Japan January 16, 2019 — March 31, 2019
With an inspiring mixture of exhibition, lectures Musical Shadows by the Canadian artist duo and workshops, Ars Electronica in the Knowledge Daily tous les jours invites the visitors to play Capital brings media art to Osaka, Japan. The with their own shadows. The Japanese media 9th edition of this event series is dedicated to artist Jun Fujiki presents several projects that the theme “Playware.” The playful approach has playfully deal with algorithms. With Flower of Time, accompanied the development of the computer Ars Electronica Futurelab brings another partici from the very beginning. After all, play is one of pative element into the exhibition — visitors can the most important behaviors for human beings visualize and collect ideas on how to use time. when it comes to acquiring new knowledge and
skills. The exhibition deals with the importance With: Daily tous les jours (CA), Jun Fujiki (JP), of modern gaming and the playfulness of society. Ars Electronica Futurelab (AT), Kyoko Kunoh (AT/JP) Tokyo Midtown Tokyo
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Prix Ars Electronica Selection: Prix BLOXHUB Interactive — Space of Imagination how can we make cities more Matsudo International Science Art Festival, Matsudo, Japan October 20 — 21, 2018 livable using digital technology?
The Space of Imagination exhibition presents Prix BLOXHUB Interactive is an international selected, award-winning projects of the Prix prize, symposium and exhibition focused on Ars Electronica during the Matsudo International creating more livable cities. Science Art Festival in Japan. Bug’s Beat by Dorita Working at the intersection between Space, Tech- Takido and Yumi Sasaki is a project that ampli- nology and Behavior, the initiative was developed fies the sound of steps made by the countless by The Alexandra Institute (DK), BLOXHUB (DK) small insects among us, and thus aims to create and Ars Electronica (AT). Together, the partners an awareness of the blossoming micro-world wished to join forces in gathering and building around us. Orbit from Quadrature goes another new knowledge that can help companies, cre- way and leads us to the macro level of space and atives and researchers achieving the UN’s Sus- beyond human perception. The positions and tainable Development Goal 11; to make cities traces of unknown artifacts revolving around the and human settlements inclusive, safe, resilient Earth are visualized here in real time. Flower of and sustainable. Time, developed by the Ars Electronica Futurelab, In 2019, we received 122 submissions from 34 Flower of Time — Ars Electronica Futurelab, is a participative workshop that engages us in different countries, and the jury (see: https:// BLOX, The building Photo: Hajime Kato ideas of time. The workshop installation reveals prix.bloxhub.org/the-jury) chose 2 winners and the elastic nature of time and asks us to reflect gave 8 projects honorary mentions. upon ideas of our own “sense of time.” The winner in the Concept Category was Flora Find more at: science-art-matsudo.net Robotica, submitted by a team from CITA; Phil Ayres, Emil Fabritius Buchwald, Sebastian Gatz Orbit, Quadrature (DE) and Soraya Bornaz. The project aims to make Bug’s Beat, Dorita Takido (JP), Yumi Sasaki (JP) Flower of Time, Ars Electronica Futurelab (AT) cities more livable by coupling the long-term Organizer: Matsudo City; supported by the Agency for growth and material accumulation processes of Cultural Affairs, Government of Japan in fiscal 2018 natural plants with digital technologies that can http://science-art-matsudo.net/ direct this growth towards architectural objec- tives. The Winner in the Excellence category was the digital tool Mapple, submitted by Karolina Mosi- adz, Henrikki Tenkanen and Rami Piiroinen from the Finnish company by the same name. The solution can help cities in becoming more effi- Orbits — Quadrature (DE), Photo: Hajime Kato cient, green and people-friendly, by offering a Concept Winner: Flora Robotica better overview and understanding of areas that are being planned. As a part of the symposium in Copenhagen, encourage a more informal and “grass-roots” The Alexandra Institute and Arup Group devel- debate between citizens. oped a large-scale public installation called 25 The installation will be a part of this year’s Questions for Cities. The mission was to engage Ars Electronica Festival — so please join the people on how decisions around technology in debate! For more info and upcoming deadlines: cities should be made, and we were hoping to https://prix.bloxhub.org
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Future in a Nutshell April 2019 — October/November 2019 KI @ WORK
“...for artificial intelligence becomes much more similar to human intelligence if it is unable to solve the problem of desire. Admittedly, it is not easy to construct a completely neurotic computer.” Umberto Eco, Die Zeit, 1986
Between promise and conspiracy we find our- The intentions behind AI are manifold, but con- selves: Artificial intelligence, some think, is the trol is virtually non-existent. A general attitude technological revolution that will relieve man- is therefore required. Questions about ethics and kind enormously in the future. AI is celebrated accountability must be asked right now. as relief, as assistance, as a guarantor for logical, Future in a Nutshell is a format developed by statistically calculated results that no longer lie Greiner Technology & Innovation GmbH together within the measuring capacity of a human being. with Ars Electronica Linz. It is intended to pro- On the other hand, the others are afraid: What vide a unique opportunity to gain an overview of about my privacy and civil rights? Who listens to pioneering technologies. Together with proven everyone? What happens to my digital shadow local experts, we would like to shed light on the and into which systems is it transferred? Where topic of KI@WORK from different perspectives do I participate without knowing it? Who inter- and discuss it with knowledge carriers from Vog.photo prets me and directs me in which direction? Are Greiner in order to prepare each other for it.
we being given to understand that we can have Concept: Greiner Technology & Innovation GmbH and a say in the course of development? Ars Electronica Export ERROR — The Art of Imperfection DRIVE. Volkswagen Group Forum, Berlin, Germany November 17th, 2018 — March 3rd, 2019
In and of itself, an error is neither good nor bad. principles started to crystallize, which will be First of all, for us an error is “merely” a deviation further illuminated in the context of an error: from what we expect. And this is exactly where irritation, order, value and control. the artists in our exhibition come into play: they Curated by Manuela Naveau. Exhibition and Communication are the ones who often purposely challenge Design by Letitia Lehner (MOOI Design). deviations and/or errors. What does it mean, if Production Team: Nani Cooper, Benjamin Dewor, we’re no longer able to recognize the deviation Stefan Feichter, Alexander Hinterlassnig, Jens Jech, at all? If we can no longer understand that this Karoline Kreißl, Julia Nüsslein, Gustavo Valera. With: Emanuel Gollob (AT), Attila Csörgő (HU), Georgie is an error which we could tolerate or not? To Pinn (AU/UK), Stefan Tiefengraber (AT), Prokop what extent can this error be checked at all in Bartoníček (CZ), Benjamin Maus (DE), So Kanno (JP), the digital world? But aren’t we the ones who Yang02 (JP), LarbitsSisters (BE), Anna Ridler (UK), ultimately determine the order, rules, values and César Escudero Andaluz (ES), Martín Nadal (ES), Mushon Zer-Aviv (IL), Dan Stavy (IL), Eran Weissenstern (IL), standards of a society and culture? Proceeding Adam Harvey (US), Robertina Šebjanič (SI), Gjino Šutić from these central questions, four guiding (HR), Claudia Rohrmoser (AT), Florian Kühnle (DE) Photo: Michaela Kraus, Greiner AG Greiner Michaela Kraus, Photo:
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Silicon Valley Open Austria, San Francisco
Ars Electronica partners with Open Austria and Valley aims to leverage Europe’s cultural and Anifilm Trebon Exhibition the newly founded EU National Institutes for humanistic heritage to contribute to a critical under- Anifilm, Trebon, Czech Republic Culture Cluster in Silicon Valley to galvanize a standing of technological innovation. The Grid is meaningful dialogue between artists and tech- the first initiative of the cluster and will lead to May 7 — 12, 2019 nologists, humanists and the tech industry, and a virtual stakeholder map that visualizes existing the European Union and Silicon Valley. Open and potential partnership models between Big This exhibition prepared by the Ars Electronica artworks that occupy a space in and between Austria was founded in 2016 as the official Tech and the arts in the San Francisco Bay Area. curators as part of the Anifilm Festival introduces fine arts, performance, music and hybrid media. Austrian representation and innovation office As insightful communicators, artists allow us to the work of renowned Salzburg graphic artist They are engaged in constant research into in Silicon Valley. Since its establishment, there perceive the challenges facing the world differ- and animator Reinhold Bidner, who focuses on innovative art forms to create the most compatible has been a major shift in how societies perceive ently by opening up alternative realities. Utopian animation and electronic media and explores formal environment for their ideas. technological innovation. Growing skepticism, and dystopian visions of our past, present, and the possibilities of working with time, games In the Třeboň chateau gallery, you have a chance mistrust and fear have led to a global backlash future are imperative to innovation ecosystems, and new media arts. He works alone or in to see the videos Ex Terrat, CONfusions, Until We against technology, prompting calls for a closer and artists grant us access to these visions. collaboration with the Austrian artistic collective Coleidescape, Impulse and the documentary- critique of the techno-utopianism of Silicon Building upon the data of The Grid, the cluster “Gold extra.” The group “Gold extra” produces style computer game The Fallen. Valley. Tech giants are often unable to antici- can efficiently position itself and the EU as a pate the devastating path of destruction some mediator between the worlds of art and tech- of their most lauded creations can lead to: fake nology, ensuring there is open access to these news, election manipulation, tech addiction, alternative realities. bots, polarization, vanity and outragification of Ars Electronica is an essential strategic partner society. There is now an urgent global need to in this endeavor, and in its partnership with Open address tech regulation and ethical standards Austria will place many distinguished European for artificial intelligence, and in this moment of thinkers and artists at the heart of the global tech increasing tension between society and techno industry to respond to some of the most critical logy, Open Austria and EUNIC Silicon Valley are questions of our time. at the heart of the global tech industry — Silicon Open Austria, the Austrian Consulate and Innovation Valley — advocating for digital humanism. Office in Silicon Valley. A joint initiative between the In line with the European Commission’s strategy Austrian Ministry of Foreign Affairs and the Austrian for international cultural relations, EUNIC Silicon Trade Commission. Rene Volfik Rene Bidner Reinhold Until We Caleidoscape Rene Volfik Rene Volfik Rene Ex Terrat MUTEK.SF Festival 2019 in San Francisco with the support and Ars Electronica. © Bruno Destombes Open Austria Photos: of 2019 in San Francisco at the MUTEK.SF Netz 2.0 exhibited Festival sound sculpture interactive Jens Vetter’s
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“Hyundai Meets Art” Zone
Since 2004, Ars Electronica has worked together with the enormous Vision Hall screen, is a unique with partners in art and culture, science and media platform, a prototype in its entire con- education, commerce and industry to produce a stellation and dimension that can only be fully diverse array of projects all over the world. The experienced live — similar to an organ in a cathe- spectrum includes exhibitions and presentations, dral. Drawing on longstanding experience with conferences and workshops, performances and the Prix Ars Electronica, Ars Electronica contrib- interventions. What these collaborative activities uted to the establishment of the Award, with the have in common is the inspiration they derive festival’s senior director Martin Honzik being one from the ideas and visions of Ars Electronica’s of the judges from the very beginning. worldwide network. We see the collaborative The three Grand Prix Winners of the VH Awards, effort as the real spirit of Europe: we share A Thousand Horizons (by Dongjoo Seo, 3rd VH knowledge, we strive to improve together and Award), Hear the Wind_Across the Border (by we promote empathy by trying to see through Hyungkyu Kim, 2nd VH Award) and A Journey the eyes of the other. (by Je Baak, 1st VH Award), are presented in In the Hyundai Motor Company, Ars Electronica the Hyundai booth in POSTCITY. Additionally,
has found an international partner that shares the three winning works of the 3rd VH Award, (KR), Hyundai Kim Dongwook (KR), Jeon Jinkyung ROOMTONE, OS_ our perspective on society as a place for A Thousand Horizons (by Dongjoo Seo, Grand collaboration and innovation. Hyundai moves Prix), Highway like a Shooting Star (by Youngkak between the poles of art, technology and society, Cho, finalist) and Black Air (by Chansook Choi, 2. ART + TECH C. ZER01NE, innovation platform of Hyundai knowing that the cooperation with arts and cul- finalist) will be shown in Ars Electronica’s Deep Motor Group ture stimulates critical and innovative thinking. Space 8k during the festival. A. VH Award Making Films ZER01NE is a creative network platform oper- Ars Electronica and Hyundai have jointly curated These films explore the meaning and possibilities ating at the intersection of “ART,” “TECH,” and three exhibitions on the theme of “Future B. Blue Prize of using technology in art, as well as what the VH “BIZ.” In 2018, ZER01NE launched its first Humanity — Our Shared Planet,” which were Hyundai’s Blue Prize initiative is a program for Awards can mean for young Korean artists. The program, providing support to realize each par- shown in 2018/19 at the Hyundai Motorstudios young, emerging Chinese curators. Each year, an judges, including Martin Honzik, speak about ticipant’s creativity to its fullest potential with in Beijing, Seoul and Moscow. Furthermore, the international as well as national jury selects two their take on the topic. the appropriate financial reward. Collaborative two partners have successfully collaborated on outstanding talents out of a rising number of par- projects that combine the expertise of startups several projects, all with one common goal: to ticipating curators from all over China. They are B. Bloomberg Art + Technology Films and the originality of creators generate a synergy explore the intersection of art, technology and seen as a new generation of Chinese curators, In 2018, Hyundai Motor and Bloomberg that can have a greater social impact. Individual society. The next big project will be the exhibition being critical natives as well as eyewitnesses announced a three-year partnership with the projects by ZER01NE creators illustrate a coex- Human (Un)limited, taking place once again at of one of the most dynamic and complex mac- launch of a new digital video series, ART+TECH- istence of artistic practice and technological the Hyundai Motorstudios in Beijing, Seoul and ro-economies worldwide. NOLOGY. Streamed globally on Bloomberg’s plat- advancement. Moscow. It links up thematically with this year’s Ars Electronica has been a part of this compe- forms, ART+TECHNOLOGY profiles a line-up of Festival theme exhibition. tition’s quest since its first edition, by being an global artists and organizations exploring art and active member of the jury, selecting and mento- technology in short documentary-style episodes. 3. ARTWORKS ring the winning projects. The winners receive The series discusses the latest technologies 1. ARTISTIC ENDEAVORS financial support to create an entire exhibition such as artificial intelligence, data, virtual reality Thousand Horizons: SEO Dongjoo (KR) for the impressive Hyundai Motorstudio in Bei- and 3D printing in 108 episodes so far. Bringing A Thousand Horizons combines CG and the repet- A. VH Award jing, located in the city’s legendary art district art and technology to life, the soundtrack for the itive page-turning of a book, captured through an Hyundai supports and cultivates young, talented 798. The topic of the 2018 edition of the Blue series is created entirely by artists who use AI unfamiliar perspective. Through the constantly media artists in Korea and helps them to gain Prize was “Future Humanity.” In 2019, it will be technology to compose sound art. expanding and changing horizontal landscape international recognition. The Award, together “Social Intelligence.” Many of the presented artists have been of the symbolic time of “day,” it explores the proposed by Ars Electronica, drawing on the digital and analog media’s temporal, spatial, Festival’s worldwide network of media artists. and material properties, metaphorizing human
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reason, action, and interaction. It explores the and situations in the perspective of a traveler. areas between macro — micro, external — inter- By doing so, he poetically expresses the vari- Human (un)limited nal, conceptual — abstract, real — fantasy, nature ous questions that the viewers encounter during — artificial, body — mind, captivating visitors into their training in a journey called “life.” Between HUMAN LIMITATIONS and LIMITED HUMANITY a synesthetic experience. A COLLABORATIVE EXHIBITION SERIES OF Tribes: Universal Everything (UK) Hear the Wind_Across the Border: This work by renowned digital art and design HYUNDAI MOTORSTUDIO and ARS ELECTRONICA KIM Hyungkyu (KR) collective “Universal Everything” is a study of This “360 degree view through media” extends human behavior on a mass scale, designed for Humanity as a whole and humans as individuals the viewer’s role from passive recipient to neu- a giant screen. Thousands of tiny people move are part of a constantly changing environ- tral onlooker or even to an active observer. View- in sync, forming connections, creating collec- ment. Over time, the ever-changing conditions ers confront a 360-degree view of landscapes tive patterns on the landscape, and seemingly and the resulting existential challenges have seen from Imjingak; Yeonmijeong in Ganghwado; sharing common goals. It explores autonomy, proven to be a gift, leading us time and again Yongsan redevelopment area; and the site of the self-organization and group interrelationships. to the deepest essence of human beings — the Admiral and the historical statue of Soonshin intelligence of survival. On the one hand we Lee in Gwanghwamun, Seoul, Korea. The artist Wilson: LEE Jangwon (KR) & OS: ROOMTONE possess creative intelligence to build and use throws in an underlying question to the viewers, (KIM Dongwook (KR), JEON Jinkyung (KR)) instruments and technologies, on the other hand who became independent observers of the visu- What should the future look like when the evolu- our social intelligence has led us to enter rela- ally opposed “South and North,” “Generations” tion of operating systems (OS) converges upon a tionships and develop a culture of collaboration — and “Individuals and Groups.” specific form? Wilson resembles the sun, which collaboration in various constellations and has always been warm, impartial and depend- coalitions: between human and human, between A Journey: JE BAAK (KR) able. As long as we can remember, it has con- human and animal as well as between humans Murakami Hiromitsu In A Journey, the viewers travel around the nected man and nature, conducted the rhythm and their surrounding nature and technologies. surrealistic world filled with symbols that are between life and order, but always in the back- like innocent children’s inquiries. The artist ground, much like an operating system. Visi- From the domestication of nature transforms the virtual reality in RPG games into tors can interact by moving through the virtual (the utilization of fire or our prehistoric part- HUMAN LIMITATIONS — a place of contemplation, and allows the viewers space of the VR-based creation OS, containing nership with wolves) to its industrialization to experience the world full of symbolic elements images of near-future autonomous driving envi- (including its consequences for mankind, LIMITED HUMANITY ronments. environment and nature) This work, a collaborative Human Limitations — Limited Humanity thus project between ZER01NE, Whether we are confronted with fundamental revolves around this existential field of tension innovation platform of existential threats or our inherent longing to out- that has to be kept permanently and carefully in Hyundai Motor Group grow ourselves, we are able to develop strategies balance. Human (un)limited tells a story about (HMG), and administrative and technologies to face and overcome limita- humanity and its striving for realization and departments within HMG, tions by invariably shifting the boundaries of our identity in a world it increasingly shapes and was organized by ZER01NE, possibilities. But where does this lead us? influences. We shed light on the status of our and is sponsored by Hyun- It could be argued that evolution and everything relationship to the world and address the con- dai Motor Group. It has been that evolves is always aligned with its own limits nections and relationships formed by human- part of the joint exhibition while, at the same time, seeking to overcome ity with all their consequences. The exhibition “Future Humanity” in the them. It is in the nature of things that humanity is gives a hint to the next adaptions of humanity Hyundai Motorstudio Seoul constantly confronted with its own limits. But, it and what being human could imply in the future. in 2018/19, and is currently is also in the nature of things that any strategies on show in the Ars Electronica and practices to overcome these limits call into Center. question our definition of humanity. So, we are Curatorial Concept by Martin Honzik, Senior Director of Ars Electronica Festival / Prix / Export continually in the process of redefining ourselves 2019, Ars Electronica and asking the question: Who are we, and who Text: Martin Honzik do we want to be?
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HUMANIZING TECHNOLOGIES — About ART, TECHNOLOGY and SOCIETY A collaboration of CAFA and ARS ELECTRONICA
Humanity has a timeless longing to invent ways a position that supports us in our own actions In the exhibition, we focus on artistic and means to overcome oneself, to outgrow through critical reflection, that helps us to think projects that are capable of estab- oneself and to change the natural course of about the situations in which we could find our- lishing direct connections to an things oneself. By virtue of creativity, courage selves in the future. increasingly complex environment and ingenuity, humanity has been able to direct In the exhibition, we look specifically at the last far beyond the artistic discourse, knowledge and skills towards coming ever closer 40 years, approximately the period in which the and which manage to integrate all to these desires and realizing its visions. This is so-called “Digital Revolution” has sparked a areas of society through an open, rendered possible by another formative quality rapid, global dynamic and become one of the new culture of collaboration. The which, as a gift, has brought us to our unique sta- central, global challenges for society. While it exhibition should be seen as a trib- tus in the hierarchy of nature — the gift of inven- initially seemed a logical further development ute to the relationship between art, tion and creation. This results in two decisive of the Industrial Revolution in its orientation society and technology. It is shaped parameters for the success of the project. The towards purpose and efficiency, over time it by two important positions and insti- power of imagination, deeply rooted in the DNA came to pervade and digitalize the classic indus- tutions in the global field of media art: of the idea, and the quality of those instruments trial model. Today, as a society, we are facing CAFA, a longstanding driving force in and technologies to make our goals a reality or another paradigm shift with regard to our tech- China for budding media artists, and get closer to them. So we see ourselves endowed nology and our relationship to it. From automa- Ars Electronica, one of the world’s with wonderful talents and experience ourselves tion to its autonomization, it is practically the most important media art institu- indulging in them without restraint — with all our independence of the digital self. This paradigm tions, which is celebrating its 40th passion, devotion and courage. We find ourselves shift will not only have an effect on industry, but anniversary. in a world that is more and more formed and will also be felt deep in our everyday lives, forcing The Prix Ars Electronica — one of the created by ourselves, but which, because of the us to question our concept of being human. most important international prizes ingenuity of its instruments and technologies, for media art — has generated an constantly increases in complexity, making it a archive of more than 60,000 submit- permanent challenge to find one’s own position. HUMANIZING TECHNOLOGIES ted artistic works from the field of media art. “In life there is nothing more foolish than Every year, Ars Electronica also hosts inventing.” (James Watt, 1736 — 1819) The main focus of the exhibition is on those one of the world’s largest and most “species” from the art world — media artists important media art festivals. Works Why James Watt, who made significant con- who have been and continue to be permanent by international Prix Ars Electronica tributions to developing the steam engine critical companions. They were and are capable prize-winners will encounter Chi- (1769), would make this statement, we can only of positioning “new technologies” in society with nese artistic positions in media art. guess. Probably it was just a moment of tem- their alternative approaches and ways of think- Together, they will show how media porary exhaustion or frustration. Nevertheless, ing; with their philosophical farsightedness and art intersects with society and what the whole complexity of our quest is inherent their technical ability — far beyond critical, cat- concrete role it plays there. in this statement. For as much as we need to alytic reflection — to make them accessible and Text: Martin Honzik fight to preserve qualities such as passion and draw new, unexpected connections. The focus is Curator: Martin Honzik, QIU Zhijie courage for humanity, and as much as we need always on the human being, not on technology — Assistant Curators: JO Wei, Christl Baur them to develop ourselves further, we also need HUMANAZING TECHNOLOGIES. Design Society Team: TANG Siyun, Design Society, Sea World Culture and Arts Center Shenzhen LI Xiaonan, ZHOU Chenchen Venue: Design Society Shenzhen
446 447 448 Out of the Box The Midlife Crisis of the Digital Revolution
Being a festival for art, technology, and society means using the methods of art and the sensorium of artists to observe and analyze possible future transformations as well as those currently happening, and to come to conclusions about their cultural and social dimensions and their consequences. The time-honored principle of artistic thought and action “making the invisible visible,” the curiosity to look at what’s behind the scenes and the impulse to make something better, dissatisfaction with simple answers, skepticism toward default solutions, an unflagging creativity in the search for new ways and means — all these are factors, originating in the artistic ecosystem, that are perfectly suited to help formulate the enlightened, critical, and qualified perspectives that we urgently need on our path into the future. A path that must take into account the problems of the present no less than it needs visions of a better future.
448 pages, 585 illustrations ars.electronica.art/outofthebox Illustration by Emiko Ogawa Emiko by Illustration